Telefunken NA has been reissuing the classic line of Telefunken mics, like the Ela M 251 and U 47M, for the last few years (see our review of the 251 in issue #34). This mic, the Ela M 14, is the first "new" mic to come out of their factory. It's a cardioid-only tube-powered (new old stock GE JAN 6072a tube) mic, with the usual separate power supply and cable. The mic has the old- style stand mount with the cable attached and a socket, which the mic plugs into. The mic's body is rather thin compared to the 251 or U 47, which makes for easier placement at times. The TK-12 diaphragm element is based on the classic CK-12 capsule, though as the TK-12 in this mic is one-sided and the 251's were multi- pattern, I'd assume there are some differences. We tried this mic on a variety of sources, and in many cases it did quite well. On voice, there's a distinct top end, similar to many Telefunken/Neumann mics, which added sizzle and clarity to the vocal tracks. We did have to use a bit of de-essing to pull the loudest sibilant peaks out, but this is not at all unusual with tube mics in my experience. When used on a singer with a darker vocal sound, this mic beat out several others at our studio and helped the vocal cut through. On violin, above it a few feet, the M 14 captured the room's acoustics and the violin's tone very well. The sizzle that helped the vocal cut through did make some notes feel a bit bright/harsh at times, but in all, the takes came out clear with plenty of depth. On acoustic guitar, the M 14 once again had an articulate high-end sheen (notice a trend?). It wasn't as boomy as other mics we auditioned and not as midrangey/forward as some - it'd be good for single line parts in a mix or solo guitar. On tambourine, the mic exhibited a smeared response on the transients, though so did another tube mic we were checking it against. On a small electric guitar amp, the M 14 was better at lower volumes and lower registers. At higher SPL's, the mic occasionally broke up a small but noticeable amount, especially on higher notes. My assessment? One beef: With the "swivel connector cable" mount as they call it, the mic pretty much has a direct physical connection with the stand, and we noticed nasty ringing sounds even if the pop filter or stand was barely touched - leading me to wish I had a shock mount instead. You might have noticed the trend towards brightness with this mic, but don't let that scare you. It does have a bit of sizzle in the top but compared to other tube mics it was in many cases a more usable sizzle than other "bright" mics - imparting clarity and openness without getting too sibilant or harsh. I own six different tube mics already, now I own the M 14 and it's a great addition to my arsenal and able to provide a unique sound and help me capture certain tracks in a way I didn't before. I'm happy to have another tool at my disposal like this! ($2,995 MSRP; www.telefunkenusa.com)
Microphones | No. 28
KA-04, KR-2W, KR-1D, KR-2C, KR-1F, KR-3H, KR-25A, KR-33A, KP-6M, TT-3M, BS-3D
by Larry Crane
Taylor Johnson, of The Sound Room, has been importing Russian mics like the Oktava brand for years, and now he steps out with his own line of microphones. Partially built in Argentina, these mics are...