One of the most esteemed names in the world of audio production, TELEFUNKEN, has released a new and exciting product in their Alchemy line of microphones: theTF11. I was beyond excited to test out their newest offering.
TheTF11is a large diaphragm FET condenser microphone designed and hand-assembled in the USA. Itâs a cardioid only mic with a small footprint (less than seven inches high and two inches wide). Despite its smaller size, the weight and sturdiness immediately inform that youâre holding an extremely well-built piece of equipment. TheTF11âsdark blue body is brushed, adding to the micâs amazing feel. The Austrian-style discrete Class A JFET amplifier design is voiced similarly to the C12, allowing theTF11to handle high SPLs with a low noise floor, and includes a UK-made Carnhill transformer. The CK12-style edge-terminated capsule is a single-membrane version of the TF51âs [Tape Op#134]. The mic comes with a sturdy shock mount, case, stand mount, and sleeve. The included M703 shock mount is among the best Iâve used â lightweight, small enough to fit in most spots, and retains its position.
I noticed two traits right away that stood true on every source I put theTF11in front of: a boost in the high end (a smaller bump around 5 kHz and a larger one near 8.5 kHz) and tight, natural lows between 100 and 200 Hz. This microphone is far from boomy, partly because it starts to roll off around 100 Hz. I found that running it into a Neve-style or tube preamp (like my Universal Audio 2-610 [Tape Op#27]) produced a round quality that sits easily in the mix without muddying anything up.
I used theTF11for several different vocal sessions and was super pleased with its versatility. I was especially impressed with it on lead vocals for female-identifying singers with lower registers, lead for male-identifying performers with midrange registers, and backing vocals for male-identifying vocalists in many registers. Because of how tight and natural it is in the 100 to 200 Hz range, it worked well when stacking doubles and harmonies on top of each other â full and rich without clogging up space for the lead, kick, bass, synths, or anything else that might occupy the low end. At times, the brightness in the high end caused the vocals to cut through the mix a little too much, but not in a harsh or brittle way. I found that the slightest EQ adjustments helped in these cases without taking away from the clarity.
Of all the sources I micâd with theTF11, my favorite application was for drums and percussion. It consistently found itself right in the middle of the kit (at the âcrotchâ position) â with the capsule above the kick by about eight inches, closer to the resonant head, facing and angled towards the bottom of the snare. Here, the tightness in the low end and the brightness in the top end brought the drums forward in the mix withoutanyEQ or compression. I used it in this position for some neo-soul, R&B, and pop tracking sessions, shocking the client each time when A/Bâing the drums with and without theTF11. For me, itâs worth twice the price just for this use! It also held its own as a mono overhead, in front of the resonant head of the kick, hand percussion, and as a room mic with jazzier, more controlled drummers.
I enjoyed using it for acoustic instruments that needed to cut through the mix. It might not be the mic I reach for if I need a deeper sounding guitar or string section, but when used near the soundhole for more rhythmic playing, it worked extremely well. TELEFUNKEN did something wonderful with this microphone, and it didnât take long for me to start reaching for theTF11over other large-diaphragm mics in my locker. Itâs flexible, natural, bright, and has ahugedynamic range. Iâm excited to keep exploring with this mic!
($895 street;telefunken-elektroakustik.com) Buy From Sweetwater -Slater Swananjunarecording.com