Used as an ambient mic for the electric guitar on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

Miking Mayer's guitar rig depended on the song's mood. On “The Heart of Life,” Franscoviak threw a ribbon mic in the middle of the main room as a pair of amplifiers boosted Mayer's tracks. On the majority of the tracks, though, Franscoviak would put a Shure SM57 and a Beyerdynamic M88 right next to each other, about two fingers' width from the guitar cabinet's grille. He would take that track, blend it and send it to one channel. In addition, Mayer likes to hear room ambience on his guitar tracks. To accomplish that, Franscoviak would point either a pair of U67s or U87s about three feet from the edge of the semi-circle of amps, and then either a U47 or a Telefunken 251 in front of them all.

“Then, every once in a while, if he wanted a beefy sound, I would use a [Yamaha] NS10 speaker that had been reversed,” Franscoviak says. “I would put that right up on the cone of one of his cabinets to get that real low-end thing.” The best example of that, he adds, is the solo in “I'm Gonna Find Another You.” Mayer's acoustic guitar chain was an AKG C24 microphone into 1073s.

Billie Joe Armstrong can be seen using the Telefunken ELA M 251 in the studio while recording vocals around of 2009-2010 (21st Centruty Breakdown Album).

Used on "Hymn for the Weekend", as mentioned by A Head Full of Dreams co-producer Rik Simpson in this Sound on Sound article.

It was very important to get the development and arrangement of the vocals right. Many of the 45 tracks are effect tracks. There’s only one lead vocal track each for the verses [LV Verse], for the bridge [LV Bridge], and the choruses [LV Chorus], and then Chris sang a number of bridge and chorus vocal overdubs. The main verse vocal has the Avid Channel Strip, which is taking out some low end, an SPL TwinTube, which adds some saturation, the UBK1 compressor adding more crunch, and the UAD Fairchild 670 and SSL E Channel. I don’t use a great deal of compression from each unit. I will just tickle it a little bit with each one, and each one adds a different characteristic. I could just add a whole load of compression from one plug–in, but like this it doesn’t sound over–compressed. The Pro–Q 2 is, again, a high–pass filter. In the sends there’s a Waves H–Delay that I recorded elsewhere, and sends to a main D–Verb and two QL Spaces aux tracks. I have different reverbs and delays for each part of the song so that the vocal sound evolves during the song.

“The main chorus lead vocal has the FabFilter Pro–Q 2 EQ, the Waves Rennaissance Vox, again the UBK1, two instances of the FabFilter Pro–DS de–esser, two instances of the UAD Pultec EQP–1A, and the FabFilter Pro–MB multi–band compressor. I like the FabFilter de–esser. I am still trying to find the ultimate de–esser, because it’s quite a hard thing to do right. I have two because one is doing high top sibilance, and the other lower stuff around 2kHz. The sends on chorus lead vocal go to aux tracks with the Waves H–Delay, the FXpansion Bloom with a lush, wide stereo delay, a small chamber from the QL Spaces plug–in, a mono delay from the UAD Echoplex, and several other delays. The sends to the delays are all automated independently, with different words getting different delays.

“One thing of note is that there also is a ‘Hope House M80’ vocal track, recorded when Chris was still using the Telefunken M80, and it’s mixed in very low. There’s also a lead-vocal double that has ‘251’ marked, indicating that Chris was also using that mic. But the main vocals were recorded using the Soyuz. There are two tracks marked ‘251 Melo Lead’ and ‘251 Melo Double’, again mixed in low. ‘Melo’ stands for Melodyne, and these tracks are raised two semitones. They were recorded in a different key for a different version of the song, and detuning them added a certain alien quality to these vocals which we really liked. At the bottom of the session are the Beyoncé vocal tracks, on which I mainly used the SSL E Channel strip, UBK1, L2, SoundToys Echo Boy, Avid ModDelay and the QL Space.”

At 5:15, Taylor can be seen using the Telefunken ELA M 251 to record vocals for her song "Breathe."

In this video, Charlie uses the ELA M251 mic to record the vocals for the song "If You Leave Me Now" with Boyz II Men.

"You get an idea of what the sound of their voice is really like and make adjustments accordingly. A few weeks ago we had Robin Thicke in here and he loved the Telefunken 251. It's very rich-sounding and I had never used it before." - via Sound On Sound interview with Pharrell's engineer, Andrew Coleman

Shawn is using the Telefunken 251 in this photo he posted on Instagram from his first few days back in the studio fresh off of tour for his next album.

Tyler is seen using the mic at 1:29

In her recent post, Billie was recording with the ELA M251

Mentioned by recording engineer Richard Dodd in this Sound on Sound interview about the recording of "Learning to Fly".

"Tom would play his guitar in the control room, too, unless it was acoustic, and in his case I might have had two mics on his amp: a 57 as well as an AKG 251, just in case it sounded better, although it very rarely did. Tom's a great rhythm player, so he definitely played rhythm on acoustic and on the Tele while I think Mike played the more lead-type 12-string stuff."

Original Telefunken 251s were manufactured by AKG.

Much of the writing and recording of Vulnicura took place at Björk’s New York home, where she has the ultimate 21st Century studio. The total music–tech content consists of an Avid Pro Tools HD Native Thunderbolt system, Genelec 1032 monitors (“I like them a lot, they sound very creamy. But they can be deceptive, because everything sounds good in them. So you have to be a little careful.”), an M–Audio controller, a Telefunken ELAM 251 microphone and Neve 1081 mic preamp.

Used for Blake's vocals on Beyoncé's "Forward", as stated by producer Stuart White in this this September 24, 2016 AudioTechnology interview.

In the case of James Blake, White recorded him at Conway Studios. White: “He came in, heard the track (Forward), walked up to Bey’s Elam 251 with the same vocal chain (Avalon 737 into Tube Tech CL1B) and sang his vocal pretty much right off the bat. Then he tried some chords on the piano and I recorded him soon after using two older Schoeps W-221 small diaphragm microphones going into Neve 1073 mic pres."