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Arguably the most beautiful sounding microphone ever produced, the TELEFUNKEN ELA M 250 / 251 was originally sold in two variations: the "ELA M 250E / 251E" version utilized a 6072a tube, while the "ELA M 250 / 251" version contained a TELEFUNKEN AC-701 tube. The "no-suffix" microphones were built to satisfy the standardized requirements of the German and Austrian national broadcast systems. While both versions of these microphones have achieved legendary stature in the modern recording industry, the road to achieving this legendary status was far from instantaneous. In 1947 Neumann GmbH first built the U-47 microphone. From 1947 to 1958 TELEFUNKEN GmbH used their established global distribution network for the products produced by Neumann GmbH, which were sold under the TELEFUNKEN name with a TELEFUNKEN logo badge. In 1958 when Neumann GmbH notified TELEFUNKEN GmbH that they had decided to not renew their distribution contract, TELEFUNKEN reached out to AKG Acoustics about the possibility of AKG creating a "U-47 like" model for TELEFUNKEN to plug into their global distribution network. This U-47-esque microphone was to be known as the ELA M 250. Like the U-47 this new microphone featured the pattern selection (cardioid and omni-directional) switch on the head of the microphone. Around 1958 Neumann GmbH also released their U-48 microphone which featured cardioid and "figure 8" pattern selection. The TELEFUNKEN ELA M 251 was an amalgam of the two as it featured 3 pattern (cardioid, figure 8 and omni-directional) selection capability. The switch housing at the base of the capsule assembly is where the similarity between the Neumann GmbH U-47 / U-48 and the ELA M 250 /251 microphone series ends. The TELEFUNKEN ELA M 250 / 251 features an edge terminated, dual backplate CK-12 capsule (as found in the AKG Acoustics GmbH C-12). The amplifier was the same circuit found in the C-12 that featured a GE 6072 tube and a Haufe 14:1 ratio output transformer. As previously mentioned, a system that featured a TELEFUNKEN AC-701 tube was also designed to meet the technical specifications of German and Austrian broadcast during the period when these microphones were originally constructed. While the C-12 accomplished pattern selection with an outboard switching device that was connected to the power supply, the ELA M 250 / 251 eliminated that addition to the system and minimized both the quantity of wires that had to run to the microphone as well as the expense of the external pattern selection box. The design engineers at AKG Acoustics also came up with another very handy feature, which was the capability to minimize the time necessary to accomplish "field repairs" of the microphone. Both the C-12 and U-47/48 microphones require a fair bit of knowledge, a steady hand, as well as a couple of screwdrivers to get to the internal workings of the mic. All that was required to "field repair" the ELA M 251E was the removal of the ring on the bottom of the body and the metal body tube would slide right off (no tools necessary!!). Once the body tube was removed either the capsule or the amplifier could be replaced in under a minute saving precious time when under the gun in a broadcast or orchestral recording environment. The amplifier in the ELA M 250 / 251 series is housed in a molded plastic enclosure. The capsule is held in place by two metal struts that run up the exterior of the amplifier housing. By implementing this system, either of these critical components could be replaced in seconds and the session could continue while either system element could be sent to the technical shop for "component level repair". This convenience was something the broadcasters of the time found to be a major plus as they had thousands of dollars of musicians sitting around for the live music broadcasts of the day. Any time saved cut down on the expense of the session, and added to the quality of the broadcast. Unfortunately for TELEFUNKEN GmbH, these field replacement provisions also proved to be a sales impediment outside of the orchestral recording world as the plastic bits employed in these microphones added significant cost to the construction of the microphones. The added cost made them markedly more expensive at the time than the Neumann GmbH and AKG Acoustics GmbH products, thus the non Government owned facilities of the time did not adopt these systems as readily as TELEFUNKEN GmbH would have liked. It is thought that fewer than 3700 total original ELA M systems were built from 1960 to 1965 when TELEFUNKEN GmbH discontinued sales of the microphone. Today, prime examples of vintage ELA M 250 / 251 [both "E" and "non E"] microphones have become rare and highly sought after jewels, commanding tens of thousands of dollars on the vintage market. You will find that the TELEFUNKEN Elektroakustik recreations exemplify the best qualities of the best examples of these legendary beasts, and while more expensive than most modern microphones, they are true to the heritage of their 40+ year old brethren.

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Microphones & Accessories
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Condenser Microphones

Jan 5, 2016

edited Sennheiser MD 431 II

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One of our most exceptional microphones. Super-cardioid. For vocals, speech, and broadcasting. Exceptional feedback rejection. Shock-mounted capsule for very good rejection of handling noise. Hum compensating coil.

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Microphones & Accessories
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Dynamic Microphones

Jan 5, 2016

edited Shure SM58

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The legendary Shure SM58 vocal microphone is designed for professional vocal use in live performance, sound reinforcement, and studio recording. Its tailored vocal response for sound is a world standard for singing or speech. A highly effective, built-in spherical filter minimizes wind and breath "pop" noise. A unidirectional (cardioid) pickup pattern isolates the main sound source while minimizing unwanted background noise.

Rugged construction, a proven shock-mount system, and a steel mesh grille ensure that even with rough handling, the SM58 will perform consistently, outdoors or indoors.

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Jan 5, 2016

edited Shure 520DX "Green Bullet"

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With its signature green and chrome die-cast casing, the 520DX "Green Bullet" holds a spot in history as the definitive blues harp voice.

The 520DX features a volume control knob at the base of the microphone that allows users to make adjustments to suit their needs during live performance. An attached cable with a standard 1/4-inch plug allows the microphone to be connected to a high-impedance device. Contoured to fit perfectly between harmonica and hands, it can also be used for distinct, lo-fi vocals.

Features

Volume control knob allows users to adjust the volume to fit each musical situation

Rugged, dynamic cartridge with improved response

High-impedance, omnidirectional

Supplied with 1/4 inch connector

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Microphones & Accessories
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Dynamic Microphones

Jan 5, 2016

edited Coles Electroacoustics 4038

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The 4038 Studio Ribbon Microphone is of British Broadcasting design (BBC) and used for broadcasting and recording such sounds where a clear smooth wide range frequency response, absent of transient distortion and relatively high sensitivity is essential.

The 4038 has a proven reliable performance capability, being since its introduction, used by broadcasting networks throughout the world such as the BBC.

The frequency response of the 4038 is exceptionally flat from 30 to 15,000 c/s and throughout this range the shape of the bi-directional (figure of eight) polar response is maintained substantially constant both in the horizontal and vertical planes, giving a natural smooth sonic quality textured response to sound signal being picked up.

Studio microphones have now achieved a remarkable fidelity of reproduction. If the microphone is not close to perfection, there is no point in having expensive systems to take the sound the rest of the way to the audience's ears.

In the world of sound, the BBC has always been the leader, and is still regarded as the 'setter of standards'.

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Jan 5, 2016

edited Coles Electroacoustics 4038

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Ribbon Microphones

Jan 5, 2016

edited a deleted item

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Solid Body Electric Guitars

Jan 5, 2016

edited Boss BD-2W Blues Driver Waza Craft

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Passionately designed by the master engineers at BOSS in Japan, the Waza Craft BD-2W delivers a premium stomp experience that fans of customized pedal tone will love. Crafted with an ear for highly refined sound, the BD-2W takes the classic Blues Driver grit to a new level with all-discrete analog circuitry. Standard mode captures the classic BD-2 tone while Custom mode delivers new body and sustain.

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Guitar Pedals & Effects
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Overdrive Effects Pedals

Jan 4, 2016

edited Roland GP-100 Preamp/Guitar Effects Processor

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Guitar Pedals & Effects
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Guitar Preamps

Jan 4, 2016

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Jan 4, 2016