I was watching the VK 251 mic shootout and there isn’t one single mic that sounded good on all sources. Do others feel the same way?

For example I loved the Upton on vocals, but on acoustic guitar the mids were too muddy. The 2000s Telefunken sounded a bit anemic on female vocals, but was just gorgeous on acoustic guitar.

I assumed that once I picked my favorite 251 for vocals, it would translate well to other sound sources, but to my ears that’s clearly not the case.

What is your own experience? I own a FLEA 47 and I’m in the market for a 251 clone. That shootout left me a bit puzzled…🤪

Here is the link: https://youtu.be/hKhwzDUFfBk?si=Q12ROaReXGkzTHbo

Hi,
the Beesneez BN251 is missing from this shootout, and if you're looking for the authentic 251 sound, I think this is the closest thing you'll get.
Hope this helps..
Mauro

If you're after a 251 clone, you have to choose one that aligns with your priority. Whether it's vocal clarity, warmth, or versatility across instruments.

Hi Greg —

Setting aside all 251 mics for a moment, is there any one single mic that sounds good to you on all sources?

Shootouts, like this Vintage King example, pretty much don’t work for me because they lack the context of real application. They lack the interaction and inertia found in the process of creating art. Don’t blame the mics; blame the process.

I’d also shy away from plurality for liking or disliking: “I did/didn’t like some mic in situ for that specific (singular) vocal/guitar/etc.”

Indeed, I usually find it much easier to say honestly, “I didn’t like that instrument or performance (by the artist and/or engineer).”


You gotta be there.

Ray H.

The 251 used to be my favorite vintage—mentally, they were my ultimate hammer. And it was my intention to buy a pair to point at everything that couldn’t prove it wasn’t a nail. But, while I still like them okay, my tastes shifted.

The closest thing I own now are a couple Heiserman H47Tube mics. I’ve got an AEA A440 ribbon. Otherwise, I’m mostly clean, preferring Schoeps, etc. in my mic locker.

I may come back for 251s someday; but I doubt that I will ever again see them as an ultimate hammer.

But if your heart is set on a 251, pick the one that most inspires you—and let it inspire you to create real art. I’m sure it will then be fine for most anything you decide to point it at.

Thanks for your post. I love your philosophy and I’ve learned something today.

My Neumann TLM 170 seems to sound “neutral” on any source. It doesn’t impart a specific color and it lacks a transformer. It’s used a lot in orchestral applications. It’s also Kenny G’s mic of choice for his soprano… lol. I was hoping that a good 251 would behave similarly, adding that tube magic.

I was in two separate sessions where the engineer used two original 251s on stereo piano and mono drums. It sounded incredible! Now I’m wondering how those mics would sound on vocals…?

Maybe the originals have something that can’t be replicated nowadays? Maybe there’s a reason they’re $20k? More questions than answers…

They're good mics, for sure, but in my opinion the reason they're that expensive is mainly fetishism and magical thinking.

In reality, there's no guarantee you'll prefer any of these mics to your TLM170. Maybe you will, but you'll only know by using them yourself in your own context.

I've had the privilege of using a lot of great gear over the years but none of it was magic, regardless of which tubes are involved!

I'm writing as I'm listening.

Tele USA (new) sounds harder than the Heiserman.
Heiserman slightly brighter than the Upton, the Upton might be slightly smoother overall.
The Flea is so far the best. The high end is very smooth, most notably on the ess's.
The Tele USA (old) is the brightest so far. It's not bad though.
The Bock is balanced. It sounds a little smaller maybe. A little more focused?
Warm. First impression - it has the smallest sound of the bunch. Not bad.
Golden Age. Similar to the Warm.

I like the Heiserman or the Flea for her. I like the Heiserman's brightness and I like the Flea's smoothness.

Male.
Tele USA (new). A little piercing upper midrange.
Heiserman no piercing midrange.
Upton - smoothest so far. Slightly fuller.
Flea. Sounds smaller. Borders on piercing in the upper midrange.
Tele USA (old). Very similar to the Flea. A little brighter.
Bock sounds a little muffled/less clear comparatively.
Warm. Similar to the Tele USA (new). A little smaller. Not too bad though.
Golden Age. Not bad.

For him the Upton is the winner.

Regarding this mic, I don't care about instruments so I stopped listening.
The thing about tube magic is that it's just like any other magic - it isn't real.
...unless you're overloading it.

They seem to be in old videos of The Beatles recording sessions—in front of electric guitar cabinets and over the drums.


Not saying that is a reason to care. Just making an observation.

Ray H.

Pretty much, because the TLM170 is a decent mic. Dude needs to get a Beesneez BN251 for sure.

The only AKG made mic I see in these picture is a D19 dynamic in front of Ringo. The rest are U47/48s and a 4038 ribbon mic.

I know they used C12s, but I don't remember ever reading about them using a 251 in any capacity.

Thanks, I had always thought they were 251 mics—far too long to blame on my glasses.

Ray H.

But now that you pointed it out. . .
. . .thanks.

I can’t find a decent demo on YouTube for the BN251. Can you point me to one? Dude thanks you in advance.

Here's an unlisted video of myself when I received it.