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AKG in Vienna had been building its highly successful large diaphragm condenser mic, the C12, since 1953. Telefunken contracted with AKG to make a modified version of this mic with significant improvements, and a pair of microphones were born; the model 250 with Cardioid and Omni patterns (like the U 47), and the model 251 with an additional figure-eight pattern (like the U 48).
These two microphones used three of the four key elements that made the AKG C12 so desirable. They included a Haufe T-14/1 output transformer, a socketed 6072 tube and a CK12 capsule. The fourth element was the head grille, and for this, the new mic had a larger cavity with an extra inner mesh, that contributed significantly to the frequency response.
Another vote for the Upton 251. A pair of them landed at my studio a year or so ago and I've been in love ever since. I've had several opportunities to use a few different proper vintage 251s over the years, and these Uptons are the first clones that really wowed me.
...guitar player. That's my axe in the control room. The bass in the kitchen iso room. That's a Bock 251 mic on the bass. Te drums have Peluso P12's for overheads, Sennheiser MD441 on snare and EV RE16 on bottom/shell snare. Royer 121 on Hats, RE20 on kick, Pelsuo TR14 tube ribbon...
...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...
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