TELEFUNKEN C12 Stereo Set

Product overview

The TELEFUNKEN C12 Stereo Set is a frequency and gain matched pair of C12 tube microphones with a dual power supply that controls the polar patterns of both microphones: the classic early-1950s large-diaphragm sound, smooth and airy, supplied as two identical systems in one locking flight case.

The C12 lends itself especially well to drum overheads, acoustic guitar and vocals, with a silky top end that gives plenty of air without sounding harsh, a clear and articulate midrange and a tight, focused low end. In the Stereo Set, two hand-matched C12 microphones run from one M 910S dual power supply with two 9-position pattern switches, so both patterns are set remotely, without touching the microphones. TELEFUNKEN states that this system is capable of all common stereo recording techniques, including XY, ORTF, spaced pair, Blumlein and Mid-Side.

Matched microphones	2x
Dual power supply	M 910S
Sensitivity	10 mV/Pa
Max SPL (1% THD)	130 dB SPL

Key features

• Two C12 microphones, frequency and gain matched: capsules, tubes and transformers hand-selected and tested
• One M 910S dual power supply powering both microphones, with remote 9-position pattern switches for each
• 9 remote-selectable polar patterns per microphone, including cardioid, omnidirectional and figure-8
• All the classic stereo techniques: XY, ORTF, spaced pair, Blumlein and Mid-Side
• 6072A vacuum tube and T14/1 output transformer in each microphone
• Point-to-point wired in the USA, true to the original design
• Complete stereo system in one FC10S locking flight case, with two cables, two shock mounts and two wooden boxes

Sound character

The C12 is known for its legendary sweet and airy tone and phenomenal high-frequency clarity and definition. On a pair of overheads it captures the sparkle of cymbals and the whole kit; on piano, acoustic guitar and ensembles it adds air and presence without harshness. Matched gain and frequency response keep that sound identical on both sides of the stereo image.

Matched for stereo

Every TELEFUNKEN tube microphone Stereo Set is built around two meticulously matched microphones. For the C12 Stereo Set, all critical components, including the capsules, tubes and transformers, are hand-selected and tested for matched gain and frequency response, so both microphones give identical responses for the most critical stereo recording. A balanced stereo image, a stable centre and pan positions that behave as expected follow directly from that matching, and the two microphones can also be used side by side as identical mono tools on a session.

Capsule, tube and transformer

Each microphone uses a historically accurate CK12 capsule, made by hand in limited quantity in South Windsor, Connecticut; this edge-terminated, dual-diaphragm design is considered one of the best-sounding capsules ever created. The new-production 6072A dual-triode tube is screened by TELEFUNKEN, tested and burned in in the USA and hand-selected, and runs in a cathode self-bias configuration, which is quieter and more consistent than the original fixed bias and improves frequency response and headroom. The T14/1 output transformer is made to vintage specification by the original European manufacturer, exclusively for TELEFUNKEN.

Patterns and stereo techniques

The C12 capsule is remote polarised, so the pattern selector is built into the power supply. The M 910S has a 9-position switch for each microphone, covering omnidirectional, cardioid, figure-8 and the patterns in between. Set both to cardioid for XY or ORTF, both to omnidirectional for a spaced pair, both to figure-8 for a Blumlein crossed pair, or one to cardioid and one to figure-8 for Mid-Side. Patterns can be adjusted while listening, without climbing to an overhead or moving a carefully placed pair.

Dual power supply, cables and mounts

The M 910S dual power supply is designed and built in America and powers both C12 microphones at the same time. It keeps classic styling and adds modern improvements: a slow-ramping filament voltage to extend tube life, and full regulation so the microphones always operate the same regardless of line voltage variations or location. Full regulation also means the M 910S can safely power just one microphone at the correct operating voltages when needed. It is hand-built in South Windsor, Connecticut, with premium components and double-thick circuit boards, built well over specification for decades of reliable operation. Two M 810 cables (10 m each), made in the USA with a historically accurate swivel stand-mount connector and a 7-pin XLR, connect the microphones, and two M 751 shock mounts give an additional 12 dB of isolation compared to conventional elastic shock mounts.

Flight case and build

The FC10S locking flight case is designed with delicate capsules, vacuum tubes and electronic components in mind. Its shell is made of a blend of seven hardwoods and wrapped in a durable travelling fabric, with dual combination locks and nickel trim, an embroidered TELEFUNKEN diamond logo inside the lid and an engraved logo plate (with matching serial number when applicable). It holds both microphones in their wooden boxes, the stereo power supply and both tube microphone cables, plus the two shock mounts. Every Diamond Series microphone is reverse engineered from the original design, hand built and point-to-point wired (no circuit boards) at the TELEFUNKEN facility in South Windsor, Connecticut, USA, in small production runs. Most metalwork and mechanical parts are custom tooled and machined in the USA, and every power supply is calibrated to the microphone system it comes with and burned in with it as a complete system. Each wooden microphone box is made in the USA of solid white oak with a satin lacquer and carries a metal name plate with the model and serial number.

What's in the set

• 2x matched TELEFUNKEN C12 microphones
• M 910S dual tube microphone power supply with two 9-position pattern switches
• Power cable for the power supply
• 2x M 810 tube microphone cables, 10 m
• 2x M 751 shock mounts
• 2x WB10 wooden microphone boxes
• FC10S locking flight case

Register each microphone at t-funk.com/warranty; repairs on new TELEFUNKEN Elektroakustik microphones are covered under TELEFUNKEN's limited warranty plan. Two standard 3-pin microphone cables from the power supply outputs to the preamps are not included.

TELEFUNKEN C12 Stereo Set: frequently asked questions

What does the Stereo Set include?

Two frequency and gain matched C12 microphones, one M 910S dual power supply, two M 810 10 m cables, two M 751 shock mounts and two WB10 wooden boxes in an FC10S locking flight case.

Which stereo techniques can I use?

TELEFUNKEN states that the C12 Stereo Set is capable of all common stereo recording techniques, including XY, ORTF, spaced pair, Blumlein and Mid-Side.

Does the Stereo Set need phantom power?

No. Both microphones are powered by the included M 910S dual power supply. Connect each XLR output of the power supply to a mic preamp with a standard 3-pin microphone cable.

Can I use just one microphone from the set?

Yes. The M 910S is fully regulated, so it can safely power one microphone at the correct operating voltages.

Is the C12 available as a single microphone?

Yes, the TELEFUNKEN C12 is listed as a separate product at Shivansh Electronics.

Where can I buy the TELEFUNKEN C12 Stereo Set in India?

The TELEFUNKEN C12 Stereo Set is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: XY coincident pair

Acoustic guitar, piano and small ensembles recorded with a precise, mono-compatible stereo image.

Connections

Connect	To
2x C12 microphones	M 910S dual power supply via two M 810 cables
M 910S XLR outputs	Two mic preamp / audio interface inputs (standard 3‑pin XLR cables)
M 910S power cable	Mains power, 115 V or 230 V as set

Setup

1. Fit both C12 microphones in their M 751 shock mounts on a stereo bar, capsules as close together as possible and angled apart.
2. Select cardioid for both microphones on the two pattern switches of the M 910S.
3. Connect both cables to the M 910S, switch on and allow 10 minutes of warm-up.
4. Match gain on both channels, pan hard left and right and record.

Tip: Coincident capsules avoid timing differences between the channels, so the pair sums cleanly to mono.

Workflow 2: ORTF drum overheads

Drum kits recorded as a balanced stereo picture of cymbals, toms and the whole kit.

Connections

Connect	To
2x C12 microphones	M 910S dual power supply via two M 810 cables
M 910S XLR outputs	Two mic preamp / audio interface inputs (standard 3‑pin XLR cables)
M 910S power cable	Mains power, 115 V or 230 V as set

Setup

1. Mount the pair above the kit in the standard ORTF near-coincident arrangement, centred on the snare.
2. Select cardioid for both microphones on the two pattern switches of the M 910S.
3. Connect both cables to the M 910S, switch on and allow 10 minutes of warm-up.
4. Set gain on the loudest cymbal crashes (the C12 handles up to 130 dB SPL), match both channels and record.

Tip: Measure from the snare to each capsule so both are the same distance away and the snare sits in the centre.

Workflow 3: Spaced pair for orchestra and choir

Orchestras, chamber groups and choirs in good-sounding halls and churches.

Connections

Connect	To
2x C12 microphones	M 910S dual power supply via two M 810 cables
M 910S XLR outputs	Two mic preamp / audio interface inputs (standard 3‑pin XLR cables)
M 910S power cable	Mains power, 115 V or 230 V as set

Setup

1. Place the two microphones on tall stands in front of the ensemble, spaced apart and facing the performers.
2. Select omnidirectional for both microphones on the two pattern switches of the M 910S.
3. Connect both cables to the M 910S, switch on and allow 10 minutes of warm-up.
4. Match gain on both channels on the loudest passages and record.

Workflow 4: Blumlein crossed figure-8

Rooms, choirs and acoustic ensembles recorded with a natural blend of direct and room sound.

Connections

Connect	To
2x C12 microphones	M 910S dual power supply via two M 810 cables
M 910S XLR outputs	Two mic preamp / audio interface inputs (standard 3‑pin XLR cables)
M 910S power cable	Mains power, 115 V or 230 V as set

Setup

1. Mount the two microphones one above the other on a stereo bar, capsules aligned and crossed at right angles.
2. Select figure-8 for both microphones on the two pattern switches of the M 910S.
3. Connect both cables to the M 910S, switch on and allow 10 minutes of warm-up.
4. Face the pair at the centre of the source, match gain on both channels and record.

Tip: Place the pair where the room sounds best, as the rear lobes capture the room as much as the front lobes capture the source.

Workflow 5: Mid-Side stereo

Piano, acoustic instruments and rooms where stereo width should stay adjustable after recording.

Connections

Connect	To
2x C12 microphones	M 910S dual power supply via two M 810 cables
M 910S XLR outputs	Two mic preamp / audio interface inputs (standard 3‑pin XLR cables)
M 910S power cable	Mains power, 115 V or 230 V as set

Setup

1. Mount one microphone facing the source (mid) and the other directly above or below it, turned sideways (side).
2. Select cardioid on the M 910S for the mid microphone and figure-8 for the side microphone.
3. Connect both cables to the M 910S, switch on and allow 10 minutes of warm-up.
4. Set gain on both channels and decode the mid and side signals in your mixer.

Tip: Raising or lowering the side signal in the mix widens or narrows the stereo image.

Workflow 6: Grand piano in stereo

Grand piano with smooth, airy detail and a wide, even image.

Connections

Connect	To
2x C12 microphones	M 910S dual power supply via two M 810 cables
M 910S XLR outputs	Two mic preamp / audio interface inputs (standard 3‑pin XLR cables)
M 910S power cable	Mains power, 115 V or 230 V as set

Setup

1. Position the pair over the strings with the lid open, one towards the bass strings and one towards the treble.
2. Start with cardioid on both switches of the M 910S and open the patterns towards omnidirectional for more room.
3. Connect both cables to the M 910S, switch on and allow 10 minutes of warm-up.
4. Match gain on both channels on the loudest passages and record.

Tip: Patterns are changed on the power supply, so the pair can stay exactly where it is placed.