TELEFUNKEN ELA M 260 Cardioid Stereo Set

Product overview

The TELEFUNKEN ELA M 260 Cardioid Stereo Set is a matched pair of ELA M 260 small-diaphragm tube microphones with TK60 cardioid capsules, running from one M 902S dual power supply and packed in a single ZC60S zipper case.

TELEFUNKEN calls the ELA M 260 one of the few small-diaphragm tube microphones available today and an absolute first choice for acoustic instrument recording. Supplied as a matched set, two microphones are ready for coincident, near-coincident and spaced-pair stereo on drum overheads, acoustic guitar, strings, brass, woodwind and percussion. Each microphone is designed and hand assembled in the USA around a NOS 5840W vacuum tube and a US-made TELEFUNKEN T60 output transformer.

Key features

• Matched set of two ELA M 260 tube microphones for stereo recording
• Tube warmth with small-diaphragm precision in a 140 mm x 20 mm, 116 g body
• TK60 cardioid capsules, individually tested and matched by frequency response
• One M 902S dual power supply runs both microphones
• Vintage-inspired amplifier around a NOS 5840W tube with the TELEFUNKEN T60 transformer
• ZC60S zipper case holds the complete stereo system
• Designed and hand assembled in the USA

A matched cardioid pair

TELEFUNKEN describes this set as a matched set of ELA M 260 tube microphones with TK60 cardioid capsules. Every TK6x capsule is held to a strict ±1 dB sensitivity tolerance and is individually tested and matched by frequency response in TELEFUNKEN's American facility, so the left and right channels of a stereo image sound alike. The TK60 is flat from 150 Hz to 7 kHz with a presence peak at 8 kHz, and TELEFUNKEN names it ideal for drum overheads, acoustic guitar and other acoustic instruments.

Tube sound in a small diaphragm

Small-diaphragm microphones are prized for fast, accurate detail; the ELA M 260 adds the gentle richness of a tube amplifier. Built around a NOS 5840W vacuum tube, premium through-hole components and the US-made TELEFUNKEN Elektroakustik T60 output transformer, it gives acoustic guitar, violin and mandolin a natural, smooth texture, taming harshness on brighter instruments while keeping the open top end that makes small condensers so responsive.

One power supply for both microphones

Both microphones run from one M 902S dual tube power supply, designed and assembled in the USA. Its compact circuit uses premium-quality capacitors with improved regulation and RF suppression, and every unit is burned in as a complete unit for reliable operation. Two M 803R right-angle 7-pin tube cables (7 m each) connect the microphones, and the two 3-pin XLR outputs feed any pair of microphone preamps; no phantom power is needed.

Stereo techniques with the TK60

TELEFUNKEN's SDC Series manual recommends three stereo configurations for TK60 cardioid capsules. XY: angle the microphones 90 degrees apart with the centres of the capsules directly over each other, as close as possible without touching; this sounds the most direct and should always be phase coherent. Near-coincident: angle the pair 110 degrees apart with the capsules 17 cm apart, a layout designed to mimic the placement of the human ears. Spaced pair: set the microphones parallel, typically 60 cm apart, or up to 3 m depending on the distance from the source, the room and the stereo width you want.

TELEFUNKEN's own recommendations: check for phase cancellation; cardioid capsules lose low end with distance while omnidirectional capsules retain it; omnidirectional capsules pick up more ambient sound, so cardioid and hypercardioid capsules are recommended for less than ideal recording environments.

Room to grow

The TK61 omnidirectional and TK62 hypercardioid capsules thread onto the same M 260 bodies, so the pair can later be used for omni spaced-pair recording or hypercardioid live recording. The ZC60S softshell zipper case carries the complete stereo system: both microphones, two cables, two elastic shock mounts, the dual power supply, the removable TK6x capsules and additional accessories, in a smaller, lighter and more portable format than earlier stereo case configurations.

What's in the set

• 2x TELEFUNKEN M 260 tube microphones (matched set)
• 2x TK60 cardioid capsules
• M 902S dual tube microphone power supply
• 2x M 803R right-angle 7-pin XLR tube microphone cables, 7 m
• 2x M 761 elastic shock mounts
• 2x WS20 20 mm foam windscreens
• ZC60S zipper case

TELEFUNKEN warranty: 90 days on the capsule and tube and one year parts and labour on the amplifier and power supply. Register the system with TELEFUNKEN to extend this to one year on the capsule and tube and four years on the amplifier and power supply; SDC Series warranties are fully transferable between owners. Always make all connections before switching the power supply on.

TELEFUNKEN ELA M 260 Cardioid Stereo Set: frequently asked questions

Are the two microphones matched?

Yes. TELEFUNKEN supplies the Cardioid Stereo Set as a matched set of ELA M 260 microphones, and every TK6x capsule is individually tested and matched by frequency response.

Does the set need phantom power?

No. Both tube microphones are powered by the included M 902S dual power supply through the 7-pin tube cables. Connect standard 3-pin XLR cables from the power supply to your preamps.

Which stereo techniques suit this set?

TELEFUNKEN recommends XY, near-coincident (110 degrees, 17 cm) and spaced-pair setups for TK60 cardioid capsules. Always check for phase cancellation.

How long should the system warm up?

TELEFUNKEN recommends 10 minutes after switching on the power supply.

Is a single ELA M 260 available?

Yes, the TELEFUNKEN ELA M 260 (single microphone system) is listed as a separate product at Shivansh Electronics.

Where can I buy the TELEFUNKEN ELA M 260 Cardioid Stereo Set in India?

The TELEFUNKEN ELA M 260 Cardioid Stereo Set is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: Drum overheads in XY

A coincident cardioid pair above the kit, the stereo use TELEFUNKEN lists first for the TK60.

Connections

Setup

1. Fit both M 260s in their M 761 shock mounts on a stereo bar or two stands above the kit, TK60 capsules threaded on.
2. Connect each microphone to the M 902S with its M 803R cable, and the two M 902S outputs to two preamp inputs.
3. Set the M 902S to the correct mains voltage (115 V or 230 V), power it on and let the system warm up for 10 minutes.
4. Angle the pair 90 degrees apart with the capsule centres directly over each other, as close as possible without touching; match gain on both channels.

Tip: XY should always be phase coherent; it gives the most direct sound of the recommended techniques.

Workflow 2: Acoustic guitar in stereo

Steel or nylon-string guitar recorded with a near-coincident or XY pair for width without losing focus.

Connections

Setup

1. Mount both microphones on stands in front of the guitar, aimed between the neck joint and the bridge and clear of the sound hole.
2. Connect each microphone to the M 902S with its M 803R cable, and the two M 902S outputs to two preamp inputs.
3. Set the M 902S to the correct mains voltage (115 V or 230 V), power it on and let the system warm up for 10 minutes.
4. Set an XY pair or angle the microphones 110 degrees apart with the capsules 17 cm apart; check phase and set gain while the player performs at full level.

Tip: Keeping clear of the sound hole avoids boominess.

Workflow 3: Grand or upright piano

A matched pair over or in front of the piano for a natural stereo picture.

Connections

Setup

1. Place both microphones on stands at the piano, inside or over the open lid, aimed at the strings.
2. Connect each microphone to the M 902S with its M 803R cable, and the two M 902S outputs to two preamp inputs.
3. Set the M 902S to the correct mains voltage (115 V or 230 V), power it on and let the system warm up for 10 minutes.
4. Use a near-coincident pair (110 degrees, capsules 17 cm apart) or a spaced pair about 60 cm apart; check phase and set gain on the loudest passage.

Workflow 4: String quartet and chamber ensemble

Strings, where TELEFUNKEN highlights the 260's tonality and detail.

Connections

Setup

1. Set both microphones on a stereo bar in front of the ensemble at a distance that balances the players.
2. Connect each microphone to the M 902S with its M 803R cable, and the two M 902S outputs to two preamp inputs.
3. Set the M 902S to the correct mains voltage (115 V or 230 V), power it on and let the system warm up for 10 minutes.
4. Angle the pair 110 degrees apart with the capsules 17 cm apart, listen for a balanced image, check phase and set gain.

Tip: Cardioid capsules lose some low end with distance; move closer for a fuller sound.

Workflow 5: Choir and vocal ensemble

A spaced pair in front of a choir or vocal group.

Connections

Setup

1. Place the two microphones on stands in front of the choir, parallel to each other and pointing at the singers.
2. Connect each microphone to the M 902S with its M 803R cable, and the two M 902S outputs to two preamp inputs.
3. Set the M 902S to the correct mains voltage (115 V or 230 V), power it on and let the system warm up for 10 minutes.
4. Start with 60 cm spacing and widen up to 3 m for a larger group or a wider image; check phase and set gain on the loudest passage.

Workflow 6: Brass, woodwind and percussion sections

Stereo pickup of a section, where the TK60's presence peak keeps detail clear.

Connections

Setup

1. Mount both microphones on stands in front of the section, aimed at the centre of the players.
2. Connect each microphone to the M 902S with its M 803R cable, and the two M 902S outputs to two preamp inputs.
3. Set the M 902S to the correct mains voltage (115 V or 230 V), power it on and let the system warm up for 10 minutes.
4. Choose XY for a direct, focused image or a spaced pair for more width; check phase and match gain on the loudest passages.

Tip: For a noisy room, TELEFUNKEN recommends cardioid or hypercardioid capsules over omnidirectional.