TELEFUNKEN M60 FET Deluxe Tri-Mono Set

Product overview

The TELEFUNKEN M60 FET Deluxe Tri-Mono Set is a three-microphone M60 FET system with cardioid and omnidirectional capsules for every microphone, three SD40 diffusion spheres and the ZC63 tri zipper case.

TELEFUNKEN describes these three-microphone sets as capable of matched stereo and three-microphone tree recording configurations, and, in combination with additional matched pairs, ideal for multi-channel immersive audio capture. Each M60 is hand assembled in TELEFUNKEN's US facility using premium components and an ultra-clean, true class-A discrete circuit with an American-made transformer, giving fast transient response, high SPL handling and very low self-noise for orchestras, choirs, ensembles and rooms.

Three‑microphone system	3x M60
3x TK60 cardioid, 3x TK61 omni	6 capsules
Diffusion spheres	3x SD40
Self‑noise (amplifier)	5 dBA

Key features

• Three M60 FET microphones for matched stereo and three-microphone tree recording
• Six thread-on capsules: three TK60 cardioid and three TK61 omnidirectional
• Three SD40 diffusion spheres for the TK61 capsules
• High-headroom, low-noise FET amplifier: true class-A discrete circuit, +48V phantom powered
• Very low distortion: < 0.01% THD (amplifier, 1 kHz at 1 Pa); more than 135 dB SPL
• Ready for immersive capture when combined with additional matched pairs
• ZC63 tri zipper case for the complete system

The three-microphone tree

TELEFUNKEN's SDC Series manual describes the classic three-microphone tree with TK61 omnidirectional capsules and SD40 diffuse-field spheres: the left and right microphones 2 m apart with the centre microphone 1.5 m in front. Distances can be adjusted but should not be less than 1.5 m, and the left and right microphones can be angled outwards up to 90 degrees. This set supplies everything for that array except the stands and bar.

SD40 diffusion spheres

The TK61 omnidirectional capsule is flat from 20 Hz to 5 kHz with a presence peak at 8 kHz. TELEFUNKEN recommends using it with SD40 diffuse-field spheres to make the upper midrange frequencies more directional, which helps the outer microphones of a tree focus on the ensemble while keeping the full low end of an omni.

Cardioid when the room calls for it

Three TK60 cardioid capsules come with the set. Flat from 150 Hz to 7 kHz with a presence peak at 8 kHz, they suit drum overheads, acoustic guitar and other acoustic instruments, and TELEFUNKEN recommends cardioid capsules for less than ideal recording environments. Any two microphones can also work as an ORTF, XY or spaced pair, leaving the third for a centre fill or a spot microphone.

Setting up and care

TELEFUNKEN's quick start is simple: attach the M 761 shock mount to a stand, push the microphone through both sets of elastics, connect the SGMC-5R cables to the preamp input and apply +48V phantom power, allowing 15 seconds to power up. Mute the channel before engaging phantom power, as the microphone can produce a loud pop as it turns on. Phantom power is a standard feature of most mixers, consoles and preamplifiers, so no external power supply is needed on stage or in the studio. Between sessions, keep the microphones and capsules in the ZC63 tri zipper case.

TELEFUNKEN stereo tips

• Check phase: always listen for phase cancellation between microphones
• Distance and low end: cardioid capsules lose low end with distance, while omnidirectional capsules retain low-frequency information
• Room noise: omnidirectional capsules pick up more ambient noise, so cardioid and hypercardioid capsules are recommended for less than ideal recording environments

What's in the set

Microphones	3x M60 FET amplifier
Capsules	3x TK60 cardioid 3x TK61 omnidirectional
Spheres	3x SD40 diffusion sphere
Cables	3x SGMC‑5R right‑angle XLR cable, 5 m
Mounts	3x M 761 elastic shock mount
Case	ZC63 tri zipper carrying case

In the box

• 3x TELEFUNKEN M60 FET microphone
• 3x TK60 cardioid capsule
• 3x TK61 omnidirectional capsule
• 3x SD40 diffusion sphere
• 3x SGMC-5R right-angle XLR cable, 5 m
• 3x M 761 elastic shock mount
• ZC63 tri zipper carrying case

TELEFUNKEN warranty: 90 days on the capsule and one year parts and labour on the amplifier. Register the product with TELEFUNKEN to extend this to one year on the capsule and four years on the amplifier; SDC Series warranties are fully transferable between owners. Mute the channels before engaging phantom power.

TELEFUNKEN M60 FET Deluxe Tri-Mono Set: frequently asked questions

What can the Deluxe Tri-Mono Set record?

TELEFUNKEN states it is capable of matched stereo and three-microphone tree configurations, and with additional matched pairs it is ideal for multi-channel immersive audio capture.

Which capsules are included?

Three TK60 cardioid and three TK61 omnidirectional capsules, one of each per microphone, plus three SD40 diffusion spheres. TK62 hypercardioid capsules are available separately.

How do I set up the three-microphone tree?

Use TK61 capsules with SD40 spheres, place the left and right microphones 2 m apart and the centre microphone 1.5 m in front; keep distances no less than 1.5 m.

Do the microphones need phantom power?

Yes, +48V phantom power on each channel. Allow 15 seconds for the microphones to power up.

Is an M60 FET stereo set available?

Yes, the TELEFUNKEN M60 FET Cardioid Stereo Set is listed as a separate product at Shivansh Electronics.

Where can I buy the TELEFUNKEN M60 FET Deluxe Tri-Mono Set in India?

The TELEFUNKEN M60 FET Deluxe Tri-Mono Set is available from Shivansh Electronics, Kolkata, West Bengal, India, with delivery across India.

Workflow 1: Orchestra with a three-microphone tree

The main array for orchestral and large ensemble recording.

Connections

Connect	To
3x M60 (3‑pin XLR)	3x SGMC‑5R right‑angle XLR cables (included)
SGMC‑5R cables	Three mic preamp, console or recorder inputs
Mic preamps	+48V phantom power on all three channels

Setup

1. Thread TK61 omnidirectional capsules with SD40 diffusion spheres onto all three microphones and fit the M 761 shock mounts to a tree bar.
2. Connect the three SGMC-5R cables to three preamp or recorder inputs.
3. Mute all three channels, switch on +48V phantom power and allow 15 seconds for the microphones to power up.
4. Place left and right 2 m apart with the centre 1.5 m in front, angle the outer microphones outwards up to 90 degrees and set gain on the loudest passage.

Tip: Distances can be adjusted but should not be less than 1.5 m.

Workflow 2: Choir recording

A tree or a pair plus centre for choirs in churches, halls and studios.

Connections

Connect	To
3x M60 (3‑pin XLR)	3x SGMC‑5R right‑angle XLR cables (included)
SGMC‑5R cables	Three mic preamp, console or recorder inputs
Mic preamps	+48V phantom power on all three channels

Setup

1. Thread TK61 capsules with SD40 spheres for a good hall, or TK60 cardioid capsules for a noisier room, and mount all three microphones high.
2. Connect the three SGMC-5R cables to three preamp inputs.
3. Mute all three channels, switch on +48V phantom power and allow 15 seconds for the microphones to power up.
4. Set the array in front of and above the choir, check phase between the three channels and balance the centre microphone against left and right.

Workflow 3: Immersive audio capture

Three microphones as the front layer of a multi-channel array, with additional matched pairs.

Connections

Connect	To
3x M60 (3‑pin XLR)	3x SGMC‑5R right‑angle XLR cables (included)
SGMC‑5R cables	Three mic preamp, console or recorder inputs
Mic preamps	+48V phantom power on all three channels

Setup

1. Build the front layer as a three-microphone tree with TK61 capsules and SD40 spheres.
2. Connect the three SGMC-5R cables to three recorder inputs and label left, centre and right.
3. Mute all three channels, switch on +48V phantom power and allow 15 seconds for the microphones to power up.
4. Add further matched M60 pairs for the surround or height layers and align gain across all channels.

Tip: TELEFUNKEN notes the set is ideal for multi-channel immersive audio capture in combination with additional matched pairs.

Workflow 4: Drum kit: overheads plus centre

A matched stereo overhead pair with the third M60 as a centre or hi-hat microphone.

Connections

Connect	To
3x M60 (3‑pin XLR)	3x SGMC‑5R right‑angle XLR cables (included)
SGMC‑5R cables	Three mic preamp, console or recorder inputs
Mic preamps	+48V phantom power on all three channels

Setup

1. Thread TK60 cardioid capsules onto all three microphones and mount them in M 761 shock mounts.
2. Connect the three SGMC-5R cables to three preamp inputs.
3. Mute all three channels, switch on +48V phantom power and allow 15 seconds for the microphones to power up.
4. Set two microphones as a spaced pair about 60 cm apart over the kit and place the third over the hi-hat or centre; check phase against the close microphones.

Workflow 5: Piano with ambience

A close stereo pair on the piano and the third microphone for the room.

Connections

Connect	To
3x M60 (3‑pin XLR)	3x SGMC‑5R right‑angle XLR cables (included)
SGMC‑5R cables	Three mic preamp, console or recorder inputs
Mic preamps	+48V phantom power on all three channels

Setup

1. Thread TK60 capsules on two microphones for the piano and a TK61 with SD40 sphere on the third for the room.
2. Connect the three SGMC-5R cables to three preamp inputs.
3. Mute all three channels, switch on +48V phantom power and allow 15 seconds for the microphones to power up.
4. Place the pair as a spaced pair over the strings and the room microphone further back; check phase in mono and blend to taste.

Tip: Omnidirectional capsules retain low-frequency information with distance.

Workflow 6: Acoustic ensemble in ORTF plus spot

Small string, folk or jazz groups with a main pair and one spot microphone.

Connections

Connect	To
3x M60 (3‑pin XLR)	3x SGMC‑5R right‑angle XLR cables (included)
SGMC‑5R cables	Three mic preamp, console or recorder inputs
Mic preamps	+48V phantom power on all three channels

Setup

1. Thread TK60 cardioid capsules onto all three microphones and mount two on a stereo bar.
2. Connect the three SGMC-5R cables to three preamp inputs.
3. Mute all three channels, switch on +48V phantom power and allow 15 seconds for the microphones to power up.
4. Set the bar pair in ORTF (110 degrees, capsules 17 cm apart) in front of the group and use the third microphone as a spot on the quietest instrument.

Tip: Remember to check for phase cancellation.