Hailing from Slovakia, FLEA Microphones has built a well-deserved reputation in classic vintage mic reproductions for over 20 years. They’ve tackled reinterpretations of iconic tube mics such as the AKG C12, the Neumann U 47, U 49, and M 49, and recently the renowned Telefunken ELA M 251. FLEA has taken an interesting approach by developing both tube and solid-state FET versions of some of these designs, with the intent to preserve the warmth and sonic characteristics of these highly sought-after vintage mics. Given their innovative approach to modernizing these classics, I was excited to try FLEA’s new FLEA M 251 FET solid-state version of their FLEA M 251 tube mic. [Tape Op #157]. The idea of emulating the sound of a vintage tube microphone with FET technology intrigued me for several reasons. While I love the sound of vintage Neumanns and Telefunkens, there are definite benefits that come with solid-state construction, such as reliability (no need to replace tubes after they’ve worn out), lower self-noise, and reduced cost.
It’s not surprising that FLEA chose to pay homage to the Telefunken ELA M 251, as it’s one of the most well-regarded mics in recording history. The original was developed in the late 1950s through a collaboration between Telefunken and AKG. It shared many of the same components with its predecessor, the AKG C12, such as the CK12 capsule, AC701k (and later 6072) tubes, and the T 14/1 transformer, which are all important sonic elements. The original ELA M 251 is known to sound particularly amazing on vocals, which is why it was a common choice for iconic singers such as Joni Mitchell, Sade, Björk, and Dolly Parton. Today, a vintage Telefunken ELA M 251, if you can find one, has a price tag in the five or even six-figure range. Even a Telefunken Elektroakustik reissue will set you back almost $14,000. By designing a FET version, FLEA has created a mic that is more financially accessible than most of the other currently available tube-based clones. That got me really excited, as I’m constantly on the lookout for a mic with a vintage vibe that won’t drain my bank account.
Putting sound aside for a moment, I have to note that FLEA has done a remarkable job with the look and feel of the M 251 FET. Aesthetically, it’s got all the character of the vintage Telefunken, down to the color. The mic comes in a sturdy wooden box with a velvet-padded interior, making it easy for me to transport from studio to studio. Like the original, the M 251 FET has switchable polar patterns (cardioid, figure-eight, and omnidirectional). It features a FLEA CK12 capsule, a true-to-form homage to the original CK12 capsule. The M 251 FET also comes with a swivel stand-mount connector and cable. As it’s a FET condenser, no separate power supply box is required, just use 48V phantom power.
Given its namesake’s reputation, I wanted to first record vocals with the M 251 FET. I had a session with a vocalist aiming for a sound similar to that of contemporary female pop stars like Billie Eilish (who has also been known to use a 251 clone or reissue). I was impressed with the initial results that we got from the FLEA M 251 on this vocalist. The mic captured the roundness of the lower midrange in a pleasing way, and gave the impression of warmth that I associate with valve circuitry. The upper mids felt more forward, but still sounded natural and very detailed without exhibiting harshness. The top end was super smooth, but I preferred the vocal with a slight boost in the 12 kHz region to give it a little more air. It worked perfectly for the quiet and close Billie Eilish-style vocal we were going for. Thanks to the solid-state design of the M 251 FET, I was able to boost the preamp gain and compress it a good amount without introducing any extra noise, which is sometimes associated with older tube mics. I was curious to see how the M 251 FET would perform with a male vocalist, so I put it up on a singer with a bluesy, soulful tone. The mic beautifully captured the richness of the vocalist’s lower register, and when we used a bit of proximity effect to bring out even more low end, we were both thrilled with the results.
After achieving excellent tones from my two vocalists, I was excited to try it on some other sources. I used it on an acoustic guitar, and though it took me a minute to find the perfect placement to avoid an overly boomy sound, once I got it right the full-bodied low end and lower mids of the instrument came into focus. It’s highly likely that this will be my new go-to mic for acoustic guitar tracking. I also loved the results I got from using the M 251 FET as a mono drum overhead. The snare sounded thick, and I didn’t have any harshness problems with the cymbals typical of many FET condenser mics. The mic also excelled on other percussion instruments we recorded, such as claves and hand drums.
Overall, the FLEA M 251 FET is a standout microphone that definitely has a lot of character. While it doesn’t sound exactly like a tube mic – I found it lacked the subtle harmonic distortion characteristic of valve circuitry – it still manages to strike a compelling balance between the two types of mics. It captured the richness and warmth typically associated with the Telefunken ELA M 251 tube mic, while offering convenience, consistency, and durability. I found it to be an impressive alternative for those seeking a classic sound without the steep price tag.