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Noel White Picks TELEFUNKEN for Hudson Street Sound

Also Using New DD5 Mic Kit as Drum Tech on Tour

Pictured at Hudson Street Sound in Annapolis holding TELEFUNKEN M-260 mics are (L-R) studio owners Noel White and Frank Marshand.

Studio co-owner and drum technician Noel White has embraced TELEFUNKEN microphones for his recording sessions and for his live sound reinforcement as a popular drum tech and in-ear monitor mixer. White’s mic lineup includes a matched pair of AR-51 large diaphragm condenser mics, four small diaphragm M-260 mics, and an array of dynamic microphones, including the new TELEFUNKEN DD5 drum mic package.

“In this digital age, we have to deal with a top end that can get brittle and harsh at times,” says White. “It’s all about the source and with the Telefunken M-260s everything above 5K just sounds nicer. Hi-hat, piano, acoustic guitar, you name it, they all sound great. With these mics you save a lot of time — get ’em where you want them and you’re in business.”

In addition to his work as a drum tech, White is also responsible for top drummers’ in-ear monitor mixes, which is crucial to demanding performances with major performing artists. As a drummer himself, White is especially sensitive to the needs of drummer. Good miking and good in-ear monitoring proves to be an inspiration for the drummer’s demanding role.

“Drummers and I talk about it all the time,” White continues. “The monitoring has to sound great. Even the bleed has to sound good. And with Telefunken’s dynamic drum package, it almost sounds like a lovely gate sound, because the rejection on those microphones is so good. You can just leave the mix wide open, it’s still airy and nice, and it doesn’t get in the way. You don’t even need to gate it. So by the time you turn everything on, the whole package is just really, really working. I couldn’t say enough about these mics. They make my job easier.”

White also enjoys working with a matched pair of TELEFUNKEN’s large diaphragm AR-51 condenser microphones. “I use them for everything, those mics are just so warm,” he remarks. “If somebody has a brittle voice or is a bit shrill on the top end, the AR-51 takes care of it. The top end’s almost silky, they sound that great. And for the price point, instead of getting one mic, get that matched pair and then go from there.”

At Hudson Street Sound, White describes life in the studio. “Bands come here because they like to work fast and not have to worry about overdubbing so much. It’s all about the beauty of getting five people in a room together and all the magic that happens when they are like minded in creating a song. We make probably four records a month here. We’re having a lot of fun being creative and not worrying about the music industry too much, just making music.”

And a final note about TELEFUNKEN. “Everything should be invisible except the instrument and the musician, as far as I’m concerned, and that’s what happens with these mics. ”

Hudson Street Sound consists of a 1200 square foot room with 16-foot ceilings and two iso rooms. Included is a variety of vintage keyboards, drums and amps, as well as Yamaha C5 grand piano. The desk is a handmade Jim Gamble HC40 console, formerly at Fillmore West.
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TELEFUNKEN Elektroakustik strives for absolute perfection. By offering historic recreations of classic microphones alongside their own proprietary designs based around the distinctive tube mic sound, TELEFUNKEN has established a product line that expertly combines vintage style and sound with the reliability of a modern-day microphone design. TELEFUNKEN’s commitment to both the sonic excellence and quality of all of their products is rivaled only by their dedication to provide the best possible service to each and every one of their customers.
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