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Dominic Guss Explores Sanken Dual-Diaphragm CU-44X MK II Mic

Dominic Guss’ choice for vocals, and for much of his instrumental work, is the Sanken CU-44X MK II dual-diaphragm microphone.

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Dominic Guss in his studio with the Sanken 44X MK II mic

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CUX-100K Super Wide Range 3-Mode Microphone

The new CUX-100K super wide range professional microphone is based on the very popular single omni-mode CO-100K design but with the ability to change modes with three settings: Cardioid (Far), Cardioid (Near) and Omni modes.

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Designed for studio recording engineers, producers, musicians and sound designers who demand the highest level of transparent, accurate, and natural sounding recordings, the Sanken Chromatic Series of mics can handle anything from the roughest sounds of a metalcore band to the supernatural realm of symphonic recording.

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“The great thing about the 100K’s is you feel like you’re getting all the benefits of close miking but you’re ten feet away so you’re getting a lot more openness in that instrument.”

Brett Allen recording with CO-100K microphones

“I want the piano to really pop out from the stereo speakers as a three-dimensional living thing.”

Pianist Scott Davis recording with CU-44X MK II microphones

“The French horn section especially benefits from the properties of the Sanken Chromatic mics.”

John Newton recording with CO-100K microphones

“The clarity and musicality of the 100k’s gave Joe Kraemer’s score great transparency, which allowed the music to emotionally enhance the film to its fullest.”

Bruce Botnick recorded the orchestral score of Tom Cruise’s “Jack Reacher” with five Sanken CO-100K microphones

“My main orchestral sound came from 6 Sanken CO-100Ks, an LCR tree above the conductor, and 3 rear. These mics have a phenomenal response and a texture in the top that captures that high air in a warm way.”

Grammy Award-winning Frank Filipetti recording LA Philharmonic

“We loved the sound of acoustic guitar with the CU-55, and because they are small and side-address, they work very favorably when getting them into tight spots.”

Rob Jaczko, Chair of the Music Production and Engineering Department at Boston’s Berklee College of Music.

“I’ve been messing around with the CU-55 for about a year and just fell in love with it. I’ve used it on a lot of different instruments, the mic is fairly crisp, but not unnaturally so.”

Grammy Award-winning producer/engineer Chuck Ainlay recording JD & The Straight Shot.

“The CU-55s are small and unobtrusive, but they have a wonderful low frequency response while still providing super quick transients. You get a lot of air without harshness, and a really nice deep low end.”

Grammy Award-winning Frank Filipetti recording LA Philharmonic

“The CUW-180s perform wonderfully anywhere and everywhere, I use them as a pair over the stage for ambience. Eight feet up or so, at the lip of the stage angled at 45 degrees. I also use them for ensemble sections, as a section mic it is fabulous.”

Grammy and Emmy Award-winner Rob Macomber, Chief Engineer of the Music Studios at Jazz at Lincoln Center

Sanken Production and Live Microphones

For information about the Sanken range of production and live microphones for film/video production, live productions and broadcast, check out our Sanken Production and Live N America website.
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