SANKEN CO-100K and CUX-100K
Christopher Moretti
Immersive Music Project Records with Sanken 100K Mics
Christopher Moretti is seen recording cello with a Sanken CUX-100K mic.
Moretti is seen with the Sanken CO-100K mic
Boston, MA, October 2025 – Christopher Moretti is a Boston-based engineer/ producer exploring the world of immersive recording with Sanken microphones capable of recording music up to 100 kilohertz. Following recent piano quintet sessions with renowned chamber group Ensemble 132 at Futura Studios, Moretti commented, “The Sanken sound is one that we all enjoy here and rely on to make great immersive sounding recordings.”
The unique Sanken CO-100K and CUX-100K mics are designed for a variety of high-resolution, high sample rate recordings, both in spacial or close miking applications. The microphones have become an integral tool for top engineers and producers who embrace the concept of high-resolution recording. Ideal for ensemble, solo, vocals and orchestral mic arrays, plus specialized uses such as Foley, location sound effect recording, and all types of acoustic instruments, the Sanken microphones have excelled in a new era of transparent precision recording.
“I reach for the CO-100K when I’m looking to add shimmer to the capture while also nourishing the mid-range,” Moretti explains. “Other Omni’s can provide the extra sheen, but it comes at a price of a scooped mid-range. Often, this translates to using the CO-100K as mains when cello/piano is the primary capture for either solo, in chamber music, or in front of an orchestra. Regarding immersive, the CO-100k is often my first choice for Srr/Height applications as the microphone accurately represents the reflections I hear in the room. This capture is critical when building a surround/ATMOS mix.”
Moretti continues, “The CUX-100K, with its multiple cardioid patterns allows me to bring the sonic profile of the CO-100K to more near field and close miking applications. In addition, having the Omni capsule integrated in the design accounts for far field applications, but also to easily switch circuits when proximity effect becomes an issue if using it close to the sound source.”
For the grand piano, Moretti used both of the Sanken 100K models. “On the piano, I have two CUX-100Ks on the left and right, and we also have a CO-100K in the middle. Our two height channels for the Atmos capture are the CO-100K Omnis. The CUX-100K is a versatile microphone that has three polar patterns. We have Omni, Cardioid (Far) and Cardioid (Near) for the session. John Weston, the talented owner of Futura, and I did some tests to determine which polar pattern would be the best for this recording session.
“When listening and doing our tests, we really enjoyed Omni and Cardioid (Near) and in fact, we started the session in Omni, but after a quick sound check, we just wanted a little bit more control over the front of the note and just have a little bit more isolation of the piano, so we switched the polar pattern to Cardioid (Near), and this gave us exactly what we needed for this recording.”
Because of the way in which analog to digital converters operate, the CO-100K and CUX-100K take advantage of the heightened frequency response of new hi-resolution digital audio formats. In X-Y, ORTF, Decca tree overheads, and other techniques, the Sanken mics excel in capturing the spatial reality of specialized acoustic spaces.
Learn more about the Immersive Music Project: ImmersiveMusicProject.com