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New Studio Microphone Wrap-Up : Fall 2020

Studio Microphone Wrap-Up, Fall 2020
Sift through our Studio Microphone Wrap-Up, Fall 2020, to see the latest offerings for recordists of all levels.

Recording microphones have been flying off the shelves at retail all year, but that hasn’t stopped pro-audio manufacturers from introducing a new studio microphone every few weeks this Fall. Some are high-end products aimed at the upper echelons of the recording world, while others are intended for down-and-dirty use in home studios, but they’re all worth finding out about, because every new mic is a potential new tonal flavor for your sonic stew. Sift through our ICYMI rundown of new mics from the last six months and see what’s new!

 

Aston Element Microphone

Aston Element
Aston Element

Aston Microphones has clearly had a blast this year developing its new Aston Element by having potential users vote on sound samples to determine the way the microphone would ultimately sound. The Element incorporates new capsule technology, a new chassis design, a magnetic pop filter and custom shock mount, and a backlit-LED logo 48V phantom power indicator. According to Aston, the studio microphone has been rated by NTi Audio as the world’s quietest mic and the frequency response, which extends far below 20Hz and above 20kHz, as the widest of any electromagnetic microphone.

Aston Microphones • www.astonmics.com

 

Audio-Technica Limited-Edition AT2020 Mics

Audio-Technica Limited-Edition AT2020 Mics
Audio-Technica Limited-Edition AT2020 Mics

Audio-Technica has released new limited-edition AT2020 Series microphones—the AT2020V (standard) and the AT2020USB+V (USB model), each featuring a reflective silver finish. The side-address condensers are equipped with low-mass diaphragms custom-engineered for extended frequency response and transient response. The mics’ cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source. All models in the AT2020 mic line are aimed to provide a wide dynamic range and handle high SPLs. Both of the limited-edition V models come with AT8458a shock mounts to attenuate noise, shock, or vibration transmitted through a mic stand, boom or mount.

Audio-Technica • www.audio-technica.com

 

Avantone Pro Kick Drum Mic

Avantone Pro Kick Drum Mic
Avantone Pro Kick Drum Mic

Aiming to help drummers capture the ultra-low end of their sound, Avantone Pro has introduced Kick, a sub-frequency kick drum microphone that aims to capture the subsonic signature by using a low-frequency driver. The AV-10 MLF sports a single continuous press-formed cone, and in the Kick’s case, the 18 cm cone acts as a microphone element. The microphone itself is of a moving coil dynamic type, with a 50 Hz to 2 kHz frequency response, 6.3 Ω output impedance and figure-eight pattern, plus a male XLR connector.

Avantone • http://www.avantonepro.com

 

Beyerdynamic TG D70 and TG 151 Mics

Beyerdynamic TG D70 and TG 151 Mics
Beyerdynamic TG D70 (left) and TG 151 Mics

Beyerdynamic has introduced two new additions to its TG series. The second-generation TG D70 dynamic kickdrum mic is meant for capturing the impact of bass drums and similar low-frequency intensive instruments, while the TG 151 instrument mic is a lean microphone with a short shaft that can be used on everything from snares and toms to brass instruments and guitar amplifiers.

Beyerdynamic • www.beyerdynamic.com

 

IsoVox IsoMic Studio Microphone

 IsoVox IsoMic Studio Microphone
IsoVox IsoMic Studio Microphone

Swedish audio manufacturer IsoVox has introduced IsoMic, a new studio microphone created in conjunction with fellow Swedish company Research Electronics AB, owners of the Ehrlund Microphones brand. The new microphone is based around a triangular capsule with a 7 Hz to 87 kHz frequency range. The IsoMic itself features an aluminum body with glass bead-blasting finish. Its triangular capsule reportedly has a SNR (Signal-to-Noise Ratio) of 87 dBA, DR (Dynamic Range) of 115 dB, and a maximum SPL (Sound Pressure Level) peak performance of 0.5% THD (Total Harmonic Distortion) at 116 dB or 1% THD at 122 dB.

IsoVox • www.isovoxbooth.com

 

MXL Microphones Revelation Mini FET

MXL Microphones Revelation Mini FET
MXL Microphones Revelation Mini FET

Hot on the heels of introducing its Revelation II studio microphone in the Spring, MXL Microphones has launched its new Revelation Mini FET, aiming to provide intimacy and warmth of a tube mic, but built around a FET circuit with a smaller footprint. MXL’s Revelation Mini FET utilizes a 32 mm center terminating, gold-sputtered capsule combined with a low noise circuit. The mic focuses on the midrange and lower frequencies, resulting in recordings with less hum and more music. Additionally, the inclusion of a three-stage pad (0, -10 dB, -20 dB) is intended to provide the flexibility needed for recording high SPL sources, such as horns and kickdrums. The mic features black chrome accents as well as hand-selected FET and capacitors

MXL • www.mxlmics.com

Sanken CUX-100K Microphone

Sanken CUX-100K Microphone
Sanken CUX-100K Microphone

First announced earlier in the year, Sanken Microphones is now shipping its new CUX-100K Cardioid or Omnidirectional super wide range professional microphone. The new microphone builds on the history of the company’s Chromatic omni-mode CO-100K, adding the ability to change modes with three settings: Cardioid (Far), Cardioid (Near) and Omni modes. The CUX-100K is intended for a variety of high-resolution, high-sample rate recordings, both in spatial or close-miking applications.

Sanken • www.sankenchromatic.com

How To Choose Your Next Studio Microphone – The Complete Guide

Scope Labs Periscope Microphone

Scope Labs Periscope Microphone
Scope Labs Periscope Microphone

Scope Labs, a new pro-audio manufacturer based in Finland and operating globally, has introduced its first mic, the Periscope Microphone — an omni-condenser microphone with a built-in compressor that gives the mic a unique character. The Periscope is based around an omni capsule followed by a compression circuit intended to highlight textural nuances that the mic captures, with the aim of providing a hyper-realistic sound. The Periscope is manufactured in-house at Scope Labs Ltd. in Finland.

Scope Labs • www.scopelabs.eu

 

Sennheiser MD 435 and MD 445 Vocal Microphones

Sennheiser MD 435 and MD 445 Vocal Microphones
Sennheiser MD 435, MD 445

Sennheiser has introduced two new vocal microphones—the MD 435 large-diaphragm microphone, bringing the company’s dynamic MD 9235 capsule to a wired vocal microphone for the first time; and the MD 445, an LDC with a tight super-cardioid pick pattern. Ostensibly intended for live sound use, they reportedly hold their own in the studio as well. The MD 435’s lightweight aluminum-copper voice coil is intended to provide fast transient response, according to Sennheiser, in an effort to provide detailed, transparent sound. The large-diaphragm microphone features dynamics of 146 dB(A) and can handle sound pressure levels of up to 163 dB/1 kHz. The MD 445 is designed with a high-rejection, super-cardioid pick-up pattern, it reportedly offers uses considerable gain before feedback. Dynamics are wide at 146 dB(A) and the microphone is said to be able to handle sound pressure levels of up to 163 dB/1 kHz.

Sennheiser • www.sennheiser.com

 

Telefunken TF11 Microphone

Telefunken TF11 Microphone
Telefunken TF11 Microphone NICHOLAS SONSINI

The TF11 is the company’s first large diaphragm phantom-powered condenser mic. The CK12-style edge-terminated capsule is a single membrane version of the capsule featured in the TF51, and the amplifier is a proprietary take on the FET mic amplifier similar to the M60, coupled with a custom large format nickel-iron core transformer by OEP/Carnhill made in the UK. The mic’s through-hole components include UK-made polystyrene film capacitors, Nichicon Fine Gold electrolytic capacitors, and a high-performance, ultra-low-noise JFET amplifier.

Telefunken Elektroakustik • www.telefunken-elektroakustik.com

 

Original Resource is ProSoundNetwork.com

D’Oliveira Mics with “Magical Mangling” in Mind

Brian D'Oliveira with his matched pair of Sanken CUX-100K microphones.
Brian D’Oliveira with his matched pair of Sanken CUX-100K microphones.

Montreal, Canada (November 17, 2020)—Brian D’Oliveira, founder and creative director at La Hacienda Creative in Montreal, Canada, uses more than 900 one-of-a-kind instruments to produce award-winning work for films, TV and video games, capturing the new and often otherworldly sounds with his matched pair of Sanken CUX-100K microphones.

“When I heard about the new CUX-100K, I thought this might be the dream microphone,” says D’Oliveira, “and they’ve become my main mics, recording all kinds of material. To my surprise, it’s become pretty much the go-to mic and I’m recording about 90% of everything that I do now with this mic. I own two CUX-100Ks, and I got them especially because of my previous experience with my Sanken CO-100Ks. What’s great about them is that they are completely neutral and grab exactly what I hear with my ears. To me it’s the closest microphone to normal human hearing that exists.”

How To Choose Your Next Studio Microphone – The Complete Guide

The high-resolution response of the mics enables D’Oliveira to manipulate the audio after recording. “I use the CUX-100K as audio putty, you could say, because sounds become a lot more workable. I do a lot of re-pitching and if I go down four octaves, I’m able to do all kinds of magical mangling. You would never be able to do this type of sonic transformation with any other microphone in the market right now.”

D’Oliveira has also been experimenting with the traditional recording of a wide variety of instruments. “To my surprise, using the CUX-100Ks produced a much bigger and massive cinematic sound out of the bass drums and our collection of rare percussion that we regularly use in our soundtrack production work. This is the original RCA Victor room from the 1940s and I use this room as an instrument in itself. The acoustics here are naturally beautiful and when I got the CUX-100K, it was the cherry on the cake because it was able to capture the full resonance and space better than any other microphone. It has become the perfect system for me to record what I do as a creator, as a composer and as a sound designer.”

Sanken Chromatic • www.sankenchromatic.com

Original Resource is ProSoundNetwork.com

Sanken Ships CUX-100K Microphone

Sanken CUX-100K Microphone
Sanken CUX-100K Microphone

Los Angeles, CA (October 20, 2020)—Timed with this year’s virtual online AES 2020 convention, Sanken Microphones has shipped its new CUX-100K Cardioid or Omnidirectional super wide range professional microphone.

The new microphone builds on the history of the company’s Chromatic omni-mode CO-100K, adding the ability to change modes with three settings: Cardioid (Far), Cardioid (Near) and Omni modes.

Lapsis Captured On Location with Sanken

The CUX-100K is intended for a variety of high-resolution, high-sample rate recordings, both in spatial or close-miking applications. The original CO-100K was designed around supporting the concept of 100 kHz high-resolution recording, and Sanken suggests it is suitable for ensemble, solo, vocals and orchestral mic arrays, Foley, location sound effect recording and acoustic instruments.

Because of the way in which analog to digital converters operate, the CUX-100K reportedly takes advantage of the heightened frequency response of new hi-resolution digital audio formats, and is said to be appropriate for use in X-Y, ORTF, or Decca tree overheads for capturing the spatial reality of specialized acoustic spaces.

The CUX-100K has a MSRP of $3,400.00.

Sanken • www.sankenchromatic.com

Original Resource is ProSoundNetwork.com

Sanken Launches CUX-100K Ultra Wide Range Microphone

Sanken CUX-100K Ultra Wide Range Microphone
Sanken CUX-100K Ultra Wide Range Microphone (front and back).

Los Angeles, CA (July 8, 2020)—Sanken Microphones has introduced its new CUX-100K microphone, designed to switch between three settings: Cardioid (Far), Cardioid (Near) and Omni modes.

While based on the Sanken Chromatic line’s omni-mode CO-100K—named as such because it’s intended for 100 kHz high-resolution recording—the new microphone’s addition of the two other modes brings that high-res approach to a broader set of applications, such as spatial or close miking uses. As a result, Sanken aims for the new mic to be used in ensemble, solo, vocals and orchestral mic arrays, plus specialized uses such as Foley, location sound effect recording, and all types of acoustic instruments.

Schwartz Makes Billions with Sanken

In Omni mode, the mic can be used to capture source, spatial and ambient sounds with articulation and clarity. In Cardioid (Far) mode, the CUX-100K records a mix of moderate ambience and main performance sources with cardioid directivity, making it plausable for stereo and multichannel pairing. In Cardioid (Near) mode, the CUX-100K can operate as a spotlight, solo, or vocal mic. To selectively reject some ambience, the mic is optimized up to 50 kHz.

Because of the way in which analog to digital converters operate, the CUX-100K aligns with the heightened frequency response of new hi-resolution digital audio formats. As X-Y, ORT, or Decca tree overheads, the CUX-100K can also be applied to capture the spatial reality of specialized acoustic spaces.

The CUX-100K is available with an MSRP of $3,400.00.

Sanken Microphones • www.sankenchromatic.com

Original Resource is ProSoundNetwork.com