Three-Patterns, Two Capsules

On the back of the mic body is a three-position recessed switch—you will need long fingernails or a small flathead screwdriver to adjust it—that selects between the mic’s three polar patterns. Here is the second unique part: rather than your typical Fig-8, cardioid and omni pattern choices, you get a choice of omni, cardioid near and cardioid far. Note that the latter two options are not alternate cardioid patterns like super or hyper-cardioid and are designed to be used as described.

Instead, as the name implies, cardioid far employs both capsules at once and is intended for use on sources 6′ to 12′ away. According to Sanken, using both capsules offers a balanced capture of the space while maintaining the focus on the source.

Cardioid near—intended for use at 3′ or less—also uses both capsules. The rectangular capsule contributes to the low frequency range from 20 Hz to 20 kHz, while the higher range from 20 kHz to 50 kHz is carefully created from the response of the round capsule. Finally, omni mode is the opposite, utilizing solely the upper round capsule.

High-Resolution

In addition to the width of each polar pattern’s capture, the choice of pattern and capsule directly influences the sound, quite differently from most single-capsule, multi-pattern microphones. For example, omni mode produces a brighter and less bass-heavy capture on most multi-pattern mics.

The CUX-100K is designed for high-resolution capture, and while it too is the clearest, open and bright in omni mode, it is by design with the omni capsule providing a frequency range of 20 Hz to 100 kHz, while the rectangular cardioid capsule covers 20 Hz to 50 kHz—50 kHz less than the omni capsule, yet still significantly higher than the majority of high-end condenser mics that top out around 20 kHz. Let’s look at each pattern and capsule in greater detail.

Omni

As mentioned, the tiny DC-biased omni capsule has a 20 Hz to 100 kHz frequency response. It is quite flat and neutral, or better yet “polite,” from about 50 Hz to 5 kHz with a gently rolled-off low end, which is only about 3dB down at 20 Hz. On the top end, it does boast a large and wide +12dB boost that is at its broadest from 20 kHz to 50 kHz and then rolls off down to about +4dB at 100kHz—I am not sure I have ever encountered a high-end reach such as this on paper before.

Lindsey Hesse on Cello

Cardioid Near

This pattern makes use of the small/medium rectangular capsule. This is my fifth or sixth time reviewing and using a rectangular capsuled mic by way of the Audio-Technica 50-Series and various Pearl and MiLab offerings. Benefits of a rectangular capsule include reduced resonance which yields better detail and a more uniform frequency response, as well as an improved signal-to-noise ratio.

That translates here to a smooth and classic signature akin to vintage 60s and 70s FET condensers. It is equally neutral in its lows and mids as the omni capsule but bolder across the spectrum. Despite its 20 Hz to 50 kHz response, cardioid near, while extended across the top, is not as bright and open as omni mode. Its presence peak is 4dB at most from 3 kHz to 50 kHz, with strategic dips at 12 kHz and 30kHz or so.

Cardioid Far

This blend of the capsules offers the best of both worlds and retains the bold, even lows and mids of cardioid near mixed with more top-end presence with a sharp peak of 6dB between 40 kHz and 50 kHz—brighter but in no way strident. That said, this pattern/capsule combination benefits from a 20 Hz to 100 kHz frequency response.

Sound and Use

My first use of the CUX-100K was on cello, live in near cardioid mode, about 16″ from the f-hole. The sound was clear, detailed and rich and could best be described as ultra-natural. Moving to a studio setting, I used the mic on acoustic guitar, mandolin, cajon and vocals, experimenting both with cardioid near and far.

Again, up close in the 6″ to 2′ range on every instrument, I had similar results to my cello session, with recordings that were well-balanced, full and, again, ultra-detailed. I add the word ultra because the mic has a very clear, detailed top end that is nicely open and extended. Yet I never felt the CUX-100K to be bright, strident or piercing, even when I tried it on a hi-hat and a bright clay flute (ocarina).

When switched to omni mode, the CUX-100K opens up more. While it exhibits the expected omni top end, the added frequency extension gives every source a nice touch of depth and air. However, in Omni mode, the CUX-100K maintains a low-end weight that many omni pattern mics do not. I would most likely use omni mode as a room mic, and even in mono, it sounds nice and wide.

Cardioid far is this mic’s secret weapon, and for fun, I multi-tracked and overdubbed a quick folk song with two acoustic guitars, cajon, shaker, tambourine, lead vocals and a stacked four-part backing vocal all four yards away. Upon mixing down with some well-placed panning, it created the illusion of recording a group live in a room with a great balance of focused depth. While this was more of an experiment, it showed that the CUX-100K would be well-suited both alone and in a stereo pair for a string trio, in front of a drum kit, or for guitar and percussion overdubs when you want the source to have a dimensional presence in the mix with a sense of space.

Along those lines, my favorite use quickly became using the CUX-100K for background vocal layers, keeping singers at a healthy distance from the mic, which really helped seat them in the mix.

Finally, the mic, again in cardioid far, was great for creating a “fake” bar crowd for a sound design project.

Wrap Up

The Sanken CUX-100K really has a full, rich, classic solid-state mic sound signature, with a smooth, clear top-end extension that adds dimension more than brightness. This is my first Sanken mic experience, and I am very impressed. I am sure I could find many more uses for this mic’s unique sonic architecture in future sessions.

Frequency Response: 20 Hz–100 kHz Omni and Cardioid (Far), 20 Hz–50 kHz Cardioid (Near)

Sensitivity (0dB=1V/Pa): -28dB(40mV) Cardioid (Far), -28dB(40mV) Cardioid (Near), -24dB(63mV) (Omni)

Equivalent Noise Level (A-weighted): 17dB SPL (Cardioid), 22dB SPL (Omni)

Max SPL (1% THD): 132dB SPL

Output Impedance(1 kHz): 140 ohms

Price: $3,400

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