Brian D’Oliveira is an audio explorer discovering new and otherworldly sounds with his matched pair of Sanken CUX-100K microphones. As founder and creative director at La Hacienda Creative in Montreal, Canada, D’Oliveira heads up an award-winning team that uses over 900 one-of-a-kind instruments to produce award-winning work for films, TV, and blockbuster video games such as “Shadow of the Tomb Raider.”
Brian D’Oliveira is seen recording with a matched pair of Sanken CUX-100K mics.
“When I heard about the new CUX-100K, I thought this might be the dream microphone,” explains D’Oliveira. “And they’ve become my main microphones, 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.”
The unique design of the CUX-100K is ideal for a variety of high-resolution, high sample rate recordings, both in spacial or close miking applications. The mic follows the success of Sanken’s revolutionary CO-100K with top engineers and producers who embrace the concept of 100kHz 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 CUX-100K ushers in a new era of transparent precision recording.
“What’s great about them is that they are completely neutral and grab exactly what I hear with my ears,” D’Oliveira continues. “To me it’s the closest microphone to normal human hearing that exists.”
Because of the way in which analog to digital converters operate, the CUX-100K takes advantage of the heightened frequency response of the new hi-resolution digital audio formats. In X-Y, ORTF, Decca tree overheads, and other techniques, the CUX-100K also excels in capturing the spatial reality of specialized acoustic spaces.
“I use the CUX-100K as audio putty, you could say, because sounds become a lot more workable.” D’Oliveira explains. “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-100K’s 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 Microphones introduced at AES 2020 the CUX-100K Cardioid or Omnidirectional super wide range professional microphone. The newest mic in the Sanken Chromatic line is based on the very popular omni-mode CO-100K, but with the ability to change modes with three settings: Cardioid (Far), Cardioid (Near) and Omni modes.
Learn more about how D’Oliveira works with the CUX-100K:
Learn more about La Hacienda Creative: http://lahaciendacreative.com/
Learn more about Sanken Chromatic at: sankenchromatic.com