When I first got the email to review the new Sanken COS-11D microphone, I was pretty excited. I use a couple of different headset mics in my business, and was very interested in trying out this Sanken mic. In general, headset mics are very handy. The user has both of their hands free to play an instrument, give a presentation, draw on a whiteboard or just use two-hand gestures (if they are Italian). Plus, they have the freedom to move about the stage or audience. The downside of these mics is that they don't really sound very natural, and they can be prone to feedback.
The Company
Sanken has designed a head-worn microphone that they claim is very natural sounding. I had never heard of Sanken, but I soon learned how innovative this company is. Sanken began in 1925 and officially became the Sanken Microphone Company in 1959. By 1964, they had developed microphones used in the Summer Olympics in Tokyo for PA and broadcast. For the 1972 Winter Olympics in Sapporo, Japan, Sanken developed a microphone that operated in -20 degrees C to room temperature and was free of any moisture problems. By 1983 Sanken started to export their mics to the U.S. and U.K. In 1998, the company developed the "in the ice" microphone that was used at the Winter Olympics in Nagano, Japan to pick up the sound of the ice skating events directly. In 2005, the Sanken CO-100K was recognized with distinction at AES in New York. Sanken has continued to develop mics for a variety of applications and win industry recognition for their features and design qualities.
I went to pick up my COS-11D microphone at the Sanken location in West Hollywood. There I met Jim Pace, who shared more details about the company's product line, with more background info on the Sanken story. I was quite impressed by both the mics and the company's history. But since this review is about the gear and not the company, let's take a closer look at the COS-11D.
The Gear
The COS-11D head-worn condenser microphone weighs in at a mere 8 grams (19 grams with the cable). The frequency range is 50 to 20,000 Hz and the mic is omnidirectional, which I believe adds to its overall natural sound. Available in either a beige or cocoa color (I got the beige) it also has two available windscreens: a tiny grille screen and a small pillow screen. The microphone is almost invisible when worn, and very comfortable. (I tried it on myself, of course). Because Sanken designs their mic to match up with just about any transmitter/receiver, there's a good chance you can just use the product with your favorite transmitter. The mic itself is very simple looking, but Jim filled me in on some of the technology that is poured into this small package. The next obvious thing was to get out and use this mic.
The Gigs
My first outing was at the Santa Anita racetrack in Arcadia, CA. The track is a great venue for shows, and happens to be just a few miles from my home. Anyway, I had a jazz trio for my event, and I decided to use the COS-11D on the trio's keyboardist. I realize that I could have used a regular mic on a stand for a keyboard player/singer, but the player was very into having a wireless headset mic to use. She felt it would give her more freedom while playing, so I fitted her with the mic using the small metal grille screen.
The first thing I noticed about the mic is that it has a lot of gain. It really packs a punch right out of the box. I like to have ample gain with this type of mic. I simply adjusted my mixing board until I found a sweet spot where the microphone and I were comfortable.
Next, I heard how natural the Sanken sounds. Jim explained earlier that this was a result of the omnidirectional characteristic of the mic. I used almost no equalization, and my singer sounded great. Of course, she had a very nice singing voice to begin with, but usually I have to work the EQ pretty hard to get a headset mic to sound natural. My keyboardist/singer was very happy with the mic and, as we all know, when the musicians are happy, they play better. As a result, my first go with the Sanken was a real success.
My next show was at a church camp with a half-dozen bands and the same number of pastor/preachers. We had one preacher speaking after each group. Each pastor on the stage was fitted with the COS-11D (one at a time), and every one of them sounded great. In the preaching biz, diction and vocal clarity is paramount, and this mic performs like a dream. Once again, I used very little EQ to achieve excellent results. I just fitted the headset mic on the next person to speak (still using the metal grille screen) and sat back and mixed. The speakers all commented on how great their monitors sounded, but I know it was just the Sanken sound being fed back into the monitors. There is no doubt that the Sanken COS-11D has changed how I view (and hear) headset microphones. Sanken has really expanded the possibilities for this type of mic. I know there are some very good headset mics available these days, but Sanken has certainly raised the bar on how a quality microphone of this type should sound.
Sanken COS-11D HWM
What It Is: A miniature head-worn microphone
Who It's For: Singers, speakers, soundcos
Pros: High gain, very natural sound
Cons: None that I could find
How Much: $695
