Below you can read the opinion on the Sonodore LDM-54 microphone of some recording engineers.

Phillips Schulz: 
Just a very quick first feedback: 
Last week we did a live orchestra recording and managed to put two LDM-54 as an AB behind the
conductor on stage together with the usual setup in that venue (lots of Schoeps and Sennheiser MKH). 
After like hearing them for ten seconds, my engineer turned down all the spot mics we usually need
to get the clarity and definition in the (not so great) concert hall.
Just the two LDM-54 delivered everything i’ve ever hoped for: very solid image, great natural depth,
very smooth yet brilliant top end (no harsh cymbals or Brass any more), lots of clarity, endless headroom
(it was Strauss Heldenleben, big orchestra with lots of big percussion and brass) without getting this
typical „stressed“ sound when its loud. And so on.
And we were really stunned we don't need the spot mics any more. It was just beautiful.
That must be the pinnacle of pressure transducers, never heard anything like this before. 

Christian Sager: 
It is for the first time, that I have witnessed such a low noise level...for me that's wonderful.
I am capable to capture information that would be lost otherwise. The sound balance is very pleasant.

Hugues Deschaux: 
I almost cannot imagine any recording session without the LDM-54.
They make "miracles" on chamber music, ancient music (we have finally smooth gut strings),
harpsichord and piano! 

Norbert Kraft from  Naxos Records: 
The LDM-54s are brilliant !! That beautiful open and neutral sound that is characteristic of Sonodore,
but with a slightly different 'voice' which can be used to enhance or compensate for different rooms and

Below you can read the opinion on the Sonodore MPM-91 microphone of some recording engineers.

Tobias Bigger, concert pianist :
The MPM-91 impressively manages to balance a fine transparency with the desirable smoothness.
Both sides in elegant harmony, one could say, i.e. no sharpness, no harshness there in the upper registers,
always a pleasant smooth and silky sound, and all registers in consistent balance;
but on the other hand the "ingredients" of that balancedness contain lots of low-level details and transient
information, a lucid presence of high frequency content, like a really open window to the original sound.
This is the best compliment one can make a microphone, close to a sort of square of the circle
of microphone design and voicing.
The MPM-91 also is a very variable multi-purpose tool, a sort of Swiss Army Knife of microphones...

Compliments to you, my decision in favour of the 91 model was like hitting the bull's eye.

Below you can read the opinion on the Sonodore MPM-81 microphone of some recording engineers.

Norbert Kraft from  Naxos Records: 
The MPM-81 is a superbly detailed microphone, as with all of the Sonodore models, and with the use of
vacuum tube circuitry, display the richly musical and 'involving' characteristics that we love so much in the
venerable classic tube mics, but without any of the inherent noise or other uneven colourations. 
In addition, the circuitry and bias voltage make this an incredibly dynamic microphone without the
compression so often associated with the tube mics of the past.. 
The tonal character of the mic is in the sonic family of the M149, U47, or C-12, and with infinitely sweepable
pattern selection, adds a level of flexibility.  They are perhaps most effective when used in the 'mid-field',
or even as far-field mics, but also capture an incredible complexity and detail in close-miking situations.

Is there such a thing as "the perfect microphone" ?  Of course not.. every mic has characteristics suited to
different situations, instruments and acoustics.  It is why there are so many models from all the great makers. 
This microphone is a deserving member of the Sonodore 'family', all of which surpass anything else in the
critical recording industry in my opinion, and adds a wonderful option to my 'quiver'. 
How great it is to have the choice of a Stradivarius, an Amati, and a Guarneri .. that is what these mics are;
the very best instruments in the sound engineers' toolbox..  Highly recommended ! 

Below you can read the opinion on the Sonodore RCM-402 and CCM-65 microphone of some
recording engineers.


Steven Wielink: 
We have now gained some experience with the Sonodore RCM-402.
And I must say that they are one step better than the already upgraded B&K4006 (retrofitted to 60V)
They have a fantastic all-round image and the placement of the image is also super sharp.

Christian Sager: 
Sonodore microphones taught me something new: it is worth to trust your ears and not just relying on
the big brands or the the brand your colleagues use.

As a former violin maker, I recognize the importance of having the sharpest tools available.
When I record with Sonodore microphones, I can be sure of capturing every detail
and I am free to focus solely on the performance.
It is really a big pleasure, to work with the Sonodore microphones and pre-amplifier!

Craig Slonczewski: 
I was impressed with the CCM-65. It sounded realistic and detailed, yet slightly flattering, with a well balanced
frequency response.
The descriptive words that come to mind are: realistic, detailed, well balanced, mild, pleasant, smooth, crisp.

Günter Pauler from Stockfisch-Records: 
The Sonodore mics are always an essential part in my recording chain.
They are extremely neutral, fast and accurate.

José Leonardo Pupo D. : 
I mainly record classical and world music. Since I started using RCM- 402s, I feel my recordings are warmer
and more real. The microphones are a must have for any producer / recording engineer who wants to
capture an instrument as it really sounds.

Judith Sherman:
I use Sonodore microphones (with a Sonodore preamp) for almost all of my recordings. I find that they have
warmth, clarity and transparency which makes them ideal for the classical music I record.
The comment I often hear from musicians is "that sounds just like us."

Norbert Kraft from  Naxos Records:

The Sonodore RCM-402 microphones are simply the most detailed, natural and musical microphones that
I have found.  I have produced nearly 400 CDs, classical music recorded in acoustic environments, ranging
from choir, baroque orchestra, opera, chamber music, and soloists, and nearly all have used Sonodore
microphones.  Especially, the delicate and intimate nature of period instruments which is particularly difficult
to capture faithfully, is beautifully rendered with these microphones, unlike any other.  The recording is simply
more 'involving' with Sonodores and the listener feels as if hearing from 'within the acoustic' of the performance. 

Despite the speed and clarity of the RCM-402, it still retains a warmth and 'human' quality that is never clinical
or artificial sounding, so musicians often choose these mics over all others.. as a result, many of my 'big name'
brand microphones sit in their box, unused.  In addition, the MPS 502 preamplifier has these same qualities of
transparency and musicality, so much so that I also purchased a custom mixing desk from Rens Heijnis, which
has served me faithfully and with gorgeous sonic's for over a decade. 
I give Sonodore my highest recommendation.

Stephan Cahen from Sempre la Musica:
I use the RCM-402 in almost every recording session and I think that this microphone is second to none.
It is the sharpest and most precise tool ever made. But, I don't think of it as a "tool" like a scalpel without soul.
When a colleague asks me "Can you describe the sound of the Sonodore's", I always say:  "well, at least
as precise and fast as the well known competitors, but with much more musicality and not boring at all...".

Thomas Grubb from Mano Musica:
With any source, the microphones just capture what is there – the impulse response is incredibly good so
the stereo image (especially when recording at high PCM sample-rates or DSD) is rock-steady, they can
handle the greatest dynamic ranges with ease, and they never 'get in the way'.
One of the criticisms I sometimes have of recordings is that they sound like recordings! I feel the RCM-402's
capture the 'spirit' and 'emotion' of the performance, and this translates to the recording making it sound
much more like a real performance.
In a recent 11-piece renaissance band recording, all of the character of those colourful wind instruments was
perfectly captured and the recording had a remarkable sense of depth yet with each instrument located
precisely in the stereo field.
Musicians still comment on how smooth and open the recordings sound (and if it doesn't, then the
microphones are in the wrong place!), and I also quite often still go 'wow'!

Tobias Bigger, concert pianist :
The Sonodore RCM-402 sounds very detailed and crystal clear; amazing what this omni can pick up from all
But despite its accurate transparency there is by far nothing of a cold or analytically sterile sound about the 402.
On the contrary, it brings a pleasing musical warmth to the recordings.
I could experience that mixes with other microphone types benefit from this "sound fingerprint",
which adds a soft, even "creamy" depth to the mix.
The enjoyment concerning the inner values is rounded off by the aesthetic pleasure which the elegant
microphone and its power unit give, not to forget about the really fine aluminum protective case.