Christian Sager: 
The 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."

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'!