German audio magazine Professional Audio 09/12: Test of CC 22, ELM-C, OM16 and DS 60.
"Spitzenklang zwischen Gross- und Kleinmembran...diese handgebauten schwedischen Schallwandler sind eine echte Bereicherung für jede Mikrofonsammlung." CC 22: "Der Klang ist ausgewogen mit angenehm runden Mitten und feinen Höhen... die Bässe sind erstaunlich gut... ein echter Allrounder." ELM-C: "...es bietet Klangvariante, die wir so von keinem anderen Mikrofon kennen." DS 60: "...fraglos ein Super-Mikrofon, das variable stereofone Aufnahmen von Soloinstrumenten und Ensemblen ermöglicht." OM16: "...herausragenden Tiefenwiedergabe.... Das Impulsverhalten ist ebenfalls vorbildlich."
— Professional Audio (Germany)
German audio magazine Sound & Recording 07/12 tested Pearl ELM-C and -A:
"Die schwedischen Rechteck-Kapseln überzeugen mit rundem Sound irgendwo zwischen Klein- und Grossmembran. Ihr hochauflösendes, verfärbungsarmes Klangbild macht sie sehr flexibel einsetzbar, und ihre besonderen Richteigenschaften sorgen für präzise Fokussierung auf die "Sichtebene" des Mikrofons.... auch die technischen Werte sowie die Verarbeitung sind sehr überzeugend... ob ihrer einzigartigen Qualitäten sind diese Mikros jeden Cent wert."
— Sound & Recording (Germany)
"Dear Pearl-I just wanted to drop you a note to say how pleased I am with your ELM-A microphones. I have been using two ELM-As as my main stereo pair for the last two years, for minimalist, but multi-track, 'Live' jazz recordings. I have made almost 200 recordings and as you can see from my web site, I have been working with some of the very best jazz musicians in the world. The results with your mics are amazing! They give me transparency, detail, and the full body and size of the instruments. I think they do this like no other mics on the planet. They are great in less than ideal sounding rooms in removing floor and celling reflections and their flexible patterns in post, make them unique among mics made today. I only have two regrets. First, I should have gotten them sooner. Second, I should own at least two ELM-Cs that I could use as spot mics.... Anyway, thank you for making such GREAT microphones!"
— Jimmy Katz, New York
"For more years than I care to admit, we've resigned ourselves to a very compromised pickup for chorus with orchestra - close canopy reflections, upstage percussion/brass leakage, and the typical off-axis coloration issues with cardiod mics both large and small diaphragm create a very interesting challenge. Due to it's unique directional characteristics, the Pearl ELM-C has dramatically improved our chorus pickup in all these difficult areas. Additionally, the ability of this microphone to further enhance the chorus blend has been a big bonus too. The Pearl ELM-C is one of the most significant microphones in the San Francisco Symphony collection. It is a unique musical tool that stands alone."
— Jack Vad, Producer/Engineer San Francisco Symphony
"[The CC 22] is a very natural sounding microphone that is highly suited to close-miking acoustic instruments. Placed perpendicular to the soundboard of a violin at a distance of just over a metre and compared to a Neumann KM184 in the same position, the CC22 sounded subtly sweeter and rounder, less 'steely' on edgier high notes without sounding dull, and offered a touch of the instrument's body and resonance that was sorely missing in the KM184. It tracked the aggressive transients of Bartok-styled pizzicatos with ease, and held its composure through harmonically complex passages that left the KM184 sounding thin and etched. The CC22 produced an excellent sound that did justice to the instrument, clearly superior to the KM184 yet remaining tonally compatible with it....I pitted the CC22 and ELM-C against each other and a U87 on a close-miked male vocalist performing a soul song a capella. Both Pearl microphones made the U87 sound gritty, veiled and dated. The CC22 delivered a very appealing result but the ELM-C stole the show with a sound that was remarkably 'present' and full-bodied with nowhere near the amount of proximity effect I had anticipated after the earlier grand piano test....The CC22 and ELM-C are both excellent cardioid microphones for situations that require a natural and uncoloured sound without sacrificing detail and high frequency extension, and without risking a high noise floor."
— Professional Audio Technology (Australia) / Greg Simmons
"Our trusty old CC 30 captures my deep voice in an amazing way and always delivers great results. We're currently recording our debut album, and I truly appreciate the natural, 'close' sound. "
— Håkan Hultberg, composer and artist in Hotband
"The fact that I sold my custom tube mikes once I had heard the Pearl ELMs, says it all!"
— Kavi Alexander, Producer/Engineer and founder of the Grammy Award winning record label Water Lily Acoustics
"I grew to like the Pearl a lot ... It delivered great results on almost everything acoustic – piano, percussion, guitars and strings.!"
— Pearl CC 22 in Sound-on-Sound
"it delivers a smooth, extended, and neutral sound quality, seeming to combine the resolution and precision of a small diaphragm mic with a hint of the 'larger than life' character and body of a large diaphragm mic. It is particularly well suited to classical or folk music recording, where accuracy and detail are key attributes."
— Pearl CC 22 in Sound-on-Sound
"The result was pretty staggering, yielding a [drum] kit sound that had great focus and space....I think I have found a new favourite for drum overheads...!"
—ELM –C in Resolution
"The DT40 quickly became the go-to mic of choice for the three months following the TapeOpCon. It blew away every other mic we tried. Its detail on the piano was so good that it actually made our baby grand sound like a concert grand. On cello, the mic smoothed out the low end woofs and tamed the bow on the strings so well that it made the hired-gun classical player ask what it was, as she had never heard her cello sound so natural. It handled tambourine without any splatter or crunch and exhibited almost ribbon-like characteristics. On acoustic guitar, it was so warm and natural that the playback just made you smile...It `s hard to fathom why [DT 40s] are not everywhere."
— Pearl DT 40 in TapeOp