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Another great LS1 review! Mastering engineer Nigel Palmer tested the LS1 for UK professional audio magazine Audio Media. He writes: "The clearest and least hyped presentation I’ve heard. I had that feeling of an open window into sound, across a wide range of music styles." And also: "you’re left in no doubt as to what is and isn’t working in a mix".

Studio Magazin reviewed the LS1 in 2010 but longed for another listen when the LS1s subwoofer was finished. Just like the first time, editor in chief Fritz Fey was totally blown away by the LS1’s sound quality. "Fantastic micro dynamics, extreme naturalness, wide extended spectrum, unforced mids - it is a joy to listen to great recordings with these loudspeakers and a pain to hear shortcomings revealed. Both are exposed with breathtakingly decided precision. (...) The LS1 with sub extension is the perfect loudspeaker for people that expect a merciless and highly precise rendering of the whole audible spectrum (and shouldn’t we all?). (...) Not something good, but something already exquisite has further been improved."

"This is just Super!!"2010, October 29

We received an email from LS1 customer Wessel Oltheten. "I have to let you know that yesterday I mixed a large project on the LS1's (drums, acoustic base, grand piano, flugel horn, clarinet, alt sax, tenor sax, two violins, two cellists and a singer, with quite dense scores). When I listen to the result on the small speakers of my girlfriends' computer I can only smile. I added much less EQ than normally and the sound is much more coherent than I ever achieved before. The amount of reverb is spot-on and at both low and high playback volume the mix balance stays correct. This is just super!!"

More LS1 admiration! Reviewer Wessel Oltheten of the Dutch Pro Audio & Video magazine wrote in their November issue: "I could observe time related aspects of the sound that I never heard on other monitors. For example I heard the individual reflections of a slap-back echo. And I heard the action of a compressor: its exact threshold point, the amount of reduction and the release. (...) You have to work hard on the LS1's to get a good sounding mix, but once you have it, you can be sure it really is a good mix. Decisions on balance and eq can be made with high precision." The article did not mention that after the review Wessel sold his high quality monitor set and traded it for a pair of LS1's...

Germany's main professional audio magazine 'Studio Magazin' gave the LS1 an 'A plus' in their very positive review. To cite author Fritz Fey: "After 30 years of editorship I thought I ran out of superlatives. 'Fairylike' however never was among them but I could not find a better wording to describe a studio monitor that is equally suited as source of pleasure as for reference use. (…) We listened to pop, rock, jazz and classical music in random order and were always offered the same experience of exceptional naturalness, musicality and tonal purity. (…) I have rarely auditioned a loudspeaker that can sound so beautiful and at the same time is so unsparing on bad source material. (…) The goal of Grimm Audio to develop a loudspeaker that simply sounds 'right', has been reached to extreme high level. (…) Anyone who cares for uncompromised audio quality should get to know the LS1." 


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  • My new studio is wired with TPR

    Dave Collins, Dave Collins Mastering, Los Angeles (TPR)

  • A great new day here with a relaxed and very detailed sound in the monitors and between all analog gear.

    Hudson Fair, Atelier HudSonic, Chicago (TPR)

  • My most impressive upgrade so far!

    Puck Leek, Pucksound, Amsterdam (CC2)

  • You must hear that! Absolutely!

    Fritz Fey, Studio Magazin, Oberhausen (LS1be)

  • The LS1be has a very beautiful low end, that not only goes to great depth, but is of exceptional pureness.

    Marnix Bosman, HVT magazine, Nijmegen (LS1be)

  • This is a speaker that sets a reference level and everybody should hear it, regardless of whether he intends to buy it or not !

    Dimitris Stamatakos, AVMentor, Athens (LS1)

  • You will have to go to great lengths to find something that matches this sound quality for the same price.

    Roy Ervin Solstad, Stereo+, Oslo (LS1)

  • The sound stage renders almost holographic with a very high precision and spaciousness, as if there is no cable at all.

    Harro Tillema, Alpha Audio, The Netherlands (TPR)

  • For those looking after the exact sound of a recording, the Grimm solution cannot be beat.

    Marja Vanderloo & Henk Boot, 6Moons (LS1)

  • I'm not the 'Ahhh & Ohhh' type of guy when it comes to subtle differences, but the difference this makes is so clear.

    Audioenzo, Dordrecht (TPR)

  • The LS1 seems to be a melting pot for all your expertises. I just find it fascinating. I am quite certain that the LS1 is at least the very very best 'value' in the market right now.

    Wai-Shan Lam, hifi enthusiast, Hong Kong (LS1)

  • I'm in tears, listening to my own recordings.

    Ben Zijlstra, Dutch Film & Television Academy, Amsterdam (CC1)

  • I've listened to so much music and films and heard space and details I have never heard before.

    Bart Jilesen, Studio Bart Jilesen, Utrecht (LS1)

  • I won't get my monitoring better than this. Mastering party all day, every day!

    Frederik DeJongh, Jerboa Mastering, Gent (LS1)

  • I switch over to Grimm TPR tomorrow. After extensive testing I could not find a better alternative. This cable gets so close to the original it's frightening.

    Mark den Hartog, Zownd Mastering, Leiderdorp (TPR)

  • Grimm Audio enriches the Loudness Movement with exceptionally price worthy and designful tools.

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

  • I did some sessions in 44.1, 48 and 96. It works great, and sounds fantastic. The CC1 is such a great upgrade in the studio, amazing!

    Samuel Girardin, Point d'Orgue, Montreal (CC1)

  • From the first minute I knew that something very special was happening. (...) The quality surpasses everything I heard before on my system.

    Gerard Lombrez, Lille (CC1)

  • During our sessions with Grammy winning saxophonist Kenny Garrett, the CC1 made all the difference in the world!

    Al Pryor & Todd Whitelock, Mack Avenue records, Hempstead (CC1)

  • I'm now using a DSD converter called a GRIMM for my SACD mastering. Big improvement.

    Steve Hoffman, Audio Fidelity, Los Angeles (AD1)

  • It seems as if the musicians have more fun when they play music.

    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

  • I have already made better, faster decisions in my mixes, and have had more confidence in delivering my masters.

    Thaddeus Moore, Liquid Mastering, Eugene (LS1)

  • I’m afraid my english isn’t good enough to describe the overwhelming feeling while listening to music, reproduced by the LS1.

    Ulrich Watermann, Berlin (LS1)

  • After all these years I finally have a standard on which I can rely.

    Al Pryor, Mack Avenue records, Hempstead (LS1)

  • Its job is so critical that I’d never settle for less.

    Richard Chycki, Toronto (CC1)

  • The system (...) is the equal of systems of hundred thousands of Euros when it comes to aspects like neutrality, purity and naturalness of tone.

    Clemens Wergin, Die Welt, Berlin (LS1)

  • Realize that not all timepieces are created equally. In this regard, the Grimm CC1 has no peer.

    Bob Katz and Garrett Haines, TapeOp, Sacramanto (CC1)

  • Sensational! I have never found this quality in any commercial AD converter.

    Ronald Prent, Galaxy Studios, Mol (AD1)

  • I had a client ask why my mixes were so much better this week.

    John Davis, The Bunker Studio, New York (CC1)

  • I had expected a small sound improvement. What happened is just the opposite: I am very impressed.

    Gerd Hoppe, hifi enthusiast, Alicante (CC1)

  • What impressed me the most is the purity of the sound and the sound field in general. (...) You can work so fast now to get the sound right!

    Stefan Riel, Echo Beach, Kuala Lumpur (LS1)

  • I was focusing more on the music than the equipment, something that rarely happens when I listen to digital...

    Tony Bolton, Hi-fi World, London (CC1)

  • A fantastic experience to work with this device.

    Hein Dekker, producer for Channel Classics, Baarn (AD1)

  • The LS1's frequency response is unusually flat - indeed the flattest we've ever measured.

    Keith Howard, Hi-Fi News, Croydon (LS1)

  • I was thrilled with your power supplies for my Neumann M50's. We used those mics for an upcoming Chandos release of the Kansas City Chorus, and they were stunning.

    John Newton, Soundmirror, Boston (MP1)

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

  • I love the speed, transparency and neutrality of this cable.

    Marnix Bosman, HVT, Nijmegen (TPM)

  • I love your cable because it is effectively inaudible. With TPR, cable quality is no issue anymore.

    Jan Didden, Linear Audio, Turnhout (TPR)

  • You have to work hard on the LS1's to get a good sounding mix, but once you have it, you can be sure it really is a good mix.

    Wessel Oltheten, Pro Audio & Video magazine, Buren (LS1)

  • I want to congratulate you for making the best sounding, most phase linear, transient accurate, and all around beautiful speaker system on the planet

    Thaddeus Moore, Liquid Mastering, Eugene (LS1)

  • This is the first plug-n-play, all-in-one, system with true high-end sound.

    Marshall Nack, Positive Feedback (LS1)

  • The CC1 is a brilliantly designed piece of equipment. Every piece of gear that I plugged into it sounded better and more natural.

    Erik Zobler, Mix Magazine, Los Angeles (CC1)

  • Truly, this could be the last system you'll ever buy; an endgame solution.

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

  • This is a larger improvement than I expected. The sound actually gains quality in all aspects.

    Marnix Bosman, HVT magazine, Baarn (CC1)

  • Did Grimm Audio reinvent the loudspeaker?

    Bert Oling, Hi-fi Video Test, Nijmegen (LS1)

  • As it turns out, Truth equals Love.

    Timothy Roth, Positive Feedback (LS1)

  • Best sound of show, stunning, Meisterhaft.

    Theo Wubbolts, HVT magazine, Nijmegen (LS1)

  • This is a major improvement. We need much less eq on the high end, the low end sounds more solid and the punch on the snare is great. This clock is a large improvement, we were amazed.

    Peter Riebeek, Studio 150, Amsterdam (CC1)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

  • These dmf subs are insane! It took me 30 seconds to decide I had to buy them. Authoritative, open, tight, life-like, in one word: wow!

    Wessel Oltheten, Spoor 14, Boxtel (LS1s-dmf)

  • Suddenly and distinctly, there's a palpable increase in naturalness, extension and spaciousness.

    Nicholas Bedworth, Positive Feedback, Makawao (CC1)

  • I buy and sell a lot of stuff, but the CC1 is not leaving the building.

    Alex Abrash, AA Mastering, New York (CC1)

  • I've played everything from Rammstein to chamber music on these speakers, and they eat everything raw.

    Roy Ervin Solstad, Stereo+, Oslo (LS1)

  • If someone came up with the idea to call the LS1 the best speakers he's ever heard, I would join in with a smile.

    Max Schlundt, Kultur...Technik, Berlin (LS1)

  • The jitter measurement results of the CC1 were the best of all competitors.

    Friedemann Kootz, Studio Magazin, Oberhausen (CC1)

  • These are the most immersive, dynamic, detail-rich, nuanced, elegant, engaging, emotional, and yes, musical speakers I have ever heard. By far.

    Timothy Roth, Positive Feedback (LS1)

  • A signal that sounds pretty decent with a good clock, sounds just incredible with the Grimm Clock.

    Hay Zeelen, Hay Zeelen Mastering, Amsterdam (CC1)

  • Throughout even the most turbulent passages the recording space stays luxuriously illuminated and the soundstage remains absolutely clear.

    Reinhold Martin, Hifi Statement Net Magazine, Gröbenzell (CC1)

  • The LS1 is by far the best speaker that AUDIO had the pleasure of reviewing in over 35 years; this especially in the two crucial audiophile disciplines of neutrality and detail reproduction.

    Wolfram Eifert, AUDIO, Stuttgart (LS1)

  • I was in the opportunity to hear your CC1 unit and I have to say INCREDIBLE!!

    Carlos Imperatori, Producciones Tumbador, Caracas (CC1)

  • I was impressed by how my chain with the EMM's got a benefit when I added a Grimm clock to my setup. Guided by what the literature and many designers are saying I was stunned about the change in a positive way) in sound.

    Daniel Dettwiler, Idee und Klang Studio, Basel (CC1)

  • The sound of Grimm recorded SACD's is AMAZING, it totally closes the gap between analog and digital.

    Hiro, Pure Super Audio (AD1)

  • A facility is as good as its weakest link and by using TPR the cables are not a weak link anymore.

    Ronald Prent, Wisseloord Studios, Hilversum (TPR)

  • The naturalness of the LS1 turns me on big time.

    Wolfram Eifert, AUDIOphile, Stuttgart (LS1)

  • I didn't know clock influence was that big!

    Tim Vine-Lott, Air studios, London (CC1)

  • This is a revelation. It is the first time in my 20 years of digital recording that I hear a fundamental improvement in sound quality.

    Leo de Klerk, Bloomline Studio, 's Gravendeel (AD1)

  • Just recorded Mahler 1 with Filharmonie and Edo de Waart. We had the Grimm LS1's on trial. Never heard so much in a recording, really impressive.

    Steven Maes, Motor Music, Mechelen (LS1)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (LS1)

  • This is the most exciting, strange, beautiful, ridiculously convenient piece of non-audiophile audiophile gear I have seen or heard. These things are a bit science fiction really.

    Bogdan Roscic, President Sony Classical, Berlin (LS1)

  • Their natural sound and their unimposing, deep trueness kept overwhelming me and my colleagues.

    Bernhard Rietschel, Editor in Chief of AUDIO, Stuttgart (LS1)

  • The Grimm DSD and Channel Classics have captured a perfect balance between energy, liveliness and comfortable sound.

    Teresa Goodwin, Positive Feedback (AD1)

  • I could not be more impressed.

    George Massenburg, McGill University, Montreal (LS1)

  • TPR outperforms all the others providing an impressive stereo image and a stunningly accurate phantom center.

    Philip Opdebeeck, Little Major Mastering, Antwerp (TPR)

  • Last week I was recording a strings section and piano. My client was very happy and he asked me if I changed something in the studio. Of course, it was your CC1.

    Josep Umbria, Calma Estudis, Manacor (CC1)

  • LevelView is a fascinating loudness metering system that is hard to go without once you try it.

    Tommy Zai, KVR, Phoenix (LevelView)

  • Among all the truly excellent SACDs from Channel Classics, the very best sound quality wise is the Mahler 4th recorded with the Grimm IMHO.

    Chris Fredriksson, HiFi enthusiast, Sweden (AD1)

  • Not something good, but something already exquisite has further been improved.

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

  • I had that feeling of an open window into sound, across a wide range of music styles.

    Nigel Palmer, Audio Media, London (LS1)

  • The CC1 brings out a level of detail and clarity that I had dismissed as only possible with analog.

    John Davis, The Bunker Studio, New York (CC1)

  • The AD1 made the most realistic recording of my piano that I have ever heard. Incredibly realistic and involving.

    Mark Conese, Ambient Records, Stamford (AD1)

  • Total peace of mind

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

  • We are very impressed by the quality of this unit.

    Günther Pauler, Pauler Acoustics, Northeim (CC1)

  • Wow, what a difference...!

    Ronald Wanders, hifi enthusiast, Zeewolde (TPM)

  • After installing your CC1, I often catch myself thinking that I listen to 88.2 when in reality it is 44.1. Their difference used to be much larger, and both sound much better now.

    Reyn Ouwehand, Studio The Church, Wijdenes (CC1)

  • The reviews I read are good, but to me what I experienced in our system was greater.

    Aaron Gandia, Phat Planet Studios, Orlando (CC1)

  • I heard the LS1 in NYC at the AES Convention... man, I was really impressed. Although it was at the booth, I could identify my mix immediately. So far the best speakers I've heard.

    Christian Klotzbücher, Kunstuniversität Graz, Graz (LS1)

  • A world class machine!

    Yasushi Hamase, Be-Tone Studio, Kanagawa-Ken (AD1)

  • Accurate, transparent and beautiful, that is the Grimm Audio LS1

    Jack Liu, AudioArt magazine, Taipei (LS1)

  • I have used all high end AD converters known to date. Every one of them had a sound to it. Your converter doesn't: it is completely transparant!

    René Gambini, Lyrinx, Marseille (AD1)

  • Truly a remarkable system, the equal or better of anything I've ever heard.

    Dave Collins, Dave Collins Mastering, Los Angeles (LS1)

  • This is probably the most 'correct' loudspeaker I've ever laid ears on. The combined honesty, neutrality and pleasing musicality is at a level that I haven't come across before.

    Christian Rechenbach, EinsNull magazin, Duisburg (LS1)

  • This clock is incredible. The detail and imaging from it are superior to anything we heard.

    Allen Farmelo, Pink Noise magazine, Hopewell Junction (CC1)

  • The combination of Grimm Audio TPR with Neutrik EMC XLR's seems to me to be the non plus ultra at the moment.

    Günter Pauler, Stockfish Records, Northeim (TPR)

  • I LOVE the clean transfer of your TPR cable. It´s like there´s no cable at all.

    George Tanderø, Mixing & Mastering, Oslo (TPR)

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