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In their May/June issue, Positive Feedback features a review of three new SACD’s from Channel Classics: Beethoven, Schubert and Stravinsky, all with Ivan Fischer and the Budapest Festival Orchestra. Teresa Goodwin is clearly touched by the sound our AD1 made possible:
"Sonically all three Channel Classics SACDs are amazingly realistic, with plenty of excitement, beautiful and comfortable analog-like sound. The midrange is the smoothest and most natural sounding I’ve heard yet with digital. The high frequency percussion instruments have that exciting "zing" one hears with the best analog, which sometimes is a little lackluster with some DSD ADCs, and too etched with some PCM ADCs, the Grimm DSD and Channel Classics have captured a perfect balance between energy, liveliness and comfortable sound."

The January issue of Dutch musicians and producers magazine ’Interface’ featured a ’favorite equipment’ list of their authors. Wessel Oltheten selected the LS1 because "This powered monitor has helped me improving my mixes, more than any other piece of equipment in my studio." By the way, Colin Benders (’Kyteman’) who is pictured on this editions’ front page, proudly owns a Grimm Audio AD1...

At SA-CD.net a new SACD from Channel Classics was discussed. Tom Caulfield, project manager for the Boston Symphony Orchestra, wrote: "I have most of the Channel Amsterdam Sinfonietta SACDs, and appreciate them not only for their musicianship, but for how they sound. They all have a richness, level of realism, and sonic detail that is typical of Channel Classics. But this one immediately struck me as different. The strings were much more realistic, as was the spaciousness. I wasn’t expecting this since the booklet tech notes stated the converters used were the Meitner and dCS, as on previous sessions. While very good, they each have an identifiable sonic signature. A note to Jared cleared up the confusion. The booklet is incorrect, this session/SACD used the Grimm converters, and it was obvious. I particularly like the Mahler 5 Adagio. I get to hear a similar size group here in Boston, A Far Cry, and this was like sitting in front of them. Highly recommended."

We are very happy to announce that Dutch label Channel Classics has become one of our AD1 customers. Among the first recordings made using the AD1 is Mahler Symphony no.4 by Ivan Fischer and the Budapest Festival Orchestra. This is a SACD of breathtaking beauty, concerning performance as well as sound quality. It is a true demonstration of the goal of Grimm Audio: to fundamentally improve on current recording and playback quality. 

From the Pure Super Audio blog: "As some of you know, Kevin Gray and I have been working on a bunch of wonderful Nat "King" Cole Capitol Records’ reissues for Acoustic Sounds/Analogue Productions over the past 1/2 year. (...) For us, in that situation, the Grimm AD1 DSD converter killed the [competitor]. It sounded exactly like the analog, both tone wise and ambiance wise. Very impressive." Steve Hoffman, Acoustic Sounds


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  • Phenomenal!

    Jan de Jeu, Music Emotion magazine, Amsterdam (LS1a)

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    Zhong Yi, HiFi Review, Hong Kong (LS1be)

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    Matthijs Kievit, Studio Joneski, Utrecht (CC2)

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    River Chan, HiFi Review, Hong Kong (LS1be)

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    Sam Ho, HiFi Review, Hong Kong (LS1be)

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    Thaddeus Moore, Liquid Mastering, Eugene (LS1)

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    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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    Puck Leek, Pucksound, Amsterdam (CC2)

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

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    Harro Tillema, Alpha Audio, The Netherlands (TPR)

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    Steve Hoffman, Audio Fidelity, Los Angeles (AD1)

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

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    Josep Umbria, Calma Estudis, Manacor (CC1)

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    Wolfram Eifert, AUDIOphile, Stuttgart (LS1)

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    Erik Zobler, Mix Magazine, Los Angeles (CC1)

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    Hiro, Pure Super Audio (AD1)

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

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    Carlos Imperatori, Producciones Tumbador, Caracas (CC1)

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

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    Chris Fredriksson, HiFi enthusiast, Sweden (AD1)

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    Günther Pauler, Pauler Acoustics, Northeim (CC1)

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

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    Al Pryor, Mack Avenue Records, New York (LS1)

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    Marnix Bosman, HVT magazine, Baarn (CC1)

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    Mark Conese, Ambient Records, Stamford (AD1)

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    Ronald Wanders, hifi enthusiast, Zeewolde (TPM)

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

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    Frederik DeJongh, Jerboa Mastering, Gent (LS1)

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    Bogdan Roscic, President Sony Classical, Berlin (LS1)

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    Steve Hall, Future Disc, Los Angeles (AD1)

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    Josep Armengol, Revista On Off, Madrid (LS1)

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

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    Alex Abrash, AA Mastering, New York (CC1)

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    Roy Ervin Solstad, Stereo+, Oslo (LS1)

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    Joachim Pfeiffer, Audio Flatscreen Journal, Wuppertal (LS1be)

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    Gerd Hoppe, hifi enthusiast, Alicante (CC1)

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

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

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    Aaron Gandia, Phat Planet Studios, Orlando (CC1)

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

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

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    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

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    René Gambini, Lyrinx, Marseille (AD1)

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    Peter Riebeek, Studio 150, Amsterdam (CC1)

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    Friedemann Kootz, Studio Magazin, Oberhausen (CC1)

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

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    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

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

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

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    Marnix Bosman, HVT, Nijmegen (TPM)

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    Marnix Bosman, Interface magazine, Amsterdam (CC2)

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    George Massenburg, McGill University, Montreal (LS1)

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    Nicholas Bedworth, Positive Feedback, Makawao (CC1)

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    Teresa Goodwin, Positive Feedback (AD1)

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    Wolfram Eifert, AUDIO, Stuttgart (LS1)

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    Gerard Lombrez, Lille (CC1)

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