Items: 8
Show all
Search

Jaap Veenstra, hifi consultant of Alpha Audio, visited the High End show of our Belgium dealer Gydotron in Malle. He enjoyed himself experimenting a bit with a CC1. "After connecting the Grimm clock, a world of musicality opened. What a relaxing, authoritive and spacious sound we heard! A true transformation. The whole set played at a two stages higher level."

Nicholas Bedworth reviewed the Weis DAC 202 and checked how it matched with the CC1. He found himself mentioning the surprisingly large sound quality improvement in his review: "the Grimm CC-1 engendered a sonic apotheosis: Suddenly and distinctly, there’s an palpable increase in naturalness, extension and spaciousness."

Another enthusiastic review for the CC1, this time with pro gear in a hi-fi setting. Reinhold Martin of the German ’Hifi Statement Net Magazine’ tests the CC1 with a DAD AX24 converter and a Weiss AFI digital interface. He writes: "Absolutely indispensible is the Dutch master clock from Grimm Audio. Throughout even the most turbulent passages the recording space stays luxuriously illuminated and the soundstage remains absolutely clear."

HVT tests CC12010, February 3

The Netherlands' main Hifi magazine 'Hifi Video Test' features a four page article about the CC1 in their February issue. Author Marnix Bosman presents background information on jitter and puts the CC1 to test as master clock for an Esoteric SA-10. He finds "a larger improvement even than I expected. The sound actually gains quality in all aspects." Using the CC1 as digital interlink reclock unit he enjoys improvements ranging from 'interesting' to 'massive'.

Dutch hifi magazine Music Emotion featured a review of the CC1 by Jan de Jeu. On a test where the CC1 reclocks the spdif line of his CD transport he writes: "... A beautiful stereo image. Normally I never play this disc until the end but this time I keep listening breathlessly. Amazed by the difference I keep switching back and forth. (...) Both ends of the spectrum are beautifully expressed in the sound of the organ and brass instruments. The texture of the brass instruments is fabulous." 

The forum of our HongKong Hifi products distributor Audio Exotics had this hilarious conversation: "DSo was complaining to Marvel about me bringing this CC1 to his home just when he felt his system was in optimum state. Later on, he SMS-ed and said, "PT, after you took back the CC1, I had no mood to listen tonight. As a result, I went out drinking with friends."

British magazine Hi-fi World raved about the CC1 in their review for the May issue and granted it the maximum amount of 5 Globes, which is "Outstanding". Reviewer Tony Bolton used the CC1 as word clock source for a Marantz SA-7 and experienced improvements in texture, focus, definition and stereo image. He enjoyed beautiful resonance and impact of hard struck piano chords. And he felt that the whole spectrum of the sound improved with the CC1. Please enjoy reading his full Hi-fi World review pdf.

Japanese publisher Ongen Publishing Co has given the CC1 their "Audio Excellence Award 2009" in the category’Other Equipment’. Ongen publishes three Hifi magazines and a web-site. We are very honoured indeed!


Share on your favorite social medium

headlines

  • 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 new studio is wired with TPR

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

  • You must hear that! Absolutely!

    Fritz Fey, Studio Magazin, Oberhausen (LS1be)

  • My most impressive upgrade so far!

    Puck Leek, Pucksound, Amsterdam (CC2)

  • 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)

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

    Aaron Gandia, Phat Planet Studios, Orlando (CC1)

  • 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)

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

    Marnix Bosman, HVT magazine, Baarn (CC1)

  • Best sound of show, stunning, Meisterhaft.

    Theo Wubbolts, HVT magazine, Nijmegen (LS1)

  • 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)

  • Total peace of mind

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

  • As it turns out, Truth equals Love.

    Timothy Roth, Positive Feedback (LS1)

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

    Carlos Imperatori, Producciones Tumbador, Caracas (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)

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

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

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

  • 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)

  • 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)

  • 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)

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

    Nigel Palmer, Audio Media, London (LS1)

  • 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)

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

    Dave Collins, Dave Collins Mastering, Los Angeles (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)

  • 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)

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

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

  • 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)

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

    Alex Abrash, AA Mastering, New York (CC1)

  • Wow, what a difference...!

    Ronald Wanders, hifi enthusiast, Zeewolde (TPM)

  • 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)

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

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

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

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

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

    Tommy Zai, KVR, Phoenix (LevelView)

  • I could not be more impressed.

    George Massenburg, McGill University, Montreal (LS1)

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

    Friedemann Kootz, Studio Magazin, Oberhausen (CC1)

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

    Marja Vanderloo & Henk Boot, 6Moons (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)

  • 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)

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

    Hay Zeelen, Hay Zeelen Mastering, Amsterdam (CC1)

  • 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)

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

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

  • 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)

  • A world class machine!

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

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

    Philip Opdebeeck, Little Major Mastering, Antwerp (TPR)

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

  • 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)

  • 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)

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

    George Tanderø, Mixing & Mastering, Oslo (TPR)

  • 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)

  • 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)

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

    Marshall Nack, Positive Feedback (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)

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

    Gerd Hoppe, hifi enthusiast, Alicante (CC1)

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

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

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

    Al Pryor, Mack Avenue records, Hempstead (LS1)

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

    Nicholas Bedworth, Positive Feedback, Makawao (CC1)

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

    Günther Pauler, Pauler Acoustics, Northeim (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)

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

    Jan Didden, Linear Audio, Turnhout (TPR)

  • 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)

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

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

  • 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)

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

    Roy Ervin Solstad, Stereo+, Oslo (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)

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

    Ulrich Watermann, Berlin (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)

  • 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)

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

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

  • A fantastic experience to work with this device.

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

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

    Steve Hoffman, Audio Fidelity, Los Angeles (AD1)

  • Did Grimm Audio reinvent the loudspeaker?

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

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (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 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)

  • 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)

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

    Jack Liu, AudioArt magazine, Taipei (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)

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

    Frederik DeJongh, Jerboa Mastering, Gent (LS1)

  • 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)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (LS1)

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

    Richard Chycki, Toronto (CC1)

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

    Teresa Goodwin, Positive Feedback (AD1)

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

    Hiro, Pure Super Audio (AD1)

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

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

    Marnix Bosman, HVT, Nijmegen (TPM)

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

  • 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)

  • 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)

  • 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)

  • 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)

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

    Wolfram Eifert, AUDIOphile, Stuttgart (LS1)

  • 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)

Like or follow us on your social media