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The printed magazine Hifi Review from Hongkong has offered a ‘product of the year 2018’ award to two Grimm Audio products! Both the CC1mk2 and LS1be & LS1s-DMF won in their own category. We feel highly honoured by this recognition of our products’ quality.

 

Some excerpts from the jury report:

LS1be product of the year 2018

Liu Zhigang wrote about the CC1: “It’s my luck, I’m reviewing the best digital clock in the world. The only important thing about a digital master clock is stability. The Grimm CC1 MKII has the world's most accurate master clock (…) with science fiction-like technical specification! (…)"

"Chen Weichang entered our large listening room, took his chair on the east side and started to play some of his favorite music. When he played the Vagabond track, he muttered to himself: "I never noticed this immersion in the low frequency." (…) He kept repeating "I never noticed" for almost every disc. We listened to the Pepe Romero and Maria Magdalena Flamenco album on Philips Classics. Pepe uses a pair of hands (and a guitar) and Maria uses a pair of feet (and a stage floor). Pepe plays hot and dexterous, and Maria’s power is expressed with her feet. In the original setup, when Maria hit the floor strongly the echoes of the near and far walls were sometimes faint. After adding the CC1 MKII, the realism of the church sound was beyond one’s grasp. A system with such good analytical power brings you very close to reality."

"For us audiophiles, the price of Grimm's CC1 MKII (developed for the professional audio market) can be regarded a bargain. There is a saying: after using the excellent Grimm Audio CC1 MKII master clock, there is no turning back.”

 

LS1be product of the year 2018

Chen Weichang wrote about the LS1be with LS1s-DMF: “The electronic bass sounds as low as 20Hz, the power of a church organ, the texture of a double bass, the contour and firmness of a bass drum, the slap of an electric bass guitar: the LS1s-dmf subwoofers produce them without effort. At the same time, the personality, character, size, weight, presence (with an acoustic instrument) or non-presence (with synthetic instruments), etc. of all these instruments are conveyed in the most natural way. Bass tones from the DMF sub don’t affect the clarity of other frequency bands, nor disappear at lower or higher volumes. The performance of these speakers is very linear. (…)"

"Hi-Fi means High Fidelity. Some brands call their products "high-fidelity" but offer low quality on most tracks. Other brands have chosen to enlarge everything, good recordings shine even more, bad recordings are even more ugly. The Grimm Audio LS1be+LS1s-dmf on the other hand does not place such a microscope on the two extremes. Good is not better, bad is not worse, everything is balanced and in the right proportion, without emphasis on certain subjects or details. The pursuit clearly was not just to be linear, but also truthful.”

 

The Taiwan magazine “My Hi-End” did a review of the CC1 and was heavily impressed. Please enjoy some translated fragments from the text by reviewer Leo Yeh: 

 

“I first used the CC1 as the main clock for an Esoteric K-03X. The high-precision VCXO voltage-controlled crystal oscillator (0.5 ppm) is set to master mode. Immediately after I turned the system on I already had the feeling that the sound has improved. After 20 minutes of warming up, the sound performance is like reborn. I am most impressed by the texture and density of the sound. The background noise is greatly reduced and the stereo image is more distinct. When I changed back to the internal clock of the CD transport, the quality was loose and blurred in comparison.” 

 

“In conclusion, if a CC1 fits in your system, there is only one reason to not buy it, and that is that the children in your pocket have not saved enough... The thousand words of this review cannot do justice to the personal experience. It is strongly recommended that interested readers contact a Grimm Audio dealer. But watch out: this is an addictive device that is poisonous and will poison everyone who listens to it!”

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!


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  • In many years I tried all brands of the world for a master clock. So far only the CC1 can really fulfill my wishes.

    Terence Lai, SACD Production Center, Hong Kong (CC1)

  • Lately I've noticed my system wasn't sounding so great and found my CC2 was accidently turned off. Once I secured the power cord, turning on the unit, I happily noticed how much more vivid, dimensional, and natural everything sounded.

    Mark Block, Los Angeles (CC2)

  • Never before I heard immersion like this in the low frequency range

    Chen Weichang, Hifi Review, Hongkong (CC1)

  • It was as if a veil was lifted from the mix: clarity, punch, depth, stereo image, everything improved.

    Matthijs Kievit, Studio Joneski, Utrecht (CC2)

  • This is an addictive device that is poisonous and will poison everyone who listens to it!

    Leo Yeh, My-HiEnd, Hongkong (CC1)

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

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

    John Davis, The Bunker Studio, New York (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)

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

    Thaddeus Moore, Liquid Mastering, Eugene (LS1)

  • 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)

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

    Roy Ervin Solstad, Stereo+, Oslo (LS1)

  • The jury could only applaud.

    Joachim Pfeiffer, Audio Flatscreen Journal, Wuppertal (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)

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

    Tommy Zai, KVR, Phoenix (LevelView)

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

    Dave Collins, Dave Collins Mastering, Los Angeles (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)

  • Phenomenal!

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

  • 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)

  • 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)

  • 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)

  • A fantastic experience to work with this device.

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

  • Grimm products have that typically Dutch sound character that I love: warm but clear.

    Yasushi Hamase, Be-Tone studio, Kawasaki City (AD1)

  • 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)

  • It will be almost impossible to achieve the same sound quality when spending the same price on separate hifi components

    Archimedes Chan, HiFi Review, Hong Kong (LS1be)

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

    Hay Zeelen, Hay Zeelen Mastering, Amsterdam (CC1)

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

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

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

    Tim Vine-Lott, Air studios, London (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 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 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)

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

    Teresa Goodwin, Positive Feedback (AD1)

  • 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)

  • 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)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (LS1)

  • My new studio is wired with TPR

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

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

  • Those subwoofers are pretty darned impressive. Thanks!

    Aaron Garrett, hifi enthusiast, Cambridge (LS1s-dmf)

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1)

  • 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)

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

    Jack Liu, AudioArt magazine, Taipei (LS1)

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

    Marnix Bosman, HVT magazine, Baarn (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 love the speed, transparency and neutrality of this cable.

    Marnix Bosman, HVT, Nijmegen (TPM)

  • As it turns out, Truth equals Love.

    Timothy Roth, Positive Feedback (LS1)

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

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

  • 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 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)

  • 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)

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

    Nigel Palmer, Audio Media, London (LS1)

  • A world class machine!

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

  • 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 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)

  • 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)

  • 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)

  • This week we used the MP1’s with the M50s of my colleague. We were both astonished.

    Noah Scot Snyder, Los Angeles (MP1)

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

    Philip Opdebeeck, Little Major Mastering, Antwerp (TPR)

  • Grimm's mission to eliminate the sound of the system and present just the original recording seems totally true.

    Josep Armengol, Revista On Off, Madrid (LS1)

  • Best sound of show, stunning, Meisterhaft.

    Theo Wubbolts, HVT magazine, Nijmegen (LS1)

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

  • If you like a fast, solid and accurate music reproduction for all kinds of music, this system will surprise you!

    River Chan, HiFi Review, Hong Kong (LS1be)

  • You must hear that! Absolutely!

    Fritz Fey, Studio Magazin, Oberhausen (LS1be)

  • With the Grimm LS1 unexpected details appear in the recordings: nothing is hidden, and everything sounds delicious.

    Josep Armengol, Revista On Off, Madrid (LS1)

  • 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)

  • The Grimm LS1be offers a much higher absolute audio quality than all of the overpriced astronomical speakers on today's premium audio market

    Zhong Yi, HiFi Review, Hong Kong (LS1be)

  • Wow, what a difference...!

    Ronald Wanders, hifi enthusiast, Zeewolde (TPM)

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

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

  • I could always hear improvements in sound quality

    Marnix Bosman, Interface magazine, Amsterdam (CC2)

  • 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)

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

    Wolfram Eifert, AUDIOphile, Stuttgart (LS1)

  • Total peace of mind

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

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

    Hiro, Pure Super Audio (AD1)

  • 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)

  • 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)

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

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

  • I’ve rewired my studio with TPR cable and I now bring some with me to recording sessions as well. It is extraordinary cable.

    Noah Scot Snyder, Los Angeles (TPR)

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

    Al Pryor, Mack Avenue records, Hempstead (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)

  • 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)

  • Did Grimm Audio reinvent the loudspeaker?

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

  • 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)

  • I could not be more impressed.

    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)

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

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

    Frederik DeJongh, Jerboa Mastering, Gent (LS1)

  • My most impressive upgrade so far!

    Puck Leek, Pucksound, Amsterdam (CC2)

  • 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)

  • A second Grammy: your technology helped me get there…

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

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

    Friedemann Kootz, Studio Magazin, Oberhausen (CC1)

  • We are honestly not able to assemble a component based system that performs better than this active system from Holland.

    Jaap Veenstra, Alpha Audio, Haarlem (LS1a)

  • 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 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)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

    Steve Hoffman, Audio Fidelity, Los Angeles (AD1)

  • The low-frequency temporal resolution is high, and the rendering of tonal pitch in the extremely low-frequency range is very precise

    Sam Ho, HiFi Review, Hong Kong (LS1be)

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

    Jan Didden, Linear Audio, Turnhout (TPR)

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

    Aaron Gandia, Phat Planet Studios, Orlando (CC1)

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

    Günther Pauler, Pauler Acoustics, Northeim (CC1)

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

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

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

    Alex Abrash, AA Mastering, New York (CC1)

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

    Richard Chycki, Toronto (CC1)

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

    Nicholas Bedworth, Positive Feedback, Makawao (CC1)

  • 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)

  • What can I say... what a difference

    Michael Pfeiffer Strauss, Erftstadt (CC1)

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

    Carlos Imperatori, Producciones Tumbador, Caracas (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)

  • 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)

  • This is such an incredibly good speaker.

    Jaap Veenstra, Alpha Audio, Haarlem (LS1be)

  • 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)

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