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The European market leader for Game Audio Dynamedion from Mainz, Germany, sent us some amazing pictures of a very special sound effects recordings session. To record car engine sounds in the cleanest possible way, they rented a huge anechoic room and brought in a selection of super cars and motor cycles. 90 m of TPR cable made sure the sound was captured without coloration.

 

The result can be enjoyed in many games such as Gravel – Milestone S.r.l.Ride 3 – Milestone S.r.l.Monsters Energy Supercross – Milestone S.r.l.The Crew 2 – Ivory Tower (Ubisoft)DR!FT – SturmkindPUBG – PUBG Cooperation (Bluehole) and Forza Horizon 4 (Playground Games / Microsoft).

 

Dynamedion is also famed for their work on the sound effects and source sound library Boom Library.

New York based Jazz producer Al Pryor won his 3rd Grammy this year with the magnificent singer Cécile McLorin Salvant. One more and they won’t fit on top of his LS1 anymore… Al wrote: “These speakers are a joy to work with every day!” Congratulations Al!

#WeShareYourPassion

The Hongkong magazine Super AV reviewed the LS1be plus its LS1s-DMF subwoofers and was blown away by its sound quality. Please read some translated fragments from the 6 page review: 

 

“This LS1be & LS1s-DMF listening system not only refreshes your understanding of today's audio technology, but also sounds the alarm for the classic brands that still drive the old technology route. (…) This is what speakers should look and sound like in the 21st century!”

 

“When I continued to listen, the sound of the system never disappointed me. It is so natural and high quality that it allowed me to fall into the mood of the music from the beginning, and feel the emotional expression of the whole production.”

 

“The small LS1s-DMF subwoofer is so accurate, fast and clear. It has none of the shortcomings that many subwoofers have, it is very clear and strong and plays very low.” 

 

“If one plays true recordings, the LS1be will make you feel the original emotion of the music performance. In fact, this is the original reason you wanted to buy audio! No doubt the LS1be & LS1s-dmf system opens the curtain for high-end audio into the 21st century.”

 

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.”

 

Hifi vlogger and journalist Hans Beekhuyzen of The Hans Beekhuyzen Channel on Youtube posted a very nice video of our MU1 introduction party in the Van Abbe museum, and added some background information about the history of Grimm Audio too. Many years ago Hans has been the employer of both Eelco Grimm and Peter van Willenswaard of Grimm Audio who started their career as journalists. This vlog is certainly worth viewing. Thanks Hans! 

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!”

On January 31st the first MU1 music player is introduced to customers, the press and our dealers and friends in the auditorium of the Van Abbe museum of modern art in Eindhoven. Our team has achieved an outstanding performance to reach this mile stone, and we are extremely proud to present this news to you. At the introduction there will be a unique concert by cellist Maya Fridman and harpist Majsa Koperberg, who were model for the extraordinary picture series of our ‘Magic’ campaign. The video registration of this performance will soon be available. Please enjoy the new web page of the MU1. The first series is already sold out, stock is expected from late spring.

The Hong Kong online magazine Fever Sound did a video interview with Eelco Grimm during the HKAV2018 show in Hong Kong in August. Eelco introduces several of Grimm Audio's products and talks about a few of the aspects that set them apart from the competition. Enjoy!

Hifi.nl reviews LS1a2018, September 6

Major Dutch online hifi magazine hifi.nl just published the LS1a review that journalist Jan de Jeu did for printed magazine Music Emotion. He wrote: “The Grimm Audio LS1a is an active speaker system that performs to the highest standards. And not just technically, but also in its musicality and sense of realism. For this money, I cannot assemble a system of separate components that performs at the same level.”

Grimm Audio has signed a sponsor contract with Minco Eggersman and Theodoor Borger for their ‘UNIFONY’ project. Grimm Audio believes that the chain of equipment and media between the music producers and consumers should become transparent, so that the listener can enjoy music like it was sonically intended. To share their dedication to music, Grimm Audio decided to present selected music projects to their audience, and let the general audience learn about Grimm Audio and their goal. With ‘UNIFONY’ Grimm Audio lays the first stone of this project, and it is a very special one.

 

Minco Eggersman is artist and composer of movie sound tracks as well as solo albums, Theodoor Borger is musician and sound engineer (relying on Grimm Audio equipment for much of their work). When they decided to create this special series featuring famous and befriended musicians, the ball started rolling. Norwegian trumpet player Mathias Eick, well known for his ECM albums, agreed to join this special project that is about creating new music based on sounds rather than notes. After the recordings were finished, Phill Brown (of Talk Talk fame - and many more) was so inspired that he could not resist to return to the studio and do one more album mix. That helped to convince famous mastering engineer Bob Ludwig to do the mastering. And to wrap it all up, graphical designer James Marsh (again Talk Talk) made some beautiful artwork. This whole project breathes dedication to the art of music and attention to details. It is perfectly suited to demonstrate Grimm Audio’s intentions. On October 12th, the first UNIFONY album will have its release, the second track ’Hunt’ just saw its pre-release, after ‘Ascend’ last spring. 

 

In the picture: Eelco Grimm of Grimm Audio with Minco Eggersman and Theodoor Borger, celebrating their cooperation with a beer brewed by Minco. 


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  • 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)

  • 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)

  • 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)

  • 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)

  • 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)

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

    Richard Chycki, Toronto (CC1)

  • 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)

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

    Nigel Palmer, Audio Media, London (LS1)

  • As it turns out, Truth equals Love.

    Timothy Roth, Positive Feedback (LS1)

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

    Gerd Hoppe, hifi enthusiast, Alicante (CC1)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (LS1)

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

  • Best sound of show, stunning, Meisterhaft.

    Theo Wubbolts, HVT magazine, Nijmegen (LS1)

  • 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 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)

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

    Nicholas Bedworth, Positive Feedback, Makawao (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)

  • 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)

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

    Alex Abrash, AA Mastering, New York (CC1)

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

  • A world class machine!

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

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

    Frederik DeJongh, Jerboa Mastering, Gent (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)

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

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

  • 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)

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

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

  • My new studio is wired with TPR

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

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

    Marnix Bosman, HVT, Nijmegen (TPM)

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

    Hiro, Pure Super Audio (AD1)

  • 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 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)

  • 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)

  • 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)

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

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

  • Those subwoofers are pretty darned impressive. Thanks!

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

  • This is such an incredibly good speaker.

    Jaap Veenstra, Alpha Audio, Haarlem (LS1be)

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

    Marnix Bosman, HVT magazine, Baarn (CC1)

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

    Teresa Goodwin, Positive Feedback (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'm now using a DSD converter called a GRIMM for my SACD mastering. Big improvement.

    Steve Hoffman, Audio Fidelity, Los Angeles (AD1)

  • You must hear that! Absolutely!

    Fritz Fey, Studio Magazin, Oberhausen (LS1be)

  • 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 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)

  • 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)

  • 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 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 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 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)

  • 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)

  • Wow, what a difference...!

    Ronald Wanders, hifi enthusiast, Zeewolde (TPM)

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

    Wolfram Eifert, AUDIOphile, Stuttgart (LS1)

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

    Josep Armengol, Revista On Off, Madrid (LS1)

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

    Jack Liu, AudioArt magazine, Taipei (LS1)

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

    George Tanderø, Mixing & Mastering, Oslo (TPR)

  • 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)

  • 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)

  • A fantastic experience to work with this device.

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

  • 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)

  • The jury could only applaud.

    Joachim Pfeiffer, Audio Flatscreen Journal, Wuppertal (LS1be)

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

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

  • 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)

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

    Günther Pauler, Pauler Acoustics, Northeim (CC1)

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

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

  • 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)

  • 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 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 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 could not be more impressed.

    George Massenburg, McGill University, Montreal (LS1)

  • What can I say... what a difference

    Michael Pfeiffer Strauss, Erftstadt (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)

  • 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)

  • Phenomenal!

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

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

    John Davis, The Bunker Studio, New York (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)

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

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

    Jan Didden, Linear Audio, Turnhout (TPR)

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

    Friedemann Kootz, Studio Magazin, Oberhausen (CC1)

  • Total peace of mind

    Marja Vanderloo & Henk Boot, 6Moons (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)

  • 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)

  • 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)

  • 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)

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

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

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

    Noah Scot Snyder, Los Angeles (MP1)

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

    Roy Ervin Solstad, Stereo+, Oslo (LS1)

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

    Carlos Imperatori, Producciones Tumbador, Caracas (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 could always hear improvements in sound quality

    Marnix Bosman, Interface magazine, Amsterdam (CC2)

  • 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 didn't know clock influence was that big!

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

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

  • 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)

  • 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)

  • 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)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

  • 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 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)

  • 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)

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

    Hay Zeelen, Hay Zeelen Mastering, Amsterdam (CC1)

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

    Marja Vanderloo & Henk Boot, 6Moons (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)

  • 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)

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

    Al Pryor, Mack Avenue records, Hempstead (LS1)

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

    Keith Howard, Hi-Fi News, Croydon (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)

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

    Marshall Nack, Positive Feedback (LS1)

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

    Aaron Gandia, Phat Planet Studios, Orlando (CC1)

  • 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)

  • 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)

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

    Tommy Zai, KVR, Phoenix (LevelView)

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

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