Items: 140

For those who love to have deep understanding of our unique DMF digital motional feedback subwoofer, we just published no less than four white papers by its designer Rob Munnig Schmidt: a tutorial about how loudspeakers work, an essay about why to avoid bassreflex designs, a white paper about acceleration based motional feedback subwoofers and a paper about how to actually realize an acceleration feedback subwoofer. Mark that math is not avoided, but no one can present those formulas so clearly like Rob.

Eelco Grimm wrote a “Recommendation for loudness normalization by Music Streaming Services”. This document is the summary of a large research project that Eelco conducted on 4.2 million albums of the Tidal database. A protocol was based on this analysis, which was then tested with 38 subjects. 80% of the subjects preferred the proposed normalization style, which is album normalization with the loudest track aligned to -14 LUFS. Eelco presented the results in a Special Event at the AES 142nd convention in Berlin on May 22nd. You can read the document in our white paper section.

Great News! We just opened our own web shop for the Grimm Audio hardware products. You can shop for cable assemblies of all sorts, clock products and tube microphone power supplies. Becoming a proud owner of Grimm Audio gear is just one click away...

Dominik Schumacher has sold many LS1 systems at Studio für Aktiven Hörgenuss in Essen. Now he has started his own company, based both in Hamburg and Essen: “Schumacher - The Sound of Science”. Dominik limits his selection of brands to those that strive to reach audiophile transparency via scientific means. For customers in Germany that like to get solid advice about integrating LS1’s optimally in their living room, he is one of the best dealers available. Schumacher has both an LS1be and LSa set on demo.

We are happy to announce the kick-off of a social media campaign that puts our customers in the spotlight! Grimm Audio is run by people who are passionate about music and audio. We are driven to realize our dreams about increasing the quality of the musical experience. Nothing feels as good as when we see people using our products to realize their own dreams. Recently we realized that sharing their enthusiasm would be a wonderful application of the social media. So we will regularly share and re-tweet posts of our customers that reflect their dreams. Moments of great enthusiasm about music, musicians, recordings, and anything related to that. And we will then also like selected posts of people who feel the same. In short: #WeShareYourPassion.

 

The first shared post was about the wonderful album "Kavkasia" of Minco Eggersman that was recorded with TPR cable and mixed and mastered with LS1's, CC2, and TPR by Jan Borger. Our second shared post pictures famous tenor Jonas Kaufman in a video about his new recording of Mahler's Das Lied von der Erde. The video was made in his living room, where his privately owned LS1's are clearly visible in the background. 

In their May issue, the German high profile magazin Audio Flatscreen Journal (of former ‘Audio’ editor-in-chief Joachim Pfeiffer) published a review of the LS1be: “A fairytale come true”. The LS1be is ranked highest of all speakers tested to date. In their words: 

 

“‘Unbelievable’ collegue Patrick Boch sighed, who could not stop to enjoy his Tidal playlist on the Grimm’s.” (…) “The real surprise for the listing team however came in the next session: we connected our analogue reference chain, consisting of turntable Transrotor Rondino, Audio Research Phono Reference 10 and Cello Audio Suite, to the analog input of the LS1be. Still going strong? You bet! The outstanding Grimm LS1be rendered the analog master source so relaxed, transparent, emotionally involving, and simply: correct, that the jury could only applaud.”

LS1be a must hear2017, April 6

Fritz Fey of Studio Magazin in Germany was totally blown away when he reviewed the LS1be. Please taste a bit of his enthusiasm in our English translation of the summary of a 6 page review with the compelling title “The better is the enemy of the good”:

 

“The LS1be provides an absolutely authentic, complete and uncolored image of your work, which makes you make any decision quickly, safely, and effortlessly.” (…) “A loudspeaker of this quality level is very hard to match, let alone to beat. This is without doubt the Olympus of authentic sound imaging. The Motional Feedback subwoofer (or rather: LS1 low frequency extension) deserves a special mention. A low frequency performance with a precision and clarity like this may without hesitation be called unique. I could hardly believe that such an improvement in the low frequency rendering of sounds was possible at all. The performance of this system is beyond any doubt. You must hear that! Absolutely!”

LevelOne has been the industries’ standard desktop loudness normalizer for years. After years of innovation it is now time for the biggest update to date: Version 2.

 

LevelOneV2 has been rebuild from the ground up. Of course it still offers fast drag and drop loudness analysis and processing of files and folders, in compliance with the EBU R128 and ATSC A/85 recommendations. But on customer demand we added a few very exciting features. First of all a True Peak Limiting function to enable automatic normalization even for programs that peak too high. We also added ‘hot folders’, normally only found in much more expensive products. Files that are added to these folders will automatically be analyzed or processed, according to the stored hot folder preference. This is a very powerful feature that offers perfect integration of LevelOneV2 in your work flow. The third improvement is that we added FFmpeg compatibility, and therefore many more file formats (like MXF) are now supported.

 

LevelOneV2 has been developed in cooperation with our loudness software partner BeatRig. Please check out the full feature set and obtain a free demo at the webshop.

Dutch leading hifi magazine HVT did a review of the LS1be. Marnix Bosman was seriously impressed. He writes about a particularly difficult reference track of him, Miserere of Arvo Pärt by the Hilliard Ensemble: “With many systems the result is a severe mash-up, caused by distortion and coloration. With the LS1be the sound image stays airy and tack sharp. A great strength is the speed and immediacy of the playback. It also has a very beautiful low end, that not only goes to great depth, but is of exceptional pureness. Dry and fast with lots of detail and definition. Big drums or low organ registers become super impressive. A lot of fun can be had with electronic bass lines, that go to unexplored depths. The new sub plays effortlessly whatever you throw at it.”

His conclusion is: ‘Listen to the source’. “The LS1be is one of the few loudspeakers that present the listener unrestrictedly what the producers of the music intended to express. The LS1be does not add anything. No sweetening, no effects, but pure transparency, that’s the LS1be. The LS1be is not just a loudspeaker, it is a complete playback system. Combined with an arbitrary source an LS1(be) brings everything into your living room that’s needed to enjoy the recording of a musical performance in its purest form.”

The LS1be was selected by Jaap Veenstra of Alpha Audio as his personal "pick of the year" and it therefore received an "Alpha Audio Approved" Award! Jaap's verdict in translation: "The Grimm LS1be (had impact) because of the unprecedented truthfulness, without being lifeless or unemotional. The Grimm even went so far to give rise to tears during the listening session. That does not happen so often these days."

 


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  • You must hear that! Absolutely!

    Fritz Fey, Studio Magazin, Oberhausen (LS1be)

  • 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)

  • 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)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

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

    Tommy Zai, KVR, Phoenix (LevelView)

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

    Allen Farmelo, Pink Noise magazine, Hopewell Junction (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)

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

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

  • 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)

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

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

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

    Marnix Bosman, HVT magazine, Baarn (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)

  • 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)

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

    Tim Vine-Lott, Air studios, London (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)

  • 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)

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

    Günther Pauler, Pauler Acoustics, Northeim (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)

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

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

  • 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)

  • 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)

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

    Teresa Goodwin, Positive Feedback (AD1)

  • Best sound of show, stunning, Meisterhaft.

    Theo Wubbolts, HVT magazine, Nijmegen (LS1)

  • Did Grimm Audio reinvent the loudspeaker?

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

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

    Hiro, Pure Super Audio (AD1)

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

    Carlos Imperatori, Producciones Tumbador, Caracas (CC1)

  • Total peace of mind

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

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

    Wolfram Eifert, AUDIOphile, Stuttgart (LS1)

  • Wow, what a difference...!

    Ronald Wanders, hifi enthusiast, Zeewolde (TPM)

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

    Gerd Hoppe, hifi enthusiast, Alicante (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)

  • 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)

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

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

    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)

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

    Steve Hoffman, Audio Fidelity, Los Angeles (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)

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

    George Tanderø, Mixing & Mastering, Oslo (TPR)

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

    Roy Ervin Solstad, Stereo+, Oslo (LS1)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (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 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)

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

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

    Jan Didden, Linear Audio, Turnhout (TPR)

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

  • 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)

  • 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)

  • 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)

  • As it turns out, Truth equals Love.

    Timothy Roth, Positive Feedback (LS1)

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

    Richard Chycki, Toronto (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)

  • 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)

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

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

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

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

  • I could not be more impressed.

    George Massenburg, McGill University, Montreal (LS1)

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

    Fritz Fey, Studio Magazin, Oberhausen (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)

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

    Alex Abrash, AA Mastering, New York (CC1)

  • 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)

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

    Jack Liu, AudioArt magazine, Taipei (LS1)

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

    Philip Opdebeeck, Little Major Mastering, Antwerp (TPR)

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

    Nicholas Bedworth, Positive Feedback, Makawao (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)

  • 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)

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

    Friedemann Kootz, Studio Magazin, Oberhausen (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)

  • 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 world class machine!

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

  • 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)

  • 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)

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1)

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

    Frederik DeJongh, Jerboa Mastering, Gent (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)

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

  • 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'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)

  • 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)

  • 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)

  • A fantastic experience to work with this device.

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

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

    Nigel Palmer, Audio Media, London (LS1)

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

    Al Pryor, Mack Avenue records, Hempstead (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)

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

    Marnix Bosman, HVT, Nijmegen (TPM)

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