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

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."

German EinsNull magazin reviewed the LS1 and digged really deep into all details. They were stunned by the LS1’s performance. Editor in chief Christian Rechenbach wrote: "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."

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

Classical Music sound recordist John Newton, famous for his work with Boston Symphony Orchestra, bought the first two MP1’s that came out of the factory. Newton said: "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."

For the first time we will share the booth at the AES convention with our new US distributor Grace Design. We are very much looking forward to this event! To celebrate there will be many products that experience their US premiere, like the LS1s subwoofer prototype, TPR single and multichannel cable, and the LevelNorm loudness normalizing software for Avid workstations. Also new on show are production units of the LS1 remote and the MP1. You are most welcome to visit us at booth #355.

LS1s subwoofer2011, October 10

The New Music hifi show in Brussels premiered our LS1s subwoofer extension for the LS1. The audience received it very well. Three men were caught with tears in their eyes, some stayed for an hour listening to the impressive playback of large orchestral work. The new sub did not add ’more base’ to the LS1, but instead offered an improved mid and even high end, big and effortless impact (concert drum!) and a very high realism. The prototype shown here has a grey colour, the production version that is to be released in a few months will have black finish.

At the third ’New Music’ hifi show in Brussels, Belgium, Grimm Audio will be present in demo room 238 of our Belgium distributor iDeal Audio. We offer demo’s and work shops by Bruno Putzeys, Guido Tent and Bart van der Laan about the LS1 speaker, CC1 master clock and TPM cable.

Eelco Grimm was invited to give a lecture about the LS1 at the Nordic Sound Symposium, the small and friendly Norwegian conference where Scandinavian Audio Engineers gather for three days "to drink together" as the old greek denotation of the word Symposium is, and enjoy a very nice series of lectures on top of that.

Sound on Sound published a short review of the CC1 master clock. Although the author praised the build quality of the unit, he also noted that he could not hear any improvement in the sound of his setup. Unfortunately he did not mention that he prefers converters with high jitter attenuation on their clock input. This encouraged us to write a manufacturers comment that will be published in the November 2011 issue of Sound on Sound. Below is a link to both the article and the comment.


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

    Marja Vanderloo & Henk Boot, 6Moons (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)

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

    Hiro, Pure Super Audio (AD1)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (LS1)

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

    Günther Pauler, Pauler Acoustics, Northeim (CC1)

  • 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)

  • 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)

  • 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)

  • Did Grimm Audio reinvent the loudspeaker?

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

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

    Carlos Imperatori, Producciones Tumbador, Caracas (CC1)

  • A world class machine!

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

  • A fantastic experience to work with this device.

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

  • 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)

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

    Gerd Hoppe, hifi enthusiast, Alicante (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)

  • 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)

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

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

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

  • 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)

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

    Al Pryor, Mack Avenue records, Hempstead (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)

  • 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)

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

    Keith Howard, Hi-Fi News, Croydon (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)

  • 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)

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

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

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

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

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

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

    Steve Hoffman, Audio Fidelity, 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)

  • 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)

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

    Marnix Bosman, HVT magazine, Baarn (CC1)

  • 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 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)

  • 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)

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

    Nicholas Bedworth, Positive Feedback, Makawao (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)

  • 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)

  • 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)

  • I could not be more impressed.

    George Massenburg, McGill University, Montreal (LS1)

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

  • 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 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)

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