Items: 141

From the Pure Super Audio blog: "As some of you know, Kevin Gray and I have been working on a bunch of wonderful Nat "King" Cole Capitol Records’ reissues for Acoustic Sounds/Analogue Productions over the past 1/2 year. (...) For us, in that situation, the Grimm AD1 DSD converter killed the [competitor]. It sounded exactly like the analog, both tone wise and ambiance wise. Very impressive." Steve Hoffman, Acoustic Sounds

Grimm Audio will celebrate its 5th anniversary at the 126th AES in Munich. And we are sure to have a party, because we will show two exciting new products! The first’near production’ units of the LS1 will be introduced, only one year after the prototype was presented. And we will have the Grimm Audio TPM high performance audio cable. Come and visit us at booth #1803.

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.

CC1's got hiphop fans2009, February 13

Dutch mastering engineer Sander van der Heijden posted an enthusiastic report on the CC1 in his blog. The hip-hop act he was working on were impressed by the improvement the CC1 offered to their sound and were equally intrigued by our’point on the i’ power led...

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!

From idea to a product in less than 6 months: our new mastering quality TPM cable has broken all development records! Be sure it does not mean the design was compromised in any way. The staggering quality of this product demonstrates the original concept appearantly was close to perfect.

We show the second LS1 prototype to the US at San Francisco’s AES. Please visit booth #1404 where Bruno, Eelco and Grimm Audio’s US distributor Mark Pappakostas will present not only the LS1 but also the MP1 in its beautiful new looks and of course the CC1 and AD1. Bruno enjoyed himself using Google Sketchup so we’d be sure everything would fit.

A CC1 has been used in a massive digital PA system in Gelredome stadium, Arnhem, The Netherlands. It served as sync master for a concert of Lionel Richie with the 'Symfonica in Rosso' orchestra of Guido Dieteren. On all 5 concerts the stadium was sold out with 30.000 people... 

The editorial team of German magazin’Studio Magazin’ did two large articles on word clocks and were impressed by the CC1 and our support. From part 1 (August 2008): "The Grimm CC1 offers a beautiful and precise sound, a pleasure to listen to." From part 2 (September 2008): "The jitter measurement results of the CC1 were the best of all competitors" (compared to Apogee Big Ben and Mutec iClock)

Sonicstate video2008, June 1

Guido and Eelco feature in an AES Amsterdam news items video by Sonicstate. We outline some aspects of our products, including the new LS1 loudspeaker. Enjoy!


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headlines

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

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

  • Did Grimm Audio reinvent the loudspeaker?

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

  • 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)

  • 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)

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

    Hay Zeelen, Hay Zeelen Mastering, Amsterdam (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)

  • 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)

  • A fantastic experience to work with this device.

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

  • 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)

  • 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 AD1 made the most realistic recording of my piano that I have ever heard. Incredibly realistic and involving.

    Mark Conese, Ambient Records, Stamford (AD1)

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

    Günther Pauler, Pauler Acoustics, Northeim (CC1)

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

    Carlos Imperatori, Producciones Tumbador, Caracas (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 didn't know clock influence was that big!

    Tim Vine-Lott, Air studios, London (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)

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

    Friedemann Kootz, Studio Magazin, Oberhausen (CC1)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

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

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

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

    Marnix Bosman, HVT magazine, Baarn (CC1)

  • 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 world class machine!

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

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

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

    Gerd Hoppe, hifi enthusiast, Alicante (CC1)

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

    Nicholas Bedworth, Positive Feedback, Makawao (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)

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