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)
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)
Grimm Audio enriches the Loudness Movement with exceptionally price worthy and designful tools.
Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)
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 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 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)
A fantastic experience to work with this device.
Hein Dekker, producer for Channel Classics, Baarn (AD1)
Steve Hall, Future Disc, Los Angeles (AD1)
I had expected a small sound improvement. What happened is just the opposite: I am very impressed.
Gerd Hoppe, hifi enthusiast, Alicante (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 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'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)
After all these years I finally have a standard on which I can rely.
Al Pryor, Mack Avenue records, Hempstead (LS1)
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)
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 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)
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)
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)
Sensational! I have never found this quality in any commercial AD converter.
Ronald Prent, Galaxy Studios, Mol (AD1)
I'm in tears, listening to my own recordings.
Ben Zijlstra, Dutch Film & Television Academy, 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 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)
This is a larger improvement than I expected. The sound actually gains quality in all aspects.
Marnix Bosman, HVT magazine, Baarn (CC1)
One for all and everything.
Fritz Fey, Studio Magazin, Oberhausen (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)
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 LS1's frequency response is unusually flat - indeed the flattest we've ever measured.
Keith Howard, Hi-Fi News, Croydon (LS1)
The jitter measurement results of the CC1 were the best of all competitors.
Friedemann Kootz, Studio Magazin, Oberhausen (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)
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)
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)
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)
We are very impressed by the quality of this unit.
Günther Pauler, Pauler Acoustics, Northeim (CC1)
A world class machine!
Yasushi Hamase, Be-Tone Studio, Kanagawa-Ken (AD1)
I was in the opportunity to hear your CC1 unit and I have to say INCREDIBLE!!
Carlos Imperatori, Producciones Tumbador, Caracas (CC1)
Suddenly and distinctly, there's a palpable increase in naturalness, extension and spaciousness.
Nicholas Bedworth, Positive Feedback, Makawao (CC1)
Did Grimm Audio reinvent the loudspeaker?
Bert Oling, Hi-fi Video Test, Nijmegen (LS1)