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Over the years the LS1 has seen some significant improvements, reason why the current LS1 sounds better than the LS1 from a couple of years back. We also introduced a new flagship product recently, the LS1be. Whenever we improve our products, we ensure our existing custromers can profit too. So we like to offer them the option to update their LS1 to the current level or even upgrade their LS1 to the level of the LS1be! Please read the linked brochures and contact your dealer for more information.

We are delighted to present yet another review that sings the praise of the LS1. The experienced editor in chief Jack Liu of the Taiwanese magazine Audio Art was highly impressed by the performance of the LS1 and offered it the full score on all 20 evaluation points! Some excerpts from his poetic text:

 

“I listened to a cello and piano recording from the album ‘Antonio Lysy at the Broad: Music From Argentina’. The LS1 reproduction of this cello and piano piece has two very charming aspects: the sound quality is both very beautiful and very true to life. Actually these two qualities describe the main character of the LS1 very well. And tell me, is there anything more desirable than to have a beautiful and sweet sound? And what is more exciting than a playback that almost sounds like reality?”

“To listen to some pop music, I selected Lorna Hunt’s "All in One Day." The LS1 performance again made me cheer of joy, because the drum sound was elastic, solid and clean, the guitar was crisp, sweet and delicate, and Hunt's voice sounded natural in a loose way, without any exaggeration. In my experience, such an open, relaxed character can normally only be found with big loudspeakers.“

“There was no audible compression at all, everything sounded open without any clutter, the frequency balance was perfect, down to very low frequencies. This is only a three driver system in a very small enclosure but the large-scale orchestral music performance was so real. Forgive me my ignorance, but this is the first time I heard a playback like that. In particular, the orchestral brass texture was very realistic, with proper weight.“

“As a final, I played Tchaikovsky's Fifth Symphony by the Russian National Orchestra with Pletnev as conductor. After listening, I saluted the LS1. Maybe very large speakers can offer even more impact, but that ultra-high resolving power, the clear presentation of musical layers, the very beautiful and musical sound, the very real texture, the amazingly fast transient response, the direct and non-fogged transparency, and the nailed down positioning of the instruments, leave the listener gasp in admiration.“

“Accurate, transparent and beautiful, that is the Grimm Audio LS1.”

We received an impressive testimonial from LS1 customer Thaddeus Moore, that we love to share with you:

"I want to congratulate you for making the best sounding, most phase linear, transient accurate, and all around beautiful speaker system on the planet. I’ve only had the opportunity to be in front of them for a short while and have had the best listening experiences of my life. Thank you for all the work you and your team have put into these. I have already made better, faster decisions in my mixes, and have had more confidence in delivering my masters. 

You should code name the LS1 "Red Pill". Because once you have them you can't go back into the matrix of illusion…"

Thaddeus Moore, Liquid Mastering, Eugene

We have another rave review for the LS1, this time in the Norwegian magazine “Stereo+” (does the LS1 have the world record for 5 star reviews by now?). Look at what Roy Ervin Solstad has to say about the LS1:

“Grimm shows that it is worth lending an ear to the pros. They know what they're doing.”

"From the beginning, the thing that impresses most is the Grimm LS1's ability to disappear completely. The sound stage is extremely homogeneous without any flaws, and the holographic precision of the sound is exemplary. Musicians and singers are nailed in a wide and deep sound stage."

"One can turn up the volume to obscene levels without any kind of trouble. Never before have I feared that a speaker would dislodge the floorboards of my living room. It is simply the craziest full range level I have ever experienced at home. And this with complete control, definition and resolution."

"The whole thing is so clean, and without a single audible blemish, not even from the room. They're definitely not the kind of tool for those who enjoy tuning their system in one direction or another. These speakers are basically designed for monitor use in a studio. They show everything the way it is recorded, and that is precisely what you hear when you have them in your living room. For such a precision instrument, it is no surprise that the sound balance is extremely neutral. But at the same time the wonderful openness is enchanting. There is so much space around all instruments and voices, that I can not remember ever hearing it better."

"I've played everything from Rammstein to chamber music on these speakers, and they eat everything raw. It is only what you feed this setup that determines what you get out at the other end."

"You will have to go to great lengths to find something that matches this sound quality for the same price. What more can one wish for."

At the Munich High End show Grimm Audio will introduce three new products. The most prominent novelty is the LS1be. This top class music playback system features a new ultra light Berylium tweeter with a CNC milled aluminium waveguide, jointly developed by Grimm Audio and Seas. We selected Hi-Macs for the new cabinets, a modern and very rigid material, and it looks great too! 

For the low end we added the new LS1s-dmf subwoofer. Mechatronics expert Rob Munnig Schmidt developed a Digital Motional Feedback system that, by means of feedback from an accelerometer on the cone, reduces distortion by a staggering 30 times. This leads to a clean, tight and natural bass that is the perfect partner for the delicacy and precision of the Berylium tweeter. The full LS1be system brings the listener again closer to an experience of total transparency, which is our company’s ultimate goal.

To bring the LS1 quality to a broader audience, Grimm Audio introduces the LS1a. This is a more cost effective sibling of the LS1, where the company focussed on maintaining all important aspects that make the LS1 sound so special, and compromising only in areas where this was passable.

Dutch online hifi magazine “Alpha Audio” did a shoot-out review of interlinks. TPR was ranked as ‘The Best’. “The sound stage renders almost holographic with a very high precision and spaciousness, as if there is no cable at all. (…) Localisation of instruments is precise and vocals are spot-on in the centre. (…) This interlink really let’s you hear everything in the music and does not mask a thing.”

The online resource "Pink Noise magazine" did an extensive article about "The future of clocks" and quoted our jitter white papers in various parts. They now added a review of our CC1 master clock and were extremely enthusiastic about its quality: "Quick summary: Allen bought one immediately!  This clock is incredible. The detail and imaging from it are superior to anything we heard, and the overall “relaxed” sound of the playback was as close to analog tape (read: jitter-free) as anything we’d tried. The Grimm CC1 didn’t make the music sound as aggressive and forward as the Antelope clocks, and that was a huge plus, because what you get instead is unparalleled depth and detail, as well as a feeling of “calm” that none of the other clocks provided.  Of course, the CC1 is simply a clock with no conversion available (like the Cranesong HEDD), but it seems there is something to be said for a dedicated clock, as whatever Grimm has done inside the CC1 is topping an elite class of options as a price less than half of some of the other offerings. Hands down, the CC1 was our preference."

The online pro audio magazine AudioTechnology, Issue 27, features an interview with John Hanlon who is longtime producer of Neil Young. In the article about recording Young’s latest album “The Monsanto years”, Hanlon talks about selecting a clock for the recording:

“When we use digital, Neil wants to go to the highest resolution available. We have done listening tests, and 192k sounds great, though it does depend on having a good clock. We have used the Apogee Big Ben, which I think is very musical, and I checked out the Antelope, Rosendahl Nanosync, Aardvard Aardsync and the new Pro Tools clock, and they’re all really good. We did a shoot-out and went with the Grimm Audio CC1, because it sounded the best with 24 bit / 192k and the new Avid HD I/O converters.”

We signed a new distributor, Duet Audio in Oslo. Owner Erik Becklund is known for selecting audio brands that excel both in sound quality as well as design and he was delighted to add Grimm Audio to his catalog. Duet Audio will distribute our hifi products in Norway.

New software webshop2016, February 4

We have great news for you about the Grimm Audio loudness compliance software tools. We decided to work more closely together with our software development partner BeatRig and therefore we moved the sales of our software to their new and modern webshop. A big improvement is that all software activation, installation and updating is now managed by the BeatRig License Manager. It also provides a de-authorise function so you can easily move your licenses to a new computer. 

The most prominent difference you will note is that we lowered our prices. Loudness is no longer for the elite. We believe high quality loudness products should be available to everyone. Therefore we now offer EBU/ATSC compliant meters starting at an amazing 35 euro…


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

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

  • Wow, what a difference...!

    Ronald Wanders, hifi enthusiast, Zeewolde (TPM)

  • Total peace of mind

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

  • 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)

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

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

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

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

    Günther Pauler, Pauler Acoustics, Northeim (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)

  • 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)

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

    Bernhard Rietschel, Editor in Chief of AUDIO, Stuttgart (LS1)

  • 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)

  • 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)

  • 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)

  • 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)

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

    Jan Didden, Linear Audio, Turnhout (TPR)

  • 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)

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

    Friedemann Kootz, Studio Magazin, Oberhausen (CC1)

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

    Wolfram Eifert, AUDIOphile, Stuttgart (LS1)

  • 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)

  • 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 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)

  • As it turns out, Truth equals Love.

    Timothy Roth, Positive Feedback (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)

  • 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)

  • 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)

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

    Marnix Bosman, HVT, Nijmegen (TPM)

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

    Richard Chycki, Toronto (CC1)

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

    Roy Ervin Solstad, Stereo+, Oslo (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)

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

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

  • 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)

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

    Marja Vanderloo & Henk Boot, 6Moons (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)

  • 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)

  • 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)

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

  • 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)

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

    Alex Abrash, AA Mastering, New York (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)

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

    Hiro, Pure Super Audio (AD1)

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

    Philip Opdebeeck, Little Major Mastering, Antwerp (TPR)

  • 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)

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

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

    Nigel Palmer, Audio Media, London (LS1)

  • A world class machine!

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

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (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)

  • I could not be more impressed.

    George Massenburg, McGill University, Montreal (LS1)

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

    Frederik DeJongh, Jerboa Mastering, Gent (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)

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

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

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

    Al Pryor, Mack Avenue records, Hempstead (LS1)

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

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

  • 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)

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

    Jack Liu, AudioArt magazine, Taipei (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)

  • 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)

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

    Gerd Hoppe, hifi enthusiast, Alicante (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)

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

    Steve Hoffman, Audio Fidelity, Los Angeles (AD1)

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

    George Tanderø, Mixing & Mastering, Oslo (TPR)

  • 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)

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

    Teresa Goodwin, Positive Feedback (AD1)

  • 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)

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

    Ronald Prent, Galaxy Studios, Mol (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 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)

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

    Hay Zeelen, Hay Zeelen Mastering, Amsterdam (CC1)

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

    Nicholas Bedworth, Positive Feedback, Makawao (CC1)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (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)

  • 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)

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

    Carlos Imperatori, Producciones Tumbador, Caracas (CC1)

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

    Marnix Bosman, HVT magazine, Baarn (CC1)

  • A fantastic experience to work with this device.

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

  • 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)

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

    Tommy Zai, KVR, Phoenix (LevelView)

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