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We have a new dealer, in Sweden this time. Audio Concept is the meeting place for real music fans in Stockholm. Owner Robert Grubstad is very happy to meet you there and demo the LS1 music system.

The Netherlands' most prominent Hifi magazine "Hifi Video Test" wrote in their show report about our High End Munich demo with Native DSD Music the next phrase: "Imagine having missed the presentation of Native DSD and Grimm Audio. Five LS1's playing the masters of the masters (Daan van Aalst and Jared Sacks). Best sound of show, stunning, Meisterhaft.". In the picture: Daan van Aalst and Eelco Grimm.

We are honoured to inform you the broadcasting and recording teams that share the Concertgebouw studio in Amsterdam for their orchestral recordings selected the Grimm Audio LS1 as their surround monitor system. We developed a special edition of the LS1 with short legs so the speakers could be placed on top of the bass absorbers in the corners of the relatively small studio. Due to its small depth, the LS1 can easily be placed close to a wall, without the normally associated sound coloration. The result exceeds our highest expectations for sound quality in small rooms. Polyhymnia's Grammy winning producer Everett Porter: "We auditioned many different speakers for our Concertgebouw studio, and never found any we were really happy with. The Grimm Audio LS1's came in for a test, and we wouldn't let them leave! Detailed, transparent, dynamic, clean... Everything we were looking for. They're used for all of our Concertgebouw (SA)CD & Bluray productions, as well as hundreds of live radio and TV broadcasts per year."

There's four great new pictures available on our high-res photos download page: two of the Concertgebouw Amsterdam and two of the HKU University of the Arts Utrecht music production and postproduction studios. The acoustic design of the latter studios was done by Eelco Grimm, the music studio is pictured here.

We are happy to announce that WoodBrass DeLuxe has become our pro audio dealer in Paris. The sales manager of WoodBrass DeLuxe is Fred Perrin. He is very well informed about the Grimm Audio product line since he used to work for Jukebox, our former distributor in France. We are convinced that WoodBrass DeLuxe will offer our French clients a great place to shop for our products and for solid advice.

The LS1 has been awarded a 'Writers' Choice Award 2014' by Positive Feedback Online! Their reviewer Timothy Roth wrote:

"The Grimm LS1 is revolutionary on numerous fronts. In terms of flat frequency response, transient response, and correct phase, it measures better than any speaker ever made. It is also designed to bring the mastering studio, where the final creative decisions are made, and the living room together. They are groundbreaking in their price point and in bringing the entire audio chain together into a single tweak-proof system so that, when using a digital signal, nothing can color the sound. These speakers redefine the promise of "High Fidelity": they play back the pressure waves encoded on the record, nothing more, nothing less. But apart from the mind-blowing measurements, they are quite simply the most immersive, dynamic, detail-rich, nuanced, elegant, engaging, emotional, and musical speakers I have ever heard. Max Schlundt, of Kultur Technik, has boldly stated "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." I'll be even more bold: These are the best speakers on the planet. Period."

Wow, that's the greatest Christmas gift we could wish. We are very happy and proud!

We are happy to introduce LevelAPI, an OEM loudness tool for software developers. Manufacturers of radio and television broadcast automation systems are challenged to add loudness functionality to their products. With LevelAPI their time to market can be shortened considerably, not in the least because of the implementation support Grimm Audio offers them, including access to the deep knowledge about loudness normalization we have since Eelco Grimm is one of the key figures in the world wide loudness revolution. Our first customer for LevelAPI is Jutel Oy from Finland, who uses LevelAPI in their radio automation system Radioman.

We have started a "Made with Grimm Audio equipment" Spotify Playlist. Our professional audio customers are invited to let us know which albums they recorded, mixed or mastered using our equipment. Did you use TPR cables or a CC1 during your project? Or maybe an AD1 converter or the LS1 loudspeakers? Please let us know and we will share the album via our Spotify Playlist. You may send an email with the name of the album and artist to info@grimmaudio.com or let us know via facebook (https://www.facebook.com/grimmaudio). We can't wait to enjoy this list! Qeaux Qeaux Joans' The Ritual, recorded by Reyn Ouwehand with CC1, TPR and LS1 takes the lead...

DSD Myth white paper2014, November 11

In recent years the DSD audio format of SACD has seen a big revival in the form of high res downloads. We noticed there's a lot of confusion about the 1 bit DSD format. Debates about the virtues of '128fs' and '256fs' DSD often lack background knowledge of what is really going on inside the AD and DA converters. Eelco Grimm and Peter van Willenswaard wrote a 'DSD Myth' white paper to offer clarity in the discussion.

We are speechless with gratitude for the most incredible LS1 review ever written. Author Timothy Roth of Positive Feedback Online wrote an invitation to both music lovers and professional engineers to unite their worlds by embracing the LS1. In his words: "The LS1 brings the mastering studio into your room, which is a revolutionary paradigm shift. You hear the artists' intent rather than your system or your own personal preferences." This was exactly our original aim when we designed the LS1. Please read the full review to be swept up in his enthusiasm for the LS1: "As it turns out, Truth equals Love."


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  • 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)

  • 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)

  • 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)

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

    Allen Farmelo, Pink Noise magazine, Hopewell Junction (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)

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

    Jan Didden, Linear Audio, Turnhout (TPR)

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

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

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

    Al Pryor, Mack Avenue records, Hempstead (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)

  • A fantastic experience to work with this device.

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

  • 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)

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

    Philip Opdebeeck, Little Major Mastering, Antwerp (TPR)

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

    Marnix Bosman, HVT magazine, Baarn (CC1)

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

    Marnix Bosman, HVT, Nijmegen (TPM)

  • 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 could not be more impressed.

    George Massenburg, McGill University, Montreal (LS1)

  • A world class machine!

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

  • 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)

  • 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)

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

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

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

    Friedemann Kootz, Studio Magazin, Oberhausen (CC1)

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

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

    Steve Hoffman, Audio Fidelity, Los Angeles (AD1)

  • 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)

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

    Carlos Imperatori, Producciones Tumbador, Caracas (CC1)

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

    Tommy Zai, KVR, Phoenix (LevelView)

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

    Hay Zeelen, Hay Zeelen Mastering, Amsterdam (CC1)

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

    Teresa Goodwin, Positive Feedback (AD1)

  • 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)

  • 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)

  • 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 didn't know clock influence was that big!

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

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

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

  • Did Grimm Audio reinvent the loudspeaker?

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

  • As it turns out, Truth equals Love.

    Timothy Roth, Positive Feedback (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)

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

    Nigel Palmer, Audio Media, London (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)

  • 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)

  • 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)

  • 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)

  • 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)

  • 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 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 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)

  • 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 reviews I read are good, but to me what I experienced in our system was greater.

    Aaron Gandia, Phat Planet Studios, Orlando (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 won't get my monitoring better than this. Mastering party all day, every day!

    Frederik DeJongh, Jerboa Mastering, Gent (LS1)

  • 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 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)

  • 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)

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

    Nicholas Bedworth, Positive Feedback, Makawao (CC1)

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

    Wolfram Eifert, AUDIOphile, Stuttgart (LS1)

  • 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)

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

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

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (LS1)

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

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

  • 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)

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

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

  • Best sound of show, stunning, Meisterhaft.

    Theo Wubbolts, HVT magazine, Nijmegen (LS1)

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

    Richard Chycki, Toronto (CC1)

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

    Gerd Hoppe, hifi enthusiast, Alicante (CC1)

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

    Günther Pauler, Pauler Acoustics, Northeim (CC1)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (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)

  • This is the first plug-n-play, all-in-one, system with true high-end sound.

    Marshall Nack, Positive Feedback (LS1)

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1)

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

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

    Hiro, Pure Super Audio (AD1)

  • 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 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)

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

    Alex Abrash, AA Mastering, New York (CC1)

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

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