Items: 140

Broadcast monitoring solutions developer Vela Research has selected Grimm Audio’s LevelShow as loudness evaluation engine for its line of "ArgoNavis" multi-viewers. The Quad SDI systems allow operators to monitor and log four independent video streams, with up to eight channels of embedded audio.

Publisher Brieden Verlag surprised the German hifi scene with a large coffee table book about ’Legendary Loudspeakers’. Comparing all high quality loudspeakers of the 200 pages, author Robert Glückshöfer concluded about the LS1: "The most correct loudspeaker in the world: purely honest, neutral and still rousingly musical, the active Grimm Audio LS1 plays at a level, unknown of before."

Rhapsody Sound + Vison, our hi-fi dealer in Hilversum, selected the LS1 as ’Product of the year 2012’ during their ’Crisis? What Crisis?’ party. They write: "There is so much innovation in this loudspeaker that it’s too much to mention in this report. (...) you don’t need anything, no pre or power amp, just plug and play. And if you do that as a high end audio lover, you will be musically surprised."

The well known internet hifi magazine 6Moons has reviewed our LS1 with LS1s subwoofer set. Marja Vanderloo & Henk Boot auditioned them in their large listening room and became impressed. Their summary: "In the audiophile arena the LS1/LS1s operates in a class of one. For those looking after the exact sound of a recording, the Grimm solution cannot be beat. For the asking price one gets a ’guaranteed’ system with minimal tweakability and no guess work. Music played is what it is, not ‘photoshopped’, beautified or compromised." Which leads in their conclusion to: "With a Grimm system all the permanent unrest that comes with the hobby goes on hold. A great substitute for the terminal hardware anxiety becomes an equally obsessive hunt for software, be it CDs, LPs or DLs (downloads) from all over."

Studio Magazin reviewed the LS1 in 2010 but longed for another listen when the LS1s subwoofer was finished. Just like the first time, editor in chief Fritz Fey was totally blown away by the LS1’s sound quality. "Fantastic micro dynamics, extreme naturalness, wide extended spectrum, unforced mids - it is a joy to listen to great recordings with these loudspeakers and a pain to hear shortcomings revealed. Both are exposed with breathtakingly decided precision. (...) The LS1 with sub extension is the perfect loudspeaker for people that expect a merciless and highly precise rendering of the whole audible spectrum (and shouldn’t we all?). (...) Not something good, but something already exquisite has further been improved."

Dutch magazine Interface reviews our TPR cable. They quote Ronald Prent of Wisseloord Studios, who ordered TPR for all cabling in their facility: "The stereo image with TPR is perfect and one experiences that in the incedibly stable and small phantom image with mono signals. It’s like using a center speaker." Interface reviewer Marnix Bosman writes: "TPR is the first affordable cable I know of with the neutrality, transparency and speed of very expensive cables."

We offer a major update of our Loudness software suite. A new plugin was added that is designed especially for producers of short program material like commercials. LevelViewS follows the DAW’s transport movements and is the ideal tool to arrive at the target level swiftly. LevelViewS can be bought seperately as a price effective plugin, but comes with the main LevelView package as well. In this package you will now also find a standalone version of LevelView, that directly monitors your sound card inputs. A unique feature is the master/slave function that facilitates monitoring of another LevelView instance via a LAN or WAN network. Our batch normalizer LevelOne has also seen an interesting update: it now offers lossless MPEG 1 layer 2 normalization! Please check our web shop for trial versions of all programs.

Our LS1s stereo subwoofer extension to the LS1 digital loudspeaker system is now shipping. It effectively turns the LS1 into a three-way system, that offers more power and of course the bottom octave below 40 Hz. Demo’s at various shows have been very convincing so far.

The LS1 remote is finished. It offers the LS1 owner a convenient way to access LS1 parameters like volume, source selection, mute, and DIM. All functions are controlled with just one large metal dial. Wireless control is also possible using any generic IR handheld remote, the large white display can easily be read from a distance.

Our Belgium dealer iDeal Audio installed the gear, cabling and acoustics of the new studio of Little Major Mastering in Antwerp, Belgium. Owner Philip Opdebeeck is passionate about his Grimm Audio gear. About the LS1’s he says: "The transparency of the best digital sound, without the harshness, in combination with analog warmth, without the hiss and distortion. This is the best I’ve heard, and I’ve heard many mastering speakers." About the CC1: "Definitely turns every other master clock pale. Unique sound quality like ultimate musical timing and stability of tone." About TPR: "And Grimm did it again, making a cable that outperforms all the others providing an impressive stereo image and a stunningly accurate phantom center."


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

    Nigel Palmer, Audio Media, London (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 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)

  • 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)

  • 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)

  • A world class machine!

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

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

    Steve Hoffman, Audio Fidelity, Los Angeles (AD1)

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

    Marja Vanderloo & Henk Boot, 6Moons (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)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (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 love the speed, transparency and neutrality of this cable.

    Marnix Bosman, HVT, Nijmegen (TPM)

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

    Günther Pauler, Pauler Acoustics, Northeim (CC1)

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

    Marnix Bosman, HVT magazine, Baarn (CC1)

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

    Friedemann Kootz, Studio Magazin, Oberhausen (CC1)

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

    Alex Abrash, AA Mastering, New York (CC1)

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

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

  • 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)

  • 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)

  • 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)

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

    Keith Howard, Hi-Fi News, Croydon (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)

  • 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 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 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)

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

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

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

  • 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)

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

    Hiro, Pure Super Audio (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)

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

  • A fantastic experience to work with this device.

    Hein Dekker, producer for Channel Classics, Baarn (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)

  • I could not be more impressed.

    George Massenburg, McGill University, Montreal (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)

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

    Mark Conese, Ambient Records, Stamford (AD1)

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

    Hay Zeelen, Hay Zeelen Mastering, Amsterdam (CC1)

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

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

  • 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)

  • 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 didn't know clock influence was that big!

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

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

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (LS1)

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

    Al Pryor, Mack Avenue records, Hempstead (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)

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

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

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