Items: 146

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."

In their May/June issue, Positive Feedback features a review of three new SACD’s from Channel Classics: Beethoven, Schubert and Stravinsky, all with Ivan Fischer and the Budapest Festival Orchestra. Teresa Goodwin is clearly touched by the sound our AD1 made possible:
"Sonically all three Channel Classics SACDs are amazingly realistic, with plenty of excitement, beautiful and comfortable analog-like sound. The midrange is the smoothest and most natural sounding I’ve heard yet with digital. The high frequency percussion instruments have that exciting "zing" one hears with the best analog, which sometimes is a little lackluster with some DSD ADCs, and too etched with some PCM ADCs, the Grimm DSD and Channel Classics have captured a perfect balance between energy, liveliness and comfortable sound."

Erik Zobler reviewed our CC1 and became very enthusiastic: "The CC1 is a brilliantly designed piece of equipment. Every piece of gear that I plugged into it sounded better and more natural. (...)",When I closed my eyes and told myself to forget about all the perceived sonic differences and just pick the clock that “felt” better, I chose the Grimm. It was accurate, natural and solid. I know it’s cliché, but it just sounded more musical." Read the whole review at Mix Online’s website.

Grimm Audio once again exhibits at Europe’s largest music and professional audio show, the Frankfurter MusikMesse. Please come and have a look at our continuously expanding product line and have a chat with Guido Tent or Eelco Grimm. As core member of the EBU working Group PLOUD, Eelco is also one of your main sources on the Messe for information about the new broadcast loudness rules that come into effect in large parts of Europe this year. Please visit us at the Audio Import booth in Hal 5.1, stand B61.

In their March issue, German magazin Studio Magazin dedicates 6 pages to a review of our complete loudness suite: LevelView, LevelNorm and LevelOne. They were particularly charmed by LevelViews’ rainbow meter: "Much more than a single loudness figure, the rainbow meter invites to mix dynamically."


Share on your favorite social medium

headlines

  • 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)

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

    Aaron Gandia, Phat Planet Studios, Orlando (CC1)

  • 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 naturalness of the LS1 turns me on big time.

    Wolfram Eifert, AUDIOphile, Stuttgart (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)

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

    Nigel Palmer, Audio Media, London (LS1)

  • 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)

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

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

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

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

  • 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)

  • 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)

  • 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)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (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)

  • 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)

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

    Ronald Prent, Galaxy Studios, Mol (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)

  • 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 could not be more impressed.

    George Massenburg, McGill University, Montreal (LS1)

  • A fantastic experience to work with this device.

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

  • 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)

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

    Gerd Hoppe, hifi enthusiast, Alicante (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)

  • A world class machine!

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

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

    Marnix Bosman, HVT, Nijmegen (TPM)

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

    Marnix Bosman, HVT magazine, Baarn (CC1)

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

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

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1)

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (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)

  • Did Grimm Audio reinvent the loudspeaker?

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

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

    Steve Hoffman, Audio Fidelity, Los Angeles (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)

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

    Nicholas Bedworth, Positive Feedback, Makawao (CC1)

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

    Al Pryor, Mack Avenue records, Hempstead (LS1)

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

    Hiro, Pure Super Audio (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)

  • 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)

  • 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 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)

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

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

    Fritz Fey, Studio Magazin, Oberhausen (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 in the opportunity to hear your CC1 unit and I have to say INCREDIBLE!!

    Carlos Imperatori, Producciones Tumbador, Caracas (CC1)

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

    Dave Collins, Dave Collins Mastering, Los Angeles (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)

  • 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)

  • 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)

  • 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)

  • 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)

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

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

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

    Günther Pauler, Pauler Acoustics, Northeim (CC1)

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

    Alex Abrash, AA Mastering, New York (CC1)

Like or follow us on your social media