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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.

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."

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."

In their ’Top sector’ pages, the Feb 29th edition of Dutch financial newspaper "Het Financieele Dagblad" puts the high tech audio sector in the spotlight. Grimm Audio is showcased next to Durob Audio and Kharma as an example of extremely high quality audio for a sensible price.

Proudly introducing: LevelView! After many months of hard work, we are very happy to show you our new software product: a realtime loudness meter plugin for VST, AU and RTAS on both Mac and PC. It features a unique Rainbow meter, based upon the ’Bendy Meter’ concept of BBC Research. Beta testers all reported they became addicted in no time...

Toonkamer spring show2012, February 6

We are very honoured that the Dutch ’Toonkamer’ collective of 30 famous Dutch interior design brands offered us a guest exposition for two months. The Toonkamer in Utrecht shows the latest collections of the affiliated brands like Pastoe and Gelderland in a former 5000m2 furniture factory. On February 6th and 13th Eelco Grimm will be present at the Toonkamer spring show.

HiFi-Tage Hamburg2012, February 4

Grimm Audio’s Guido Tent will join our German distributor Audio Import at the HiFi-Tage in Hamburg. This nice hifi show in the Northern part of Germany is organized by Wolfgang Borchert of HiFi Studio Bramfeld, a well known dealer for our German customers. Please come and enjoy the LS1 with our prototype LS1s subwoofers in the Holiday Inn Hamburg, Room 1512, February 4th & 5th.

Our Belgium distributor iDeal Audio organizes a ’Meet the Designer’ workshop in Belgiums’ famous ’Motor Music’ studio in Mechelen. Eelco Grimm will have two sessions with lectures and demonstrations about clocking. Both students and professional engineers are welcome.

The January issue of Dutch musicians and producers magazine ’Interface’ featured a ’favorite equipment’ list of their authors. Wessel Oltheten selected the LS1 because "This powered monitor has helped me improving my mixes, more than any other piece of equipment in my studio." By the way, Colin Benders (’Kyteman’) who is pictured on this editions’ front page, proudly owns a Grimm Audio AD1...

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

    Nigel Palmer, Audio Media, London (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)

  • 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 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)

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

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

    Marnix Bosman, HVT, Nijmegen (TPM)

  • A fantastic experience to work with this device.

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

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

    Keith Howard, Hi-Fi News, Croydon (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)

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

    Hay Zeelen, Hay Zeelen Mastering, Amsterdam (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 a larger improvement than I expected. The sound actually gains quality in all aspects.

    Marnix Bosman, HVT magazine, Baarn (CC1)

  • Did Grimm Audio reinvent the loudspeaker?

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

  • 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)

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

    Günther Pauler, Pauler Acoustics, Northeim (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)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

    Friedemann Kootz, Studio Magazin, Oberhausen (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)

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

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

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

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

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

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1)

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

    Al Pryor, Mack Avenue records, Hempstead (LS1)

  • 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)

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

    Fritz Fey, Studio Magazin, Oberhausen (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 buy and sell a lot of stuff, but the CC1 is not leaving the building.

    Alex Abrash, AA Mastering, New York (CC1)

  • 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)

  • 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 could not be more impressed.

    George Massenburg, McGill University, Montreal (LS1)

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

  • A world class machine!

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

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

    Steve Hoffman, Audio Fidelity, Los Angeles (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)

  • 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 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)

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (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)

  • 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 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)

  • 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)

  • 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)

  • 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)

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

    Nicholas Bedworth, Positive Feedback, Makawao (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)

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

    Carlos Imperatori, Producciones Tumbador, Caracas (CC1)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (LS1)

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

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

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