LevelView is a fascinating loudness metering system that is hard to go without once you try it.
Tommy Zai, KVR, Phoenix (LevelView)
Its job is so critical that I’d never settle for less.
Richard Chycki, Toronto (CC1)
The Grimm DSD and Channel Classics have captured a perfect balance between energy, liveliness and comfortable sound.
Teresa Goodwin, Positive Feedback (AD1)
I won't get my monitoring better than this. Mastering party all day, every day!
Frederik DeJongh, Jerboa Mastering, Gent (LS1)
This is the first plug-n-play, all-in-one, system with true high-end sound.
Marshall Nack, Positive Feedback (LS1)
Their natural sound and their unimposing, deep trueness kept overwhelming me and my colleagues.
Bernhard Rietschel, Editor in Chief of AUDIO, Stuttgart (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 larger improvement than I expected. The sound actually gains quality in all aspects.
Marnix Bosman, HVT magazine, Baarn (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)
TPR outperforms all the others providing an impressive stereo image and a stunningly accurate phantom center.
Philip Opdebeeck, Little Major Mastering, Antwerp (TPR)
It seems as if the musicians have more fun when they play music.
Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)
One for all and everything.
Fritz Fey, Studio Magazin, Oberhausen (LS1)
My audition of the LS1 was a transformative experience.
George Massenburg, McGill University, Montreal (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)
Grimm Audio enriches the Loudness Movement with exceptionally price worthy and designful tools.
Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)
After all these years I finally have a standard on which I can rely.
Al Pryor, Mack Avenue records, Hempstead (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)
The reviews I read are good, but to me what I experienced in our system was greater.
Aaron Gandia, Phat Planet Studios, Orlando (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)
I had expected a small sound improvement. What happened is just the opposite: I am very impressed.
Gerd Hoppe, hifi enthusiast, Alicante (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)
Steve Hall, Future Disc, Los Angeles (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 could not be more impressed.
George Massenburg, McGill University, Montreal (LS1)
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)
Truly a remarkable system, the equal or better of anything I've ever heard.
Dave Collins, Dave Collins Mastering, Los Angeles (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)
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's frequency response is unusually flat - indeed the flattest we've ever measured.
Keith Howard, Hi-Fi News, Croydon (LS1)
I buy and sell a lot of stuff, but the CC1 is not leaving the building.
Alex Abrash, AA Mastering, New York (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)
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)
Not something good, but something already exquisite has further been improved.
Fritz Fey, Studio Magazin, Oberhausen (LS1)
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)
The naturalness of the LS1 turns me on big time.
Wolfram Eifert, AUDIOphile, Stuttgart (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)
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 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)
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)
I had that feeling of an open window into sound, across a wide range of music styles.
Nigel Palmer, Audio Media, London (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)
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)
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'm in tears, listening to my own recordings.
Ben Zijlstra, Dutch Film & Television Academy, Amsterdam (CC1)
A fantastic experience to work with this device.
Hein Dekker, producer for Channel Classics, Baarn (AD1)
We are very impressed by the quality of this unit.
Günther Pauler, Pauler Acoustics, Northeim (CC1)
Sensational! I have never found this quality in any commercial AD converter.
Ronald Prent, Galaxy Studios, Mol (AD1)
The jitter measurement results of the CC1 were the best of all competitors.
Friedemann Kootz, Studio Magazin, Oberhausen (CC1)
I love the speed, transparency and neutrality of this cable.
Marnix Bosman, HVT, Nijmegen (TPM)
A world class machine!
Yasushi Hamase, Be-Tone Studio, Kanagawa-Ken (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)
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 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 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)
Suddenly and distinctly, there's a palpable increase in naturalness, extension and spaciousness.
Nicholas Bedworth, Positive Feedback, Makawao (CC1)
For those looking after the exact sound of a recording, the Grimm solution cannot be beat.
Marja Vanderloo & Henk Boot, 6Moons (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)
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)
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)
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 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 didn't know clock influence was that big!
Tim Vine-Lott, Air studios, 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)