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Our dealer Chattelin Audio Systems in The Hague introduces the “Master of Sound Events”. Their goal is to bring customers and partners even closer to the source of music. The premiere of these events will be on Saturday November 18th, with a Grimm Audio LS1be system. Special guest this evening is the internationally acclaimed mastering engineer Sander van der Heide who works at the legendary Wisseloord Studios in Hilversum. The evening includes a dinner. Please check Chattelin’s website for more information and reservations.

Rock solid clock2017, October 8

Dutch music production magazine Interface has a review of our CC2 master clock in its latest issue. Marnix Bosman writes: “I checked the CC2 in my studio in combination with various recent and older models of converters and interfaces. Except with one very expensive high end converter, I could always hear improvements in sound quality, varying from relatively subtle to very clear. (…) Are you someone who has an eye for detail and always likes to have the best results? Please consider the CC2. Even if your studio only has one converter device, the CC2 possibly offers a great improvement in sound quality for your recording and playback chain.”

Here we go again. For the Spanish Hifi magazine Revista On Off, Josep Armengol reviewed the LS1 plus LS1s subs. He writes:

 

“The transparency of the sound is tremendous. One could really think that you have the artists in front of you. Grimm's mission to eliminate the sound of the system and present just the original recording seems totally true. At the same time, if the system is fed with less than optimal recordings, the sound does not become unpleasant, which is often a problem with other studio monitors that can be too analytic.

 

The sub woofer is very well integrated, I even touched them to see if they were working. This is of course the ideal: that subwoofers perform their duty unnoticed. The set offers a well defined low end, rhythmic and deep, never exaggerated, in fact for some rock discs I added a dB of low end in the LS1 software just for fun. 

 

The magnificent Grimm LS1 boxes always seem to get the best out of a recording and let you enjoy the spirit of the music, but in a very different manner than - for example - a traditional system with valves, with a romantic sound. But even so you end up listening for long hours because you don’t feel any sign of fatigue. And along the way you discover details in discs that you thought you knew in depth. Noises from the studio, sheet music moving, fingers on instruments, whispers ... impressive how the Grimm’s unveil ‘everything’.”

We signed another great dealer in The Netherlands: Beter Beeld & Geluid in Hilversum. Garmt van der Zel and Bjorn Mateijsen are true specialists in active loudspeaker systems and had an eye on Grimm Audio for a long time. We are very happy that we could become partners now and welcome them to our growing group of sales points! To celebrate this occasion, we organize a special LS1a ‘surround’ event on October 28th. Jared Sacks of classical music label Channel Classics (long term AD1 and LS1 user) will come to Beter Beeld & Geluid in Hilversum and demonstrate his wonderful recordings on a surround set of five LS1a loudspeakers. If you like to attend this event, please use the facebook link below or contact Beter Beeld & Geluid directly. 

First LS1a review2017, September 29

The first review of our new LS1a is out. And what a review! Jaap Veenstra of Alpha Audio writes: 

“Once more Grimm shows the power of integration, the power of an active system. For €13000 the music lover buys himself an upgradable full range system. A system that lets the music just be itself. No sweetening, no added color… just pure music, pure enjoyment. We are honestly not able to assemble a component based system that performs better than this active system from Holland – by golly, what on earth is driving us audiophiles with all these separate boxes? We’re just crazy!”

In close cooperation with Grimm Audio, Radio Automation software developer Jutel developed an integral solution for loudness normalization in radio broadcasting. The Radioman and Quick Edit Pro products of the acclaimed software house from Finland are now fully EBU R128 compliant. More and more broadcasters adopt loudness normalization for radio broadcast. Eelco Grimm states: “Various tests showed that radio processors perform better when fed with loudness normalized program material. When the loudness of the source is better under control, processor settings can be optimized for the stations' identity sound. For services that that apply less processing, such as classical and jazz stations, loudness normalization is even a must. We are very happy that Jutel took this topic serious and consulted us for our LevelAPI software. Radioman is now one of the first radio broadcast systems where loudness normalization is an integral part of the whole workflow.”

The first customers who added loudness normalization to their RadioMan and Quick Edit Pro solutions include the Finnish public broadcaster YLE and Polish radio stations Radio Lublin, Radio PiK, Radio Bialystok and Radio Rzeszow. YLE Sound Designer Mikko Lohenoja comments: “Grimm Audio LevelAPI is fully integrated both in database saving and as a track/cliplist feature. It is working great.”

Jutel demonstrates Radioman and its loudness normalization features at the IBC exhibition in Rai, Amsterdam. Please visit them at booth 8.E91 in hall 8.

We signed a new premium hifi shop! Chattelin Audio Systems in Den Haag is a perfect match with Grimm Audio, they appeared to share the exact same vision on the future of high end audio. We are looking forward very much to working together, developing the market in The Netherlands. Prepare for some surprises soon... In the picture you see Peter Chattelin enjoying his demo pair of LS1be's. Please give him a visit and enjoy the wonderful sound in his large demo room too!

For those who love to have deep understanding of our unique DMF digital motional feedback subwoofer, we just published no less than four white papers by its designer Rob Munnig Schmidt: a tutorial about how loudspeakers work, an essay about why to avoid bassreflex designs, a white paper about acceleration based motional feedback subwoofers and a paper about how to actually realize an acceleration feedback subwoofer. Mark that math is not avoided, but no one can present those formulas so clearly like Rob.

Eelco Grimm wrote a “Recommendation for loudness normalization by Music Streaming Services”. This document is the summary of a large research project that Eelco conducted on 4.2 million albums of the Tidal database. A protocol was based on this analysis, which was then tested with 38 subjects. 80% of the subjects preferred the proposed normalization style, which is album normalization with the loudest track aligned to -14 LUFS. Eelco presented the results in a Special Event at the AES 142nd convention in Berlin on May 22nd. You can read the document in our white paper section.

Great News! We just opened our own web shop for the Grimm Audio hardware products. You can shop for cable assemblies of all sorts, clock products and tube microphone power supplies. Becoming a proud owner of Grimm Audio gear is just one click away...


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  • I could always hear improvements in sound quality

    Marnix Bosman, Interface, Amsterdam (CC2)

  • Grimm's mission to eliminate the sound of the system and present just the original recording seems totally true.

    Josep Armengol, Revista On Off, Madrid (LS1)

  • With the Grimm LS1 unexpected details appear in the recordings: nothing is hidden, and everything sounds delicious.

    Josep Armengol, Revista On Off, Madrid (LS1)

  • We are honestly not able to assemble a component based system that performs better than this active system from Holland.

    Jaap Veenstra, Alpha Audio, Haarlem (LS1a)

  • This is such an incredibly good speaker.

    Jaap Veenstra, Alpha Audio, Haarlem (LS1be)

  • I won't get my monitoring better than this. Mastering party all day, every day!

    Frederik DeJongh, Jerboa Mastering, Gent (LS1)

  • I want to congratulate you for making the best sounding, most phase linear, transient accurate, and all around beautiful speaker system on the planet

    Thaddeus Moore, Liquid Mastering, Eugene (LS1)

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

    Richard Chycki, Toronto (CC1)

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

    Günther Pauler, Pauler Acoustics, Northeim (CC1)

  • As it turns out, Truth equals Love.

    Timothy Roth, Positive Feedback (LS1)

  • A fantastic experience to work with this device.

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

  • I had a client ask why my mixes were so much better this week.

    John Davis, The Bunker Studio, New York (CC1)

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

    Philip Opdebeeck, Little Major Mastering, Antwerp (TPR)

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

  • My new studio is wired with TPR

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

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

    Dave Collins, Dave Collins Mastering, Los Angeles (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)

  • 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)

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

    Keith Howard, Hi-Fi News, Croydon (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 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 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)

  • 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)

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

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

    Gerd Hoppe, hifi enthusiast, Alicante (CC1)

  • Best sound of show, stunning, Meisterhaft.

    Theo Wubbolts, HVT magazine, Nijmegen (LS1)

  • Accurate, transparent and beautiful, that is the Grimm Audio LS1

    Jack Liu, AudioArt magazine, Taipei (LS1)

  • You must hear that! Absolutely!

    Fritz Fey, Studio Magazin, Oberhausen (LS1be)

  • Did Grimm Audio reinvent the loudspeaker?

    Bert Oling, Hi-fi Video Test, Nijmegen (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 was in the opportunity to hear your CC1 unit and I have to say INCREDIBLE!!

    Carlos Imperatori, Producciones Tumbador, Caracas (CC1)

  • 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)

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

    Nicholas Bedworth, Positive Feedback, Makawao (CC1)

  • 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)

  • The CC1 brings out a level of detail and clarity that I had dismissed as only possible with analog.

    John Davis, The Bunker Studio, New York (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 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)

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

    Marnix Bosman, HVT, Nijmegen (TPM)

  • 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 LOVE the clean transfer of your TPR cable. It´s like there´s no cable at all.

    George Tanderø, Mixing & Mastering, Oslo (TPR)

  • A world class machine!

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

  • This week we used the MP1’s with the M50s of my colleague. We were both astonished.

    Noah Scot Snyder, Los Angeles (MP1)

  • You will have to go to great lengths to find something that matches this sound quality for the same price.

    Roy Ervin Solstad, Stereo+, Oslo (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)

  • 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)

  • 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)

  • 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)

  • 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 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)

  • A great new day here with a relaxed and very detailed sound in the monitors and between all analog gear.

    Hudson Fair, Atelier HudSonic, Chicago (TPR)

  • Truly, this could be the last system you'll ever buy; an endgame solution.

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

  • 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)

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

    Marshall Nack, Positive Feedback (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 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)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (LS1)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (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)

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

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

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

    Al Pryor, Mack Avenue records, Hempstead (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)

  • 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 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 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)

  • 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 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)

  • The jury could only applaud.

    Joachim Pfeiffer, Audio Flatscreen Journal, Wuppertal (LS1be)

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

    Tommy Zai, KVR, Phoenix (LevelView)

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

    Steve Hoffman, Audio Fidelity, Los Angeles (AD1)

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

    Alex Abrash, AA Mastering, New York (CC1)

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

    Hiro, Pure Super Audio (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)

  • 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've played everything from Rammstein to chamber music on these speakers, and they eat everything raw.

    Roy Ervin Solstad, Stereo+, Oslo (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)

  • Total peace of mind

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

  • 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)

  • 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)

  • My most impressive upgrade so far!

    Puck Leek, Pucksound, Amsterdam (CC2)

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

    Jan Didden, Linear Audio, Turnhout (TPR)

  • Wow, what a difference...!

    Ronald Wanders, hifi enthusiast, Zeewolde (TPM)

  • Very impressive.

    Steve Hall, Future Disc, Los Angeles (AD1)

  • I’ve rewired my studio with TPR cable and I now bring some with me to recording sessions as well. It is extraordinary cable.

    Noah Scot Snyder, Los Angeles (TPR)

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

    Teresa Goodwin, Positive Feedback (AD1)

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

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

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

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

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1)

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

    Dieter Kahlen, Studio Magazin, Oberhausen (LevelView)

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

    Marnix Bosman, HVT magazine, Baarn (CC1)

  • 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 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)

  • The LS1be has a very beautiful low end, that not only goes to great depth, but is of exceptional pureness.

    Marnix Bosman, HVT magazine, Nijmegen (LS1be)

  • These dmf subs are insane! It took me 30 seconds to decide I had to buy them. Authoritative, open, tight, life-like, in one word: wow!

    Wessel Oltheten, Spoor 14, Boxtel (LS1s-dmf)

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

    Nigel Palmer, Audio Media, London (LS1)

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