Items: 151

Cable assemblies are available in many different types. One can easily get lost in the woods, especially when interfacing unbalanced and balanced equipment, or using sub-D connectors for analog or digital audio. As a service to our cable assembly customers, we wrote an extensive document that shows the standard pinouts and wirings of the various connectors and interfaces that we support in our TPR cable web shop. The writing took quite some effort, but we are glad to see that the document has become a pretty decent reference. We hope you enjoy it!

We are thrilled to show you the first short movie we produced at Grimm Audio. It is a portrait of Wessel Oltheten, a well known mix engineer in The Netherlands. Wessel relies on Grimm Audio LS1be loudspeakers with DMF motional feedback subwoofers for his mix decisions. It took him “30 seconds to decide I had to buy the DMF subwoofers”, as he told us. Please enjoy to see him at work in his well equipped studio in Boxtel, The Netherlands.

As a happy coincidence Wessels wonderful book “Mixing with Impact” has just reached the shops in an English translation. With our movie we toast to an international successful career, cheers Wessel!

And a big Thank You to everybody who made this movie possible: Bart Jilesen, Jochem Bakker and Rik Meier.

Find us on Pinterest2018, February 22

Pinterest is very popular with people who look for inspiration to enhance their life and living. Since we have a growing set of beautiful LS1 pictures in studios and living rooms, we decided to join Pinterest so our photos will add some inspiration to the moodboards... Enjoy!

We are thrilled to introduce to you our new Grimm Audio partner for the Asian market: Kent Poon of Square Wave Ltd. Kent is in the audio business for a very long time. He is a well known producer and sound engineer in Hong Kong, but many people also know him from his long term sales activities for Weiss Engineering and many other brands. In the past decade Kent Poon has broadened his sales network to also cover high end hifi and this makes him a natural match with Grimm Audio. His LS1be demo set will soon arrive at his office in Hong Kong, so please order a demo with him to celebrate the Chinese new year!

High res download shop Native DSD receives many questions about the oversample rate of DSD: 64fs, 128fs, 256 fs or even higher. Bigger numbers always seem better, but Native DSD claims that in the end the most important thing is not the oversampling rate but the quality of the recording converter in the audio band. To offer their customers an opportunity to listen to all these differences themselves, they made parallel recordings with the Grimm Audio AD1 and a competitor and also offer various oversampling rates of these files, made in postproduction. A very interesting listen. 

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.


Share on your favorite social medium

headlines

  • Grimm products have that typically Dutch sound character that I love: warm but clear.

    Yasushi Hamase, Be-Tone studio, Kawasaki City (AD1)

  • 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)

  • Those subwoofers are pretty darned impressive. Thanks!

    Aaron Garrett, hifi enthusiast, Cambridge (LS1s-dmf)

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

    Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)

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

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

  • A world class machine!

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

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

    Hiro, Pure Super Audio (AD1)

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

    Frederik DeJongh, Jerboa Mastering, Gent (LS1)

  • 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)

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

    Günther Pauler, Pauler Acoustics, Northeim (CC1)

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

    Philip Opdebeeck, Little Major Mastering, Antwerp (TPR)

  • You must hear that! Absolutely!

    Fritz Fey, Studio Magazin, Oberhausen (LS1be)

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

    Jan Didden, Linear Audio, Turnhout (TPR)

  • 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)

  • 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)

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

    John Davis, The Bunker Studio, New York (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)

  • One for all and everything.

    Fritz Fey, Studio Magazin, Oberhausen (LS1)

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

    Marnix Bosman, HVT magazine, Baarn (CC1)

  • Very impressive.

    Steve Hall, Future Disc, 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)

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

    Al Pryor, Mack Avenue records, Hempstead (LS1)

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

    Jack Liu, AudioArt magazine, Taipei (LS1)

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

    Nigel Palmer, Audio Media, London (LS1)

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

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

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

    Ronald Prent, Galaxy Studios, Mol (AD1)

  • 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)

  • 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)

  • 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)

  • 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)

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

    Fritz Fey, Studio Magazin, Oberhausen (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)

  • Total peace of mind

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

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

    George Tanderø, Mixing & Mastering, Oslo (TPR)

  • My new studio is wired with TPR

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

  • The naturalness of the LS1 turns me on big time.

    Wolfram Eifert, AUDIOphile, Stuttgart (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 Grimm DSD and Channel Classics have captured a perfect balance between energy, liveliness and comfortable sound.

    Teresa Goodwin, Positive Feedback (AD1)

  • 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)

  • As it turns out, Truth equals Love.

    Timothy Roth, Positive Feedback (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 could not be more impressed.

    George Massenburg, McGill University, Montreal (LS1)

  • 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)

  • This clock is incredible. The detail and imaging from it are superior to anything we heard.

    Allen Farmelo, Pink Noise magazine, Hopewell Junction (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)

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

    Noah Scot Snyder, Los Angeles (MP1)

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

    Carlos Imperatori, Producciones Tumbador, Caracas (CC1)

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

    Alex Abrash, AA Mastering, New York (CC1)

  • 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)

  • 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)

  • 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)

  • 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)

  • My audition of the LS1 was a transformative experience.

    George Massenburg, McGill University, Montreal (LS1)

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

    Marshall Nack, Positive Feedback (LS1)

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

    Dieter Kahlen, Studio Magazin, Oberhausen (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 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)

  • 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)

  • 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 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)

  • 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)

  • 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)

  • 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)

  • 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)

  • 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)

  • 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)

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

    Aaron Gandia, Phat Planet Studios, Orlando (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)

  • My most impressive upgrade so far!

    Puck Leek, Pucksound, Amsterdam (CC2)

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

    Richard Chycki, Toronto (CC1)

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

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

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

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

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

    Tommy Zai, KVR, Phoenix (LevelView)

  • 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)

  • 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 have already made better, faster decisions in my mixes, and have had more confidence in delivering my masters.

    Thaddeus Moore, Liquid Mastering, Eugene (LS1)

  • A fantastic experience to work with this device.

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

  • 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)

  • Best sound of show, stunning, Meisterhaft.

    Theo Wubbolts, HVT magazine, Nijmegen (LS1)

  • Wow, what a difference...!

    Ronald Wanders, hifi enthusiast, Zeewolde (TPM)

  • This is such an incredibly good speaker.

    Jaap Veenstra, Alpha Audio, Haarlem (LS1be)

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

    Tim Vine-Lott, Air studios, London (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)

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

    Nicholas Bedworth, Positive Feedback, Makawao (CC1)

  • 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)

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

    Marja Vanderloo & Henk Boot, 6Moons (LS1be)

  • 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)

  • 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)

  • 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)

  • 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'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)

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

    Roy Ervin Solstad, Stereo+, Oslo (LS1)

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

    Gerd Hoppe, hifi enthusiast, Alicante (CC1)

  • The jury could only applaud.

    Joachim Pfeiffer, Audio Flatscreen Journal, Wuppertal (LS1be)

  • 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 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)

Like or follow us on your social media