Grimm Audio’s LS1 is an unusual loudspeaker. Its wide but shallow cabinet is the direct opposite of nearly all contemporary loudspeakers and the DSP filter is mainly IIR based in spite of the availability of cheap DSP. Why? This white paper argues that all choices derive from basic acoustics, signal theory and psychoacoustics.read more >
Eelco Grimm chaired a ‘gating’ subgroup of the EBU PLOUD working group that wrote the R128 recommendation for broadcast loudness. The task of the subgroup was to address the problem that movies with large parts of near silence, such as ‘No Country for Old Men’ of the Coen Brothers would receive a too low overallread more >
Our first LevelOne customer TVA mastering facilities in Belgium immediately took off in full speed and converted 130.000 surround files only weeks after his purchase. TVA developed proprietary upmix algorithms to offer full surround content as demanded by his customer Umac, a high res online music shop. Read about LevelOne >read more >
On May 19th 2005, when the ITU BS-1770 loudness measurement standard was still under development, Eelco Grimm organized the ‘Loudness Symposium” in The Netherlands. A few hundred people from all corners of the broadcast world, including sound engineers, equipment manufacturers, movie directors, station managers and advertisers enjoyed a full day of presentations, demonstrations and panelread more >
An interesting myth has made its way into the market recently: that a 48000.000Hz clock makes your audio sound better than a 48000.100Hz one. Okay, that’s not the way they put it. Nobody can keep a straight face and say that. Instead they say that your audio improves when you lock it to an atomicread more >
The Netherlands’ main Hifi magazine Hifi Video Test features a four page article about the CC1 in their February issue. Author Marnix Bosman presents background information on jitter and puts the CC1 to test as master clock for an Esoteric SA-10. He finds “a larger improvement even than I expected. The sound actually gains qualityread more >
Japanese publisher Ongen Publishing Co has given the CC1 their ‘Audio Excellence Award 2009’ in the category ‘Other Equipment’. Ongen publishes three Hifi magazines and a web-site. We are very honoured indeed! Read about CC1 >read more >
US magazin Tape Op, well known for its profound reviews, published a substantial test of the CC1. Two authors, Garrett Haines and Bob Katz independently performed extensive tests, including a blind listening test with 80 trials. They concluded: “We should regard this listening test as very indicative that the Grimm clock makes the 192 I/Oread more >
Dutch hifi magazine Music Emotion featured a review of the CC1 by Jan de Jeu. On a test where the CC1 reclocks the spdif line of his CD transport he writes: “… A beautiful stereo image. Normally I never play this disc until the end but this time I keep listening breathlessly. Amazed by theread more >
External clocking improves the sound of gear. Sometimes. Sometimes nothing happens, and in some cases the result is downright disappointing. What are the factors involved? This tech note discusses the PLL and clock basics: why does jitter matter? And how can your converter’s sound quality improve when slaving it to an external clock?read more >
A CC1 has been used in a massive digital PA system in Gelredome stadium, Arnhem, The Netherlands. It served as sync master for a concert of Lionel Richie with the ‘Symfonica in Rosso’ orchestra of Guido Dieteren. On all 5 concerts the stadium was sold out with 30.000 people… Read about CC1 >read more >
British magazine Hi-fi World raved about the CC1 in their review for the May issue and granted it the maximum amount of 5 Globes, which is ‘Outstanding’. Reviewer Tony Bolton used the CC1 as word clock source for a Marantz SA-7 and experienced improvements in texture, focus, definition and stereo image. He enjoyed beautiful resonanceread more >
