
Grimm Audio’s CC1v2 was developed as a low jitter reference clock for professional studios but audiophiles discovered it was also a great device for cleaning up the digital audio path between their source and DAC. In addition, a music source with word clock input can benefit from slaving it to the CC1. Now, ultimate musical timing and stability of tone is in reach of any caring audiophile.
“Owing to a radically redesigned discrete crystal oscillator, clock stability betters that of even the best test equipment available.”
Grimm Audio’s extensive research into the correlation between jitter and sound quality brought to light that emotional response to music is vastly more sensitive to jitter than previously realized. Attention turned from “making jitter low” to achieving the most stable clock possible. This research turned up a surprising array of previously underestimated performance factors like power supply noise, oscillator control circuit noise and low-level crosstalk. Owing to a radically redesigned discrete crystal oscillator, clock stability betters that of even the best test equipment available.
To sync to an external reference the CC1 sports a PLL offering an astounding 90dB of jitter suppression at 10Hz, further improving at 60dB/dec. The CC1 offers base rates of 44.1kHz and 48kHz and 1/2/4 multiples in separately selectable groups, in addition to an AES/EBU reclocker for cleaning the digital feed to your DA converter. Like all Grimm Audio products, the CC1 features striking styling and solid build quality.

Graemme Brown, Zen Mastering, Gabriola (CC2)
Graemme Brown, Zen Mastering, Gabriola (CC2)
Samuel Girardin, Point d'Orgue, Montreal (CC1)
Samuel Girardin, Point d'Orgue, Montreal (CC1)
Matthijs Kievit, Studio Joneski, Utrecht (CC2)
Matthijs Kievit, Studio Joneski, Utrecht (CC2)
John Davis, The Bunker Studio, New York (CC1)
John Davis, The Bunker Studio, New York (CC1)
John Davis, The Bunker Studio, New York (CC1)
John Davis, The Bunker Studio, New York (CC1)
Puck Leek, Pucksound, Amsterdam (CC2)
Puck Leek, Pucksound, Amsterdam (CC2)
Marnix Bosman, Interface magazine, Amsterdam (CC2)
Marnix Bosman, Interface magazine, Amsterdam (CC2)
Al Pryor & Todd Whitelock, Mack Avenue records, Hempstead (CC1)
Al Pryor & Todd Whitelock, Mack Avenue records, Hempstead (CC1)
Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)
Ingo Iebhart, hifi enthusiast, Eberdingen (CC1)
Nicholas Bedworth, Positive Feedback, Makawao (CC1)
Nicholas Bedworth, Positive Feedback, Makawao (CC1)
Gerd Hoppe, hifi enthusiast, Alicante (CC1)
Gerd Hoppe, hifi enthusiast, Alicante (CC1)
Hay Zeelen, Hay Zeelen Mastering, Amsterdam (CC1)
Hay Zeelen, Hay Zeelen Mastering, Amsterdam (CC1)
Reyn Ouwehand, Studio The Church, Wijdenes (CC1)
Reyn Ouwehand, Studio The Church, Wijdenes (CC1)
Günther Pauler, Pauler Acoustics, Northeim (CC1)
Günther Pauler, Pauler Acoustics, Northeim (CC1)
Aaron Gandia, Phat Planet Studios, Orlando (CC1)
Aaron Gandia, Phat Planet Studios, Orlando (CC1)
Tim Vine-Lott, Air studios, London (CC1)
Tim Vine-Lott, Air studios, London (CC1)
Josep Umbria, Calma Estudis, Manacor (CC1)
Josep Umbria, Calma Estudis, Manacor (CC1)
Richard Chycki, Toronto (CC1)
Richard Chycki, Toronto (CC1)
Erik Zobler, Mix Magazine, Los Angeles (CC1)
Erik Zobler, Mix Magazine, Los Angeles (CC1)
Daniel Dettwiler, Idee und Klang Studio, Basel (CC1)
Daniel Dettwiler, Idee und Klang Studio, Basel (CC1)
Friedemann Kootz, Studio Magazin, Oberhausen (CC1)
Friedemann Kootz, Studio Magazin, Oberhausen (CC1)
Carlos Imperatori, Producciones Tumbador, Caracas (CC1)
Carlos Imperatori, Producciones Tumbador, Caracas (CC1)
Allen Farmelo, Pink Noise magazine, Hopewell Junction (CC1)
Allen Farmelo, Pink Noise magazine, Hopewell Junction (CC1)
Peter Riebeek, Studio 150, Amsterdam (CC1)
Peter Riebeek, Studio 150, Amsterdam (CC1)
Alex Abrash, AA Mastering, New York (CC1)
Alex Abrash, AA Mastering, New York (CC1)
Bob Katz and Garrett Haines, TapeOp, Sacramanto (CC1)
Bob Katz and Garrett Haines, TapeOp, Sacramanto (CC1)
Ben Zijlstra, Dutch Film & Television Academy, Amsterdam (CC1)
Ben Zijlstra, Dutch Film & Television Academy, Amsterdam (CC1)
Chen Weichang, Hifi Review, Hongkong (CC1)
Chen Weichang, Hifi Review, Hongkong (CC1)
Leo Yeh, My-HiEnd, Hongkong (CC1)
Leo Yeh, My-HiEnd, Hongkong (CC1)
Mark Block, Los Angeles (CC2)
Mark Block, Los Angeles (CC2)
Terence Lai, SACD Production Center, Hong Kong (CC1)
Terence Lai, SACD Production Center, Hong Kong (CC1)
Michael Pfeiffer Strauss, Erftstadt (CC1)
Michael Pfeiffer Strauss, Erftstadt (CC1)
John Hanlon, Neil Young - The Monsanto Years (CC1)
John Hanlon, Neil Young - The Monsanto Years (CC1)
Marnix Bosman, HVT magazine, Baarn (CC1)
Marnix Bosman, HVT magazine, Baarn (CC1)
Gerard Lombrez, Lille (CC1)
Gerard Lombrez, Lille (CC1)
Tony Bolton, Hi-fi World, London (CC1)
Tony Bolton, Hi-fi World, London (CC1)
Reinhold Martin, Hifi Statement Net Magazine, Gröbenzell (CC1)
Reinhold Martin, Hifi Statement Net Magazine, Gröbenzell (CC1)
Hans Beckeringh, Zwolle (CC2)
Hans Beckeringh, Zwolle (CC2)
Spencer Ramzel, Blackbuck Recording Haus, South Texas (CC2)
Spencer Ramzel, Blackbuck Recording Haus, South Texas (CC2)
Related products
CC1v2 Features
- ultra-low jitter clock source
- 16 word clock outputs
- AES/EBU reclocking
- sample rates from 44.1kHz up to 192kHz
- two independent sample rate groups
CC1v2 Downloads
- Download the Grimm CC1 leaflet pdf
- Read the Grimm CC1 manual pdf
- Study the ‘PLL and Clocking’ white paper
- Read the ‘Slave to the Rhythm’ primer
- Read the ‘Picoseconds or ppm?’ essay
CC1v2 Reviews
- CC1 wins the AEX Award for the second time!
- CC1 and LS1be are both Product of the Year 2018!
- The CC1 is a poisonous device
- CC1 demands for a remix
- CC1 selected as superior clock
- Neil Young prefers CC1 as master clock
- Mix Magazine CC1 review
- An illuminating CC1 experience
- HVT: “No better clock anywhere”
- Audio Excellence Award for CC1
CC1 News