Ronald Prent, creative director of Wisseloord Studios, was so impressed by our TPM cable that the suggestion by Eelco Grimm to develop an affordable model with similar attributes excited him immediately. In March 2011 Ronald Prent reports: “When I heard Grimm TPM, I was amazed by the unbelievably accurate phantom center. It sat rock solidread more >
“Did Grimm Audio reinvent the loudspeaker?” heads the enthusiastic article by Bert Oling of Hi-fi Video Test. Bert explores numerous technical features of the LS1 design and writes in great detail about the sound. He notes aspects like “a truthfull image size at all kinds of playback levels”, “a very neutral sound colour, even off-axis”,read more >
We received an email from LS1 customer Wessel Oltheten. “I have to let you know that yesterday I mixed a large project on the LS1’s (drums, acoustic base, grand piano, flugel horn, clarinet, alt sax, tenor sax, two violins, two cellists and a singer, with quite dense scores). When I listen to the result onread more >
More LS1 admiration! Reviewer Wessel Oltheten of the Dutch Pro Audio & Video magazine wrote in their November issue: “I could observe time related aspects of the sound that I never heard on other monitors. For example I heard the individual reflections of a slap-back echo. And I heard the action of a compressor: itsread more >
Germany’s main professional audio magazine Studio Magazin gave the LS1 an ‘A plus’ in their very positive review. To cite author Fritz Fey: “After 30 years of editorship I thought I ran out of superlatives. ‘Fairylike’ however never was among them but I could not find a better wording to describe a studio monitor thatread more >
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 >
