GRIMM AUDO LS1be , MU1, AND SB1 SYSTEM REVIEW

A fully integrated system from Dutch brand Grimm Audio includes everything the serious music lover could want. What’s it all about and how does it sound?

Before I start this review I’d like to extend my thanks to Marc at Prestige Audio Diffusion in France who organised the loan system through their dealer Jean François at 1877 Audio that have this very system on permanent demonstration and who has undergone full setup training on the system at Grimm.

WHAT DO WE HAVE?

Essentially we are looking at three different products here; the LS1 be active loudspeakers themselves, a pair of SB 1 subs, and the MU1 Digital Source, though the latter can be used with your existing setup should you not wish to go down the full Grimm route. I think it’s probably best to look at each in isolation and then consider them as a whole as that’s how I used them.

GRIMM LS1 be ACTIVE LOUDSPEAKERS

The LS1 be are the top model of three in the Grimm Audio ecosystem, the others being the entry-level LS1a and the LS1v2. Like the other speakers in the Grimm range they have a response that is set up in the factory via the company’s Computer Aided Calibration process to be as linear as possible. You can, as I mention again later, go into the settings and play around with the DSP settings to get them right for your room should you feel the need.

The LS1’s look fabulous in my opinion and I need to say that I think these are a “lifestyle” product. Now the dreaded “L word” seems to have negative connotations in the audiophile world but we need to get out of that mindset and understand that not everyone wants to have a rack full of boxes and for the vast majority of folk, what they need is a system that plays music well. Most looking for “lifestyle” products will be happy with the likes of a Sonos speaker, but for those that demand a system that fits in the modern home and lifestyle, AND delivers audiophile quality sound, then they are going to want to look elsewhere, and I believe this is where the Grimm Audio system fits in the marketplace. I don’t think these speakers are a product for the “hobbyist” audiophile they may want to swip, swap, and tweak with new boxes, wires, and whatnot, though from a sonic perspective these speakers deliver to an audiophile standard.

So with the LS1be, you get a couple of hollow metal legs onto which the actual speaker box fits by a series of magnets and bolts. Inside these legs are the electronics and amps. This is a neat system that makes very good sense from an aesthetic perspective.

The speakers themselves use a wide-dispersion Beryllium tweeter (hence the be in the naming)

Grimm tells us that the speakers have been designed to demonstrate that it is achievable to have a speaker that is analytically precise (behaves like a studio monitor) and is pleasing to listen to at the same time. The Grimm philosophy is that the studio model of having a linear (flat) frequency response is desirable and that voicing a speaker to have a “trademark” sound “masks aberrations from linearity”. So with the LS1 speakers, they are measured and calibrated in a semi-anechoic chamber and calibrated accordingly via DSP – this is all done in the production phase and so they should come to your home ready to rock and roll.

Should you want to you could just add a digital line source or a computer and you can connect that straight to the speakers and away you go.

Like “lifestyle”, Digital Signal Processing is sometimes seen as a dirty word in the audiophile world, but it is commonplace in the studio environment and in the home cinema world. It’s available, it works well and I think it is the future of music reproduction in the home, though I am fully aware that there will always be purists out there that will eschew this technology… and I suppose to an extent there’s a little bit of that kind of person in me. In these speakers the use of DSP allows you to plug in your analogue source and then it is converted to a digital signal using a high-quality Analogue to Digital converter and the response correction of the drivers, cross-over between tweeter and mid/bass driver and phase correction of the cross-over are all taken care of internally and in the digital domain. Obviously, this kind of thing is not possible in the analogue domain. All very clever!

However, Grimm also tells us that the design of the LS1 goes back to the earlier part of the 20^th century when it was the norm for loudspeakers to have wide fronts (baffles) which made frequencies below 250Hz (the Baffle-Step effect) radiate equally in all directions and those above 250Hz to be more forwardly directional. The benefit here is that frequencies above 250Hz are less affected by rear wall and sidewall reflections which cause phase issues and given that the human ear is only sensitive to phase problems down to 250Hz phase issues are naturally attenuated. But, edge diffraction would also be a problem with these (and any other speaker) if it weren’t for the fact that these are strongly rounded off by the integral (once bolted on) legs.

The drivers in the LS1be are SEAS units and the tweeter (beryllium in this case) is said to have low mid-band distortion allowing for a relatively low crossover frequency that is good for vertical dispersion. The tweeter sits inside a small constant directivity horn that again allows for even dispersion of high frequencies.

The shallow cabinet is designed to avoid “boxiness”.

There’s a whole lot more in the literature for Grimm Audio and its speakers on their website and it’s beyond the scope of this review to include it all here. Suffice it to say, the design of the LS1 speakers is such that they avoid many of the pitfalls outlined above as well as avoiding problems with the room’s bass (room) nodes.

Looks-wise I think the LS1-be have been designed to be both acoustically “clever” and good-looking – I’d certainly give them house room!

GRIMM MU1

MU 1 is essentially the upgraded source for the LS1 speakers but it can also be used as a source for your own system without the other Grimm kit.

It’s a Linux-based system with a Grimm-designed FPGA interface board at its heart. The MU1 has the Grimm ultra-low jitter clock onboard and importantly for me, it has ROON built-in in the form of ROON Core which is exactly the same as I run on a PC in my own system. This meant that once the whole system was wired together and wired to our home network, I just fired it up, opened my iPad to ROON, and found the MU1. Easy and absolutely intuitive.

The MU1 can also be used as a source for your existing DAC and it has outputs via two AES 3 sockets and inputs for the ethernet cable, a couple of USB inputs for using external hard drives and a 3.5mm socket for the remote control, though there was no remote with the sample unit and I wouldn’t have used it anyway as ROON does everything including properly controlling the volume.  There are also inputs for SPDIF and optical digital signals.

It’s a lovely looking bit of kit with a large brass control button/knob on the top in a contrasting brass colour and which is used for selecting inputs, scrolling through menus and can be used as a volume knob. It’s pretty intuitive but long presses and short presses on the knob access different functions and so the manual is essential.

For the tech-heads amongst you, the computer inside this box is an intel i3 CPU running at 2.4GHZ with two cores and 4 threads with hyperthreading (whatever that is). There’s 4GB of DDR4 RAM and it has an internal SSD for the operating system and an optional internal SSD for storage, which this unit had.

The FPGA interface board I mentioned earlier is, Grimm tells me, what sets this product apart from the competition. It’s all far too techy for me, and beyond the scope of this review to get into details, but in essence Grimm’s FPGA upsampling effectively offloads the upsampler in the DAC up to 4 x 44.1 or 48 where Grimm say the calculations the unit is doing are most intensive. This in turn is said to deliver a better listening experience.

The unit will support all sample rates and all digital formats and given it has the outputs I mentioned, it can be hooked up to your own existing DAC.

On the front is a 3.5-inch TFT LCD screen and it all looks very nice and understated.

Set up to play with settings is via any web browser and is all pretty straightforward once you know what you are doing. The system I got needed to have an update installed (the front panel told me this) and installing this was simplicity itself; navigate to the relevant menu (to be fair there’s very little menu-diving needs to be done with this unit), press the button and ten or fifteen minutes later all is done and you can play tunes again.

GRIMM BASS SB1

The system we were supplied with came with a couple of subs called the SB1 and these are designed to fit precisely and snuggly under each speaker and between the legs. I liked this and it meant that there was no need to have another box lying about or hidden somewhere in the room.

The sub has something called DMF (Digital Motional Feedback) which is used to minimise distortion in the bass region. If I understand this correctly (and I do) this DMF is a sensor to monitor acceleration on the aluminium cone that feeds-back information to the DSP that does its stuff and essentially reduces distortion by up to 30db.

The response of the sub is flat down to 20Hz and turns the LS1be into a three-way active loudspeaker system with the sub crossing over at 70Hz with the LS1 – essentially this means that everything below 70Hz is handled by the sub.

Each sub is run by a 700W Class D amp and connects to the LS1s via a short umbilical  – see SET UP.

This is a very neat and very aesthetically pleasing solution in my opinion.

PACKAGING

The packaging is excellent but massive. All parts for the speakers and everything else arrived safely but what normal users would do with the (basically a palette with a big cardboard box on top) packaging I don’t know. However, I suppose the main purpose of packaging is to get the product safely to your door without any damage and in this, it succeeds… but do keep in mind that you are going to have to store this somewhere dry and that it will take up a good deal of space.

SET UP

Putting the speakers together and getting them in place is a pretty straightforward operation but you do need the manual to get this right. Everything is magnetic and supported by bolts and tolerances are reassuringly tight.

The sub unit (SB 1) connects simply so that you only have to have the sub plugged in, with a short umbilical IEC (female to male) being included to do this. This is well thought out and makes for fewer wires which in light of what I said about the lifestyle aspect of this product, is very important.

Online PDFs are available for the MU1 and LS1-be and SB 1 systems. I fully understand that most people are looking to reduce their paper use and will be able to work with a PDF on their tablet, PC, or phone but personally, I prefer to have printed versions of everything and so printed them off at home. I would have expected to have full printed manuals for everything and set up guides in the boxes.

Once you read the setup instructions through a few times the actual wiring up of the various boxes is actually fairly simple for someone that is pretty used to setting up audio systems. However, I think for the normal punter that setup will prove to be fairly complex and I’d suggest that if you buy this system then you should insist that it is properly set up by the dealer that you bought it from and this, I am told, is always the case when buying the system –  I expect this is pretty much a given for products at this price and I would certainly expect it.

All the relevant wires are provided in the boxes and you simply connect the MU1 to one of the speakers and join the speakers together with the included cables. Actually, it doesn’t look that simple when reading the manual.

Once all wired together and the MU 1 connected to your network or switch you simply turn everything on, select ROON on the MU 1, your tablet will see it and hey-presto you have music.

The Grimm system has a dedicated download program from which you can select different settings and different DSP settings, but in this well-treated room I saw absolutely no need to change anything from the standard flat settings. Others may want to dive into the various menus and settings and whatnot but personally, I would suggest this is, again, a job for the dealer to sort out when they come around to set it up, and once done you should leave it, or at the most tweak it should your room change significantly.

I noticed at shows when I have seen Grimm Audio exhibit that they have their speakers quite wide apart and severely toed in. I talked about the idea behind this with the late Ken Ishiwata as this was something he did at shows and he reckoned it was to give everyone in the limited space a better feeling for the soundstage and stereo image than more conventional placing would allow for. I wanted to know the theory and so asked Eelco at Grimm more about this unusual setup. However, having played around in our room I found that the best positioning was well away from side and back walls and with only a very (very) slight toe-in which goes to some extent against what you are about to read from Eelco at Grimm. I found that in this room this pretty much straight-ahead setup offered up a wider soundstage both in the hot seat and slightly out of the optimal listening position, though the speakers were pretty much in “open space” and at least 1,75m from the back wall and more from the side walls. I spoke to Eelco about this and he explained that this was normal for the positioning I had them in and the large distances I had them from the wall.  Anyway, here’s what Eelco had to say on the toe in they use at shows – I thought readers would find it quite interesting and that it would give an insight into Grimm themselves.

“By far the most asked question in our room at trade shows is why we turn our LS1 system ‘toe-in’? To clarify, ‘toe-in’ means that the left and right loudspeakers aim at a crossing position in front of the listener instead of at the listener. The short answer is that this setup offers three advantages: 

1. In most rooms the stereo image is much sharper this way; 
2. There is a larger sweet spot with nice stereo imaging;
3. The sound spectrum is more even across the room.

So, if there is such great advantage, why isn’t everybody doing this? The reason is that the loudspeaker cabinets need to have a special shape to make this happen. Let’s have a look at how this works.

A loudspeaker usually has a few cone drivers, mounted on the front panel of the cabinet, called the ‘baffle’. Now sound that is radiated from the cone likes to flow in all directions, but when sound heads toward the back of the loudspeaker, it runs into an obstacle: the cabinet. So the loudspeaker cabinet is an obstacle for its own sound. Because of this, there will be a ‘shade’ behind the cabinet, where the sound is softer than on the front. 

The frequency above which this shade effect manifests itself is dependent of the ratio between the sound wavelength and the width of the cabinet. We will soon have a look at some pictures that show this effect, but first we need to understand how wavelength and frequency are related. A high pitched tone of 1000 Hz vibrates 1000 times per second, which means that one vibration takes only 1/1000th of a second, or 1 millisecond. You may know that sound travels at ‘the speed of sound’ which is app. 344 m/s. So in 1 ms sound can travel 344 times 1/1000 = 0.34 m, or 34 cm. This means that the wavelength of a 1000 Hz vibration is 34 cm. 

A rule of thumb is that if an obstacle is wider than one third the wavelength, it will generate a shade of sound behind it. So when a cabinet is 11 cm wide, it will offer shading for frequencies above 1000 Hz, but not for lower frequencies. Low frequency sound will flow around the cabinet without any shading. A standard width of 20 cm will offer shading above 600 Hz. And if a cabinet is 52 cm wide, like the LS1, it will offer shading for frequencies above 230 Hz. These frequencies are called the ‘baffle step frequency’ of a loudspeaker.

The illustrations show how a wide cabinet offers more shading at low-mid frequencies than a traditional width loudspeaker.

The question we asked ourselves when we developed the LS1 is: what would be a logical frequency for the baffle step, one that makes sense from an acoustical standpoint? Since listening rooms usually have a different, more resonant, acoustic character below 200 Hz, a baffle step in that region seemed to make more sense than at 600 Hz. So we designed a 50cm wide baffle. The effect of such a wide baffle is that the whole frequency range from 250 Hz upwards is radiated in a similar ‘hemispherical’ way. 

Okay, now to the toe-in effect. Our beloved stereo image, or phantom image, is constructed in our brain by comparing the sounds that arrive at our ears. They can be louder, or earlier in time, in one ear. For example, if the sound from the left speaker is louder or more early in time than from the right, the image shifts to the left. For this process to work well, the sound from the speakers should not be disturbed by reflections on walls etc soon after the direct sound. If it is not possible to apply acoustic absorption, it helps to aim the sound away from the wall to attenuate the reflective energy. So by turning the speakers a little inwards (“toe-in”), the reflected energy of the nearby wall becomes softer. And then the stereo image improves.

There is one catch though. If the baffle size is small, like with traditional loudspeakers, a toe-in setup will only attenuate the higher frequencies of the reflection; it will still have energy between 250 and 600 Hz. As a result the stereo image above 600 Hz is more focused than that between 250 and 600 Hz, which sounds a bit unbalanced. So in general small baffle loudspeakers don’t profit much from toe-in, and the technique is not often used. With the wide LS1’s however, it works. So they offer a choice to turn them toe-in and have a clearer stereo image, or point them at the listener (or even use ‘toe-out’) to create a less focussed, more spacious image. 

A bonus of toe-in is that people who don’t sit in the sweet spot, but for example left of it, will still enjoy a pretty nice stereo image. The reason is that although they sit closer to the left loudspeaker so its sound will arrive earlier – shifting the image to the left – they are now more off-axis of the left speaker and more on-axis of the right speaker, which makes the right loudspeaker sound slightly louder – and that shifts the image back to the right.

Another bonus is that when you walk through the room and the speakers have been set up with toe-in, the total spectrum of the sound is less dependent on your position in the room. The reason is that as soon as you walk off-axis of the left speaker, you will be more on-axis of the right speaker and vice versa. The sound colours of the speakers will therefore always complement each other. When the speakers are angled outwards however, you will be on-axis of the left speaker when you walk in front of it; when you walk to the middle you are off-axis of both left and right; and once you’re in front of the right speaker you are on-axis of it. Since the spectrum of the sound is duller when you are off-axis, the sound colour changes with position. Of course this is only true for sound mixes that have equal spectrum on both channels, but in general, this is often the case.

In ending: one never just listens to loudspeakers, it’s always the combination of the loudspeaker and the room that you hear. A good loudspeaker has a neutral sound both on-axis and off-axis, with a controlled frequency roll-off, so the room sounds neutral. “

So, there you have it, straight from the horse’s mouth.

SOUND

I used the system as it was sent: the speakers, the subs, and the player. My comments need to be taken in the context of this being a full turn-key solution to delivering music in your home needing only a source, in this instance ROON with QOBUZ.

Fist of all this is a sophisticated sounding system that just sounds immediately balanced and, for want of a better word, correct. By balanced I mean that nothing is out of place throughout the frequency spectrum; no sharp top, no booming bass, and a clear and articulate midband. Initially, my thoughts were that perhaps the system as a whole was a bit boring and that it wasn’t really very exciting, but much in the same way that a Bentley motorcar may seem a bit boring when compared to, say a skitty 80’s 911 Turbo, it’s just relaxed and not at all in-your-face – whether or not that level of sophistication will suit all ears is going to be up to you…and if it’s not, then open up the control program and fanny about the DSP, boost the top and bottom and you can tailor the sound to the sound you prefer. Boomshanka!

Out of the box and given a few days to acclimatise and “run in” the system is very reminiscent of a monitor, and it’s no surprise that Grimm do sell these into studios to monitor from.

Let’s have a listen to some tunes and try and describe what I’m getting here, though, to be honest, I’ve pretty much summed it up above.

You are going to smile at this! One of the first tunes that came up in “My Albums” was the much-played and much-maligned Keith Don’t Go from the Acoustic Live record by Nils Lofgren. I get why this is played a lot and it does sound fabulous on this system. Every detail of the guitar playing is heard, as are the taps on the body of said guitar. It sounds pure and detailed with no hint of overdone top end. Speed and agility of the system are noted as Lofgren moves across the higher notes of the fretboard and it’s actually a real pleasure to listen to this tune at home again. That lack of boxiness becomes apparent at around the four-minute thirty or so mark as Lofgren ups the ante and the playing becomes more aggressive and the crowd shows their appreciation. It’s impressively precise sounding on this system with the steel-stringed guitar sounds fantastically real. Is it sterile? Well, you can hear exactly what is going on and if High-fidelity is what you are looking for in a music reproduction system in your home then this system is going to be for you!

Keith Don’t Go isn’t really what you’d call taxing on a system, though it does a good job in showing off the perceived accuracy of this system, and so I pop on a favourite album in the form of Daft Punk’s Random Access Memories and let it play through from the start. The volume needs to be at a decent level for this wonderfully produced record to shine, in my opinion, and that’s all doable from within ROON, which I like a lot. The subs do get a bit of a workout during this album, but they are never really noticeable other than the bottom-end being filled out and, again, I’m searching for a word to replace sophistication. The bass goes low (very) but not once did I find it boomy or laggy. Robotic vocals, for example on The Game Of Love have a metallic edge at the top end which is immediately apparent on this system whereas I’ve had to “bend an ear” to hear it on some systems. What’s also apparent is that the noise floor on this system is very low (read absolutely silent), though it should be noted that I am using an Ansuz switch in the system and have been doing so for a month or so, though I am using the stock mains and other cables in the Grimm system. On the Moroder track, I note that the click before the track starts proper is very dry, whilst once the track does start the room is filled with music, though I would suggest that the soundstage thrown by these speakers is not as expansive as the Audiovector R6 speakers we use day in day out. Perhaps this is to do with the effect of the AMT tweeter on the R6 and perhaps the Grimm are more accurate in this respect, though that is obviously conjecture as I wasn’t at the final mixdown of this record!  Whatever, it’s a treat to listen to the whole album but the feeling never escapes me that perhaps all is a little too correct with the Grimms – I say this as it’s a bad thing but it’s not meant to be, it’s more to suggest that my personal preference is a more “pushy” system whereas this is a case of the Grimm system sort of saying “Look, pal, I know what’s what here and I’m not going to add stuff to the records I’m playing that’s not there just to please you!”  I also get the impression that the system isn’t even beginning to break a sweat with anything this record presents it with, even Contact, the final tune on this record; nothing is too forward in the mix and it is presented flatly and without embellishment or histrionics. The detail in the noise, which is what I tend to look for in this record, are all there and you can hear the layering of noises to make the whole. Drums are positioned across the soundstage so that it sounds like you have a drumkit in front of you (I’m well aware it’s likely a sampled kit) and it’s all quite exciting really! Yep, this system works for me!

Radioactivity from Minimum-Maximum Live by Kraftwerk is another good workout for a system. The difference between a dry kick and a reverbed kick is obvious to hear and is what I picked out from this session as was the fact that vocals weren’t artificially pushed to the fore. The sequenced bassline sounds analogue and fat, and the system doesn’t miss a beat when the track enters its more upbeat and funky second half. Bass is solid and never overdone. There was always the possibility that the sub was going to integrate badly but it just doesn’t  – it’s there but not noticeable, if you get what I mean.

Playing John Martyn’s Solid Air from the playlist that we put together from the Bristol Show LINK and all is present and correct with nothing for me to comment on other than it sounds very nice. Likewise when ROON throws up River Man by Nick Drake, I am just able to sit and relax without feeling the need to over-analyse or pull the system apart with regards to what it is or isn’t doing. This is a good sign, I think, and demonstrates that, to me, the Grimm system is designed to just play tunes and be as transparent as possible without feeling over-analytical and tiresome. If this is what it is designed to do, then it succeeds.

QUIBBLES

The full manuals are online or to print off which I find a pain! They are also a bit long-winded in the explanation of what is what and why things have been designed and built the way they are. However, some will like this insight and I am speaking with regard to personal preferences, this is in part why I included the comments from Eelco with regard to toe-in.

A little bit of tweaking with regards to the positioning of the speakers is needed to get the best from the soundstaging, but once that’s as you like it, they are fit and forget. It may be that your preferred setup in this regard is different from the recommended setup.

The amp slipped down and almost out of one of the legs when initially taking the parts out of the boxes. These are usually fixed in place with a bolt that is accessible through a small hole in the leg. I assume this came loose in transit, despite the excellent packaging the whole lot came in.

Packing is massive!

Grimm Audio LS1be

CONCLUSION

This is a set-and-forget system and I really enjoyed the whole “choose a tune, play that tune, and have nothing to worry about other than turning the volume up or down” simplicity of it all.

When I started this review (and I mentioned it earlier on) I had the idea that this was a “lifestyle” system for the well-heeled music lover that wants a system that just plays the music that they love, and I stand by this remark. Dyed-in-the-wool audiophile hobbyists will not find enough scope for messing about with cables and other bits and bobs, and this brings up an interesting point for me; are the hobbyists the future of HiFi, or do brands need to embrace the lifestyle market? That’s a discussion for another time, but I think Grimm has done just this and has done it very, very well.

What I loved about this system was that it just worked out of the box without any fannying about with settings, though there is that option should you wish via the DSP settings. There’s no preferred kind of music this system will play well and what I think is accurately; from Sleaford Mods to Fleetwood Mac and a lot more in-between, the Grimm system is unflustered and just gets on with the job in hand.

There’s no shoutiness and no dramatics from the Grimm system whatsoever and I listened for ages and ages to it. There’s no feeling of it being “voiced” in a particular way to please certain preferences and this leads to a system that will please many people, whilst others with listening “preferences” may find it (out of the box) a bit flat, though a quick play with the DSP control will sort this should you really think this wise.

For me, this system is something that I would aspire to if I didn’t need a system that I needed to be able to slot other kin in and out of. A perfect system to retire with and with which to relax and enjoy the music that I love.

Overall I thoroughly enjoyed my time with the Grimm system. From the top to bottom of the frequency spectrum it just sounded “right” and that it wasn’t emphasising stuff that needn’t be and shouldn’t be emphasised – it’s a system that isn’t out to initially impress with sonic fireworks and instead aims (and succeeds) to deliver a sober and “proper” representation of whatever music you choose to play through it.

The price of the combined setup, should you want to go the whole Grimm hog and in the finish we had and with full storage capacity on the MU1, is going to cost you around £55K with VAT in the UK. This is a lot of money, though to put this into the perspective of the high-end audio, a pair of Audiovector R8 is going to cost you around 54K and you will still have to buy suitable amps, sources, and DAC.

I’ve awarded these our Five Heart award. There is no doubt that the system as a whole is superb. For some, it will be absolutely perfect and their “forever system”. For others, myself included, it will not offer enough scope to mix and match different brands. If you are a music lover that wants a fit-and-forget system, and has the funds, then you may as well see the Five Hearts as an Editor’s Choice

AT A GLANCE

Sound Quality:

What I would consider being accurate (flat)

Very easy to get on with and listen to to

As a whole system, very dynamic but without unnecessary fireworks

Build Quality and Features:

Overall excellent build quality and features

Fit and forget

Clever electronics

Value For Money:

That’s for you to decide. I don’t think the whole system represents bad value for money when taken in the context of it being a complete system and when compared to other high-end audio products

We Loved:

The looks

The fit-and-forget nature of the system

The lack of fireworks and histrionics

Accurate sounding

We Didin’t Love So Much:

The price is going to be prohibitive for some

Over-complicated manuals

Packaging is massive

Some playing to get the best positioning is needed

May lack excitement for some

Elevator Pitch Review: The Grimm system is a lifestyle product in the sense that it is simple to use and looks fabulous. However, in this case, that “lifestyle” badge must not be confused with a product that looks great and performs with mediocrity. No, the Grimm system offers a turnkey solution for any music lover that wants superlative sonics in a package that will fit in with any home. A very good product that will be the end game for many.

Prices:

MU1 without storage: 10,000 GBP excl VAT

SSD 2TB: 190 GBP excl VAT

SSD 8TB: 500 GBP excl VAT

LS1be stereo set in white Hi-Macs: 25,100 GBP excl VAT

LS1be stereo set in white lacquer: 20,150 GBP excl VAT;

LS1be stereo set in bamboo finish: 21,150 GBP excl VAT

SB1 stereo set: 10,200 GBP excl VAT

Stuart Smith

SUPPLIED BY PRESTIGE AUDIO DIFFUSION