Comparisons
Alas, I no longer have the CH Precision P1 phono preamp, but especially when using the P1’s Current Mode inputs, the Grimm PW1 reminds me of it. Both provide superb resolution along with a natural, fluid, and effortless delivery. As expected from a Swiss Reference product, the P1 is even more precise and revealing, and it also offers more features and convenience. Nevertheless, if the PW1 comes close in various sonic aspects, that is still a significant achievement given the considerable price difference.
The relatively affordable Lejonklou Entity impressed me deeply when I reviewed it, thanks to its combination of resolution and unforced flow. Indeed, precisely the not-often-found combination of sonic traits in which the PW1 excels. Although I replaced my Entity with the M2Tech Nash, I still have both, allowing me to perform a direct comparison. While the Entity offers a broadly similar balance of qualities as the Grimm PW1, the PW1 is incomparably better in almost all sonic aspects. The only areas in which the Entity performs on the same level are fluidity, flow, and refinement. Otherwise, and especially in terms of bass control, midrange expression, and overall dynamics, the PW1 outperforms it by an impressive margin.
As mentioned, the M2Tech Nash replaced the Lejonklou Entity as my main phono preamp. The Nash is not quite as fluid and refined as the Lejonklou Entity, but with its robust, full-blooded, powerful, and dynamic nature, the Nash makes for exciting listening. To provide some perspective, the Nash costs a few hundred euros less than the Entity, yet it reminds me in many ways of the Pass Labs X-Ono I once owned, as well as the XP17 that I later reviewed. I’d say that is quite something, given the Pass Labs heritage and more than double the price point.
Nevertheless, when comparing the Grimm PW1 to the Nash, the Grimm is so effortlessly liquid and refined that it makes the Nash sound comparatively rough and bombastic. Such is life for an audiophile. On the one hand, I should know that improvement is always possible, but on the other, I am occasionally still surprised by the scale of the available improvement.
I wouldn’t say the Grimm outperforms the Nash on all fronts, though. For example, the Nash possesses even more powerful and robust bass, along with greater drive and propulsion. This creates a more substantial dynamic impact and makes it particularly engaging on a visceral level, which works exceptionally well for music that relies primarily on impact, such as certain R&B and electronic genres. However, bass impact is one thing. The PW1’s bass is purer and, interestingly, seems to reach deeper, as it frequently surprises me with very satisfying cellar-deep notes that I overlooked with the Nash.
Finally, there is one other candidate, also from the Netherlands, that I have auditioned but not officially reviewed: the Mola Mola Lupe. At €7.990, it is more expensive than the PW1. In turn, it provides superlative operational comfort that reminds me of the CH P1, with all of its settings adjustable from a tablet. Sonically, the Lupe matches the PW1’s level of refinement and fluidity, while possessing a more mellow and laid-back nature that makes it seductive, albeit less exciting. The PW1 may be operationally relatively more utilitarian, but I prefer its more propulsive, upbeat, and dynamic behavior.
Conclusion
The PW1 impressively combines stunning resolution, openness, and precision with natural fluidity. It is rich in tone, lush, delicate, emotional, and lively while avoiding excessive warmth. The sound convincingly captures the full harmonic richness of human voices and instruments while remaining neutral, free from added character, and without imposing any electronic signature.
Overall, the PW1 effectively translates the qualities of any source—whether MC or MM—while maintaining a strong focus on the emotional aspect of the music. No matter what you play, the overwhelming feeling is of being sucked deeply into the music. The PW1 invites the listener to put on just one more record, and another, and another.
I have heard phono stages in all price ranges, from the €129 Schiit Mani, all the way up to the €33.000 CH Precision P1. At €4,999, one might expect the PW1 to land between, or to the left of, the middle. While it does not indeed equal or exceed the P1’s ultimate reference-grade performance, I’d actually rate the PW1 as second best, right under the P1. Of course, this means that the PW1 is Highly Recommended. Moreover, I decided to buy the review sample, which makes it an HFA Favorite!
External Links
Manufacturer: Grimm Audio
Distributor for the Benelux: Terrason Audio
Hi Christian,
I recently bought a Mola Mola Lupe and admired its sound: ultra-defined, fast, very powerful, and with tremendous dynamics and drive.
I ended up selling it because it didn’t sound like vinyl to me. It was too technical and dry.
Now reading the review, you describe it as smooth and seductive. I honestly don’t understand how you can describe it that way.
I’m looking for a phono preamp, and that’s why I’m interested in the Grimm, but your way of describing the Lupe puzzles me.
I think it depends on the context, expectations, focus points, and what other phono preamps you are used to. In relation to the Grimm PW1 and the other phono preamps I have heard before, to me, the Lupe is on the sophisticated, smooth, and composed side.
Hi -have the mola mola pre with the phono built in. It replaced my Ypsilon VPS-100/pst, phono and pre due to a downsizing. I ran them side by side playing vinyl from my kuzma X-L dc, 4pt and Lyra atlas. The mola mola easily matched the Ypsilon pair, certainly not laid back or lacking pace or rhythm.
I now use the mola mola with a lundhal silver sut playing from a technics sl1200g/blackbird arm which sounds even better than the kuzma.
Having experimented with vinyl for many decades the myriad interactions between; tt, arm, phono stage and phono cable can drive one crazy 🤪
It seems the only way to really get to grips with vinyl is through endless trial and error!
Hi Dave, yeah, I’m inclined to agree on the trial-and-error… With respect to my perception of something being expressive or laidback or anything in between, this is always in relation to my room, system, and preferences. It’s all relative. That is why I try my best to describe the variables and make as many comparisons as I can. That said, although the PW1 and a few others are livelier and more expressive, I have certainly also heard phono preamps that are more laidback than the Mola Mola.
I just took the leap on the PW1 after reading Christiaan’s review. I can confirm “effortlessly liquid” is a very accurate description. I’ve never heard 40K vinyl preamps and would not ever buy one, so can’t compare. But it’s hard to see why I would need something else at this stage. It sounds neutral to my ears. Not laid back yet not in your face, the opposite of thick, very precise yet silky. Soundstage is enormous but not vague or shifty. It’s like the walls fall away. I’ve heard slightly faster phono stages but by a small margin, nobody’s going to find this machine slow.
Surprisingly, despite all the possible settings, I do not find loading critical, I think I actually prefer running my Umami Red wide open at 47kohms. Differences are tiny (or maybe I’m deaf).
When “on”, I measured a consumption of 7W (6W announced, so all good): no nasty surprise here, contrary to other devices where specs can be overly optimistic…
Not audio-related, but I love the form factor and the design. The PW1 feels very luxurious.
The PW1 manages a rare feat: giving you the warm embrace of vinyl replay… without feeling warm. Nor cold.
Christiaan, I hope you’re still enjoying yours as much as when you bought it!
Thanks for your nice feedback, JB! I sure am still enjoying it!