For this Energia demo at the Fellowship Church at Two Rivers in Nashville, 24 E15 with 12x T21 subs were hung in a stereo formation. Prototypes of the E12 system were also unveiled and hung in a downfill configuration.
On January 3 and 4, 2013, Adamson joined forces with California–based systems integrator Sound Image and a group of top front-of-house engineers, who were flown in from all over the U.S., to present an Adamson Energia demo to local and national engineers, production and hire companies in Nashville.
The event was held at the Fellowship Church at Two Rivers in Nashville. It was hosted by Jesse Adamson and Matt Gunn from Adamson Systems, and Everett Lybolt and Dave Shadoan from Sound Image. Andrew Dowling, Rob Zombie’s systems engineer, designed and set up the system, and provided a complete rigging overview.
Joel Lonky, Rob Zombie’s FOH engineer, says, “Having used the E15 system on three tours, I wanted to share my excitement about the Energia system, and the incredible power and pure audio quality with other engineers in a peer to peer environment.”
For this Energia demo, 24 E15 with 12x T21 subs were hung in a stereo formation. Prototypes of the E12 system were also unveiled and hung in a downfill configuration.
Jon Lemon, FOH engineer for Smashing Pumpkins and Janet Jackson, says, “I went [to Nashville] recently to listen to the new E15 speaker cabinets and was knocked out with the definition—in particular in the low-mid part of the system; the strength of the low-mid component is just so solid. Also, the overall imaging across the full spectrum is impressive. The packaging and rigging is so well thought out it will be a dream for the crew deploying it on a daily basis. I’m excited to get my hands on a full E15 system.”
James McCullagh, FOH engineer for Journey and Queen Extravaganza, adds, “I went down to Nashville to hear the E15, prepared to be impressed, as I am a fan of the Adamson sound. What I wasn’t prepared for was the effortless power the system has and studio-quality detail that can be heard. It was like listening to a set of near-field monitors at 105 dB. I wanted to reach out and touch the guitar. No other system I’ve heard has the midrange punch and definition of the E15, and that is where the art of the mix is made or broken!”