SCENE CHANGE WITH ADAMSON S10 — AudioTechnology
Who doesn’t love a good PA shootout? Bay 17 at Sydney’s Carriageworks recently hosted an epic battle between PAs from three of the big brands, organised by Aussie AV firm Scene Change. Each PA was represented by its Australian distributor, with technical experts on hand to show Scene Change staff how to prep, configure, rig, and tune their systems.
“The shootout process was a critical component of our purchasing decision,” said John Dinh, Director at Scene Change. “Being able to have all four of the PA options we were looking at in the same room at the same time was amazing. I wanted my staff to set up each of the PAs with their representatives so that they could experience the rigging, cabling, tuning and tweaking of each of the systems. We thank the other brands for allowing us to listen to and play with their systems.”
Adamson was represented by its APAC Sales Manager James Ritter and distributor CMI’s Pro Audio Sales Manager Garry Farmer. Ricki Cook from Hillsong Church was there too, to provide an existing customer opinion on behalf of one of Adamson’s primary Aussie adopters.
“I was keen to hear Adamson compared to the other systems,” said Ricki. “While I consider Adamson the underdog against three of the world’s leading brands, I have to say it ate the other PAs alive. After critical listening, the Scene Change staff asked me questions about Hillsong’s history with Adamson, why we chose it, and why it always won our shootouts. I told them all the reasons, including all the tiny details we can hear in the PA compared to its competitors. And the pattern control is second to none — it can control low end like nothing else and the HF is like a laser beam.”
Impressed by the little Adamson’s performance, Scene Change purchased 16 S10 elements augmented by eight S119 subwoofers. With its Sydney office committing to being part of the Adamson family, Scene Change have another five locations Australia wide.
“Our whole approach to equipment is to give our staff the right tools to deliver the best result possible for our clients,” John concluded. “We work with a lot of technical producers who push the boundaries of production and they have started moving in to larger spaces where point-source boxes are no longer the right tool for the job. To be able to get the required coverage in many of these spaces we were flying a lot of boxes. With the S10 system we can now reduce the number of hangs but achieve the same coverage. We’ll be deploying our S10s on a lot of our conferences, artistic programmes, theatre, and musical events.”