Review on Multiple Adams Models

[daviste]

I just found this review on YouTube about a bunch of different Adams models

https://www.youtube.com/watch?v=bgIbkQKXtck

Maybe someone will find it useful?

[MichaelSchott]

Thank you. The video is very useful as a general guideline to the characteristics of the E1, E2 and E3 models. I'm curious as to what current Adams owners think of the reviewer's opinions.

[JTJ]

Thank you. The video is very useful as a general guideline to the characteristics of the E1, E2 and E3 models. I'm curious as to what current Adams owners think of the reviewer's opinions.

I think he underestimates the ability to play the E1 with the sterling silver bell at sound levels which will carry over the band. I was out of action for a year or so because of back surgery, but I successfully played the Planets with an orchestra and was able to handle the requirements of brass and wind bands with the E1.

I later switched to the E2, which does more easily handle the larger sound needed. Still, I prefer the E1 and have switched back, but now I'm only playing in a quartet and a 15 piece brass choir.

For me, the SM3U has always been my go to mouthpiece for Adams euphs.

[John Morgan]

Thank you. The video is very useful as a general guideline to the characteristics of the E1, E2 and E3 models. I'm curious as to what current Adams owners think of the reviewer's opinions.

I own the Adams E3 with Sterling Silver bell, which is different from the E3 that was reviewed, which did not have a Sterling Silver bell. I don't find my horn lacking projection at all when I push it at the louder volumes as he describes, and I do push it at times. I would call myself both a power player AND a finesse player. Matt van Emmerik (an Adams artist and super player) plays on the E3 with Sterling Silver bell. I don't hear any projection issues with him either, and I have heard him recorded and live. And I think he is a powerful player. So Algirdas Matonis' (the reviewer's) opinion is different from mine. I am not sure how he can really tell all the nuances of the horn in an elephant room in any case. You need to put the horn in the actual playing and performing environment to get an accurate assessment. I have played mine as a stand in front of the band soloist and as a member of a large, pretty good municipal band. Projection at any volume has not been an issue whatsoever with my E3. I use the Demondrae signature mouthpiece (from my days as a Miraphone M5050 owner). Love that mouthpiece and how it works on my Adams.

[RickF]

"I am not sure how he can really tell all the nuances of the horn in an elephant room in any case."

This is exactly what I was thinking. No disrespect meant on any of his reviews but there's only so much you can tell in such a noisy environment.

[davewerden]

I agree about his slighting of the ss bell. That bell makes a big difference. Not to say everyone would/should choose it, because the other metals have their own benefits, too, but the ss can take more power input. However, the Adams can be over-blown if you just go "hard at it" rather than working with the horn so it resonates with you. That is hard to figure out quickly in a play test.

And testing in an elephant room is a challenge to be sure. I have, over about 40 years of doing that, learned that there are some things you can assess and some you can't. Response in general and evenness of response are both clear enough. Intonation is a challenge to judge in any room if you are testing a horn you are not familiar with. I have described my technique for overcoming that, but I don't know what Algirdas' techniques are. And even so, I find it extremely helpful to have the clip-on mic for my tuner.

My first tests of the Adams were in an elephant room at ITEC 2010. When the elephants were present, I was not able to tell anything about how resonate the sound was. But I was able to get back during a large lull in the action and in that case I became very interested. Because the direct sound from the bell is very misleading (or can be), I listen for the sound coming back from the room, and when there are a dozen tuba players doing their fff rendition of "Ride..." it is impossible to hear that return sound. (On the topic of direct-from-the-bell sound, I think there is a mini-review of the front-valve compensating Wessex where the reviewer said it was very distracting hearing the direct sound from his left ear instead of his right. In the case of "normal" horns, the misleading part is how close the bell is to your head and the distance from the mouthpiece to the bell edge - the relative "height" of the bell compared to the player's head. And a thinner bell may give you much better direct feedback, even if its sound may or may not be getting into the room successfully.)