Tammany Hall recently opened on Manhattan’s Lower East Side and immediately asserted itself as a formidable player in the local music scene.
Its owners have created a number of successful clubs in New York City and across the country, most notably Crash Mansion, also on the LES.
Tammany Hall delivers a wide selection of excellent beers and mixed drinks across three floors: an upstairs balcony, a prohibition-style basement lounge, and a main room with a generous stage.
The owners gutted and rebuilt the interior to distance Tammany Hall from the space’s previous long-term resident, The Annex.
Similarly, they hired Paul Bell of PBell Sound to completely redesign the new club’s sound system. Bell relied on Ashly Audio’s new high-power, low-cost KLR-Series amplifies, as well as Ashly Audio’s proven DSP technology, for Tammany Hall.
Although the owners asked Bell to redesign the system, they also asked him to repurpose whatever equipment was still in good working order. Indeed, they even added some equipment from Blvd, a club they owned in Los Angeles.
Bell relegated those items to the lower-priority functions. The shiny new equipment composes the main stage system and included four two-channel Ashly KLR amps and a complement of McCauley Sound loudspeakers and subs.
One Ashly KLR-4000, one Ashly KLR-3200, and two Ashly KLR-2000s provide power for four McCauley Sound AC28 subwoofers, two McCauley id2.112-64 full-range boxes, and one McCauley id3.115-64 full-range box.
Ashly’s new KLR-Series amplifiers offer Switch Mode power supply that ensures the integrity of the amplified audio signal. “The Ashly KLR-Series amps deliver on their promise,” says Bell. “They provide tons of clean power to the stage at Tammany Hall, and they can run all night without any hint of strain. I can’t wait to do more jobs with them!”
A stalwart Ashly ne24.24M modular DSP provides input conditioning, signal routing, and loudspeaker conditioning for the stage system, including all monitor and distributed signals. Bell configured it for eight-in to accommodate the bus architecture of the house’s Yamaha LS9 console, and twelve-out to match the needed amplifier channels (which include three repurposed Crown amps for two sub channels and stage monitors).
“I use the Ashly ne24.24M in almost all of my designs,” notes Bell, who, parallel to the current claim for first KLR-Series amps in NYC, was the first to install an ne24.24M in NYC as well as NYC’s first generation 24.24M. “I love that the input and output count is completely modular so that I can scale it to the needs of a particular installation without wasting money on unused channels. Of course, the programming is straightforward and the sound quality is top-notch.”
In addition, an Ashly 4.24C four-by-eight DSP provides all of the processing for Tammany Hall’s lower level, which serves DJ and live music. A repurposed AB-Systems amplifier powers the distributed system on the other levels.
