Bell configured it for 8-in to accommodate the bus architecture of the house Yamaha LS9-16 digital console and 12-out to match the needed amplifier channels.
“I use the Ashly ne24.24M in almost all of my designs,” Bell notes. “I love that the input and output count is completely modular so that I can scale it to the needs of a particular project without wasting money on unused channels.”
An Ashly 2-channel KLR-4000 amplifier drives the pair of ID3.115-53 main loudspeakers, while a KLR-3200 handles the ID2.112-65.
The recently introduced KLR Series, featuring Switch Mode power supplies, presents an efficient, lightweight and accurate option for sound reinforcement applications.
“I’ve been really impressed with the new KLR amplifiers,” adds Bell. “They can run all night without a problem and provide tons of clean power.”
Two Crown Audio Macro-Tech MA2400 amplifiers are reserved to drive the stage monitors, with a single Crown MA3600 capable of driving both Turbo subwoofers. And, an AB Systems 6300 powers both sets of balcony- and rear-fill loudspeakers.
The system mix/control position is in a small booth carved out of the wall, fronted by a large opening that allows the engineers to clearly hear the house system.
As noted, it’s home to a 32-channel Yamaha LS9-16 that also provides most of the effects processing, including gates, compression and EQ. The compact console fits well within the tight quarters, in addition to being light enough to be moved by one person when necessary.
“The booth is very, very small – you probably can’t even get two people in there at the same time,” Bell says. “The LS9 has a small footprint, and besides, it’s a console that virtually every guest engineer is familiar with, making it a perfect ‘fit’.”
A USB memory-drive recorder/player is also available at this location for capturing live recordings as well as playback of background music.
Out Of The Way
The lower level, meanwhile, is served by its own discrete system, usually offering house music spun by DJs.
Ashly components again were the choice for the system backbone, with an LX-308B stereo 8-channel line level mixer that accommodate all sources, as well as facilitating a feed from the house system when wanted.
Ashly KLR Series amplifiers, this time two KLR-2000s, drive four McCauley AC28 subwoofers that split into groups of two located to the left and right of the DJ booth.
“They really rock the system,” Bell says of the subs. “The room is small, so we pretty much put them anywhere we could fit them while still being out of the way. It sounds fantastic.”
Dual EAW MK2364 2-way loudspeakers are positioned above the bar for primary coverage, with additional emphasis at the dance floor provided by two EAW JF8 loudspeakers flown to the left and right of the DJ stage.
Two more EAW MK2364s are hung to the left and right of the triple-door entrance to the secondary lounge seating area, with all of these components powered by a single AB 6400 amplifier.
“The owners are very pleased with the new system. We repurposed some still-viable equipment and added new key components that really pulled it all together,” Bell concludes.
“The club is really taking off, and I have to think that the sound systems have something to do with that success.”
Julie McLean Clark is a writer and marketing consultant who has worked in the pro audio industry for more than 15 years.