Volume 10, Issue 10 — October 25, 2016
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Surviving the 4K Temple of Doom
By Joel Rollins rAVe Columnist
In a cold, punishing rain, only the brilliant flashes of lightning illuminate our hero, who stands at the entrance to the mysterious, forbidden jungle temple. Rain streams steadily from the brim of his battered leather hat and his fingers twitch on the handle of the bullwhip that hangs from his belt.
Is it the guy behind Da-Lite Man again, dressed in yet another superhero suit? No, it is the fearless adventurer Indiana Jones, the third most swashbuckling figure in the AV industry, after only Macgyver and whoever Da-Lite Man thinks he is this week.
Why Indiana Jones? Is he searching for the answer to the eternal mystery of unified communications? Is he seeking a golden idol that will (at last) give him trouble-free HDMI connections? No, he’s just there because I need him to make a point.
In my last column, I talked about the need to be technically adventurous on behalf of our clients, while avoiding the pitfalls that come with that role. And nobody — nobody — has taught us more about avoiding pitfalls than Professor Indiana Jones.
If you watch the movies carefully, you will find that Prof. Jones has a number of techniques for avoiding mortal danger while making his way through underground lairs, etc. I have studied all of the Indiana Jones installments as if they were the Zapruder film. (All of them except “Indiana Jones and the Kingdom of the Crystal Skull,” which in my opinion does not count.) So, for those of you who have not invested time in the study of this critical skill set, let me give you my crib notes about the pitfall avoidance techniques used by our hero:
Use the natives.
If you don’t know the customs, and you don’t know the lay of the land and its potential pitfalls, the safest thing to do is to get allied with the natives. Indiana Jones never seems to have any shortage of well-meaning locals to send on ahead into the darkness. In our business, technologies are changing fast and are coming from a lot of different fields. So, in my own business, we have developed alliances with companies who specialize in telephony, security systems, and computer network security. While we are certified at appropriate levels for many of these skills ourselves, there are times when the inscription on that mysterious idol needs to be read by someone who understands the nuances of the language.
Know when the natives are using you.
There is a famous scene in “Indiana Jones and the Raiders of the Lost Ark” where Professor Jones and his Egyptian digging expert Sallah are looking down into a dark cavern called “The Well of the Souls.” They drop a torch into the darkness which reveals a writhing mass of serpents covering the floor. Sallah turns to our hero and says, “Asps. Very dangerous — you go first.” The moral of this story? If sending the natives on ahead into danger is a technique, beware when they do it to you.
Develop a longer reach.
If there is a tool of exploration that we associate with Indiana Jones, it is his braided leather bullwhip. He is constantly swinging from it, using it to knock the gun out of a villain’s hand, or just brandishing it menacingly. The whip is an effective tool for him in avoiding or fighting off danger because it gives him a longer reach than he would otherwise have. In our industry, that long reach comes from our associations, either formal or informal. Often, we need not make a critical mistake ourselves in order to learn from it, because someone, somewhere, has probably made that mistake already. One of the things I have kicked myself for more than once is that I have failed to ask allies in other parts of the world about something particularly dangerous before I attempted it myself.
You gotta love overkill.
Probably the best, and most surprising, scene in the original Jones film is the one where Prof. Jones is faced with an assassin wielding an enormous curved scimitar. No matter how old this movie is, I have never seen the audience fail to roar with laughter and applause when our hero drops the bullwhip, pulls a revolver, and shoots the assassin. This scene represents my favorite lesson in dealing with new technologies, which is to buy myself some headroom. Especially in areas where the technology is changing rapidly, it is a mistake to under-buy. If there are multiple projected “standards,” I look for a weapon that supports most or all of them. It is good to have a gun when the mysterious enemy appears with the scimitar.
In other words, preparedness and wariness go a long way toward allowing you to survive the pitfalls, and to “boldly go where no man has gone before…”
And, no, that’s not a mixed metaphor, it’s a segue….
(Catch you next month. –JRR) Leave a Comment
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PreSonus Ships StudioLive RML-series Rack-Mount Digital Mixers PreSonus is now shipping two new StudioLive RML-series models that offer line-level inputs, in addition to the XLR mic inputs found in the RM series. Designed for live-sound mixing and studio recording, StudioLive RML16AI and RML32AI mixers provide 32 internal channels and 25 buses, a 52×34 FireWire 800 recording interface, AVB Ethernet networking, and Fat Channel signal processing on all input channels and all buses, including a four-band parametric EQ, compressor, gate and limiter.
You can control StudioLive RML mixers with UC Surface touch-control software for Mac, Windows, and iPad and with the StudioLive CS18AI AVB control surface, which provides motorized faders. Combine hardware and software control to meet your individual needs.
Using AVB Ethernet networking, you can cascade any two StudioLive RML and RM mixers to create larger mixing systems. Combine a 16-input mixer with a 32-input mixer for a 48-channel mixing system or two 32-input mixers for a 64-channel system. Both mixers in the expanded systems can be controlled from a StudioLive CS18AI, from UC Surface and from Studio One.
A Stage Box mode lets you use StudioLive RML mixers as remote I/O devices in conjunction with StudioLive AI-series consoles. You can use the RML as simple I/O, bypassing the internal mixer, or as a monitor mixer and remote I/O.
In addition to UC Surface touch control software, these rack-mount mixers come with tightly integrated Capture recording software for Mac and Windows, with true Virtual Soundcheck mode; and Studio One 3 Artist DAW for Mac and Windows. PreSonus’ free QMix-AI aux-mix control software for iPhone/iPod touch enables musicians to control their own monitor mixes.
StudioLive RML16AI (MSRP $1,199.95) and StudioLive RML32AI (MSRP: $1,799) are here. Leave a Comment
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Christie Pandoras Box 6.0 and Widget Designer 6.0 DebutThe new Christie Pandoras Box 6.0 media server is officially launching this week and it combines the newest rendering technology with intuitive media and show control. Among its new features, Multi User mode allows multiple Pandoras Box operators to split the workload of a project and benefit from the increased efficiency by working on different tasks like warping, content encoding, timeline programming or simply work simultaneously on the same sequence. Pandoras Box 6.0 also features many workflow improvements such as editable meshes and warps, UV map adjustments and live canvas masking and painting all from within the preview window.
With Widget Designer, customers can create dedicated user interfaces and interaction logic simply by connecting visual control components. New to Widget Designer 6.0 is a redesigned HTML5 user interface and native HTML support including CSS Styles. Animation and transitions are now available for all pages and widgets and the new composite nodes allow for the integration of node-systems into re-usable custom nodes.
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Anchor Audio’s Bigfoot and Beacon Line Arrays Add AIR Wireless CapabilityAnchor Audio has announced that the Bigfoot and Beacon line array’s now offer the AIR wireless technology, and have complete wireless capability and connectivity between units. The Bigfoot and Beacon AIR’s are not passive companion units, but instead, are main units with either an AIR transmitter or AIR receiver built-in. The units can be used together for larger coverage or separately as stand-alone units.
The Bigfoot and Beacon AIR systems are battery powered, operate six to eight hours or more on a single charge, and receivers can be placed 150+ feet from the transmitter. AIR transmitters and receivers come as an optional built-in upgrade to the main sound system and replace the CD/MP3 combo player in the units. The transmitter can connect to an unlimited number of AIR wireless companion speakers. The AIR wireless technology offers 100 user-selectable channels operating within the 900 MHz frequency, which is one of the few clear channel ranges available and, therefore, limits interference from competing signals. The Bigfoot and Beacon line arrays are durable and easy to transport with built-in wheels and handles. Delivering 130 and 120 dB of clear sound respectively, these portable sound systems are ideal for both music and voice amplification making it truly versatile.
Currently, Anchor Audio offers AIR capability in the Bigfoot and Beacon Portable Line Arrays, Liberty Platinum andGo Getter Portable Sound Systems, and MegaVox Pro Portable PA System. All of the Anchor AIR product line, including the Bigfoot and Beacon can be mixed and matched to fit your ideal audio solution setup.
The AIR companion transmitter also connects seamlessly with Anchor Audio’s Assistive Listening Devices (ALB-9000), which operate on the same 902-928 MHz, resulting in an immediate ADA-compliant portable sound system. Main-unit systems are available with up to two wireless microphone receivers in addition to the AIR wireless companion transmitter.
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Apogee Intros Element Series Thunderbolt Audio Interfaces Apogee Electronics just launched their new Element Series — three Thunderbolt audio I/O boxes for Mac — Element 24, Element 46 and Element 88 (each with a different number of analog and digital I/O). The Element series uses Apogee’s Thunderbolt driver for 1.41ms round-trip latency when using Logic Pro X. As an added element, the series also features Apogee Groove’s headphone output technology. This design dynamically optimizes sound quality for a wide variety of headphones, regardless of their impedance. you have connected.
The configurable Element Control software for Mac lets users set up workflows that meet their needs and the Element Control for iOS App lets them control the Elements remotely over Wi-Fi. Logic Pro X users can adjust Element I/O settings directly from their Logic Channel strips. And for those wanting more traditional desktop control, there’s the optional Apogee Control hardware, featuring a Duet like form-factor with 8 assignable buttons and a master control knob. Regardless which of these options you prefer, if you are using an Element, everything is under control.
Highlights include:
- Sound quality equal to Apogee Ensemble Thunderbolt
- AD/DA conversion for recording up to 192kHz/24-bit
- World-class mic preamps built-in, with selectable 48v phantom power
- Single port Thunderbolt connectivity to Mac for ultra-low latency performance
- 1.41ms round-trip at 96kHz with a 32 buffer setting
- New Element Control Software for Mac provides all control of hardware parameters including input gain, output level and low latency monitoring
- New Element Control Mobile App provides wireless remote control of hardware via iPhone, iPad or iPod touch
- Works with Apogee Control – Desktop hardware remote control accessory
- Multi-Unit Thunderbolt support – Connect any two Element audio I/O boxes directly to Thunderbolt ports on your computer
Price/Availability:
- Element 24 (10 in x 12 out) – $595 USD – Available November 2016
- Element 46 (12 in x 14 out) – $895 USD – Now Shipping Worldwide
- Element 88 (16 in x 16 out) – $1495 USD – Now Shipping Worldwide
- Element Control for Mac – Available as download from Apogee’s website
- Element Control for iOS – Now Available for Free from Apple’s App Store
- Apogee Control Hardware Remote – $195 USD – Available November 2016
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AV Industry Mourns AV Rental Pioneer Stephen GootThe founder of Atlanta-based Total AV, Stephen Baron Goot, 73, died earlier this month after an undisclosed surgery. As many of you know, Stephen Goot founded Total AV Services (TAVS) in 1973 and pioneered many of the techniques used by rental companies today, e.g. electronic inventory tracking, event product staging techniques and many of the billing practices still used in the rental and staging industry.
Goot was born in New York City but lived most of his life in Las Vegas, Nev. He attended the University of Arizona in Tempe and majored in business. Upon graduation, he lived in New York and was a glove salesman, a stockbroker, a financial advisor and broker before deciding to move to Atlanta and start a convention services company.
TAVS had its biggest growth in the 1980s and ultimately employed over 400 people, grossed $40 Million in revenue and had offices in 11 cities before it was sold in 1994 to GE Capital (which was eventually purchased by PSAV). Two years before selling TAVS, Goot was in a car accident that left him partially paralyzed, in a wheelchair and on a path changed the focus of his life. After his accident, Goot moved to the Shepherd Center — a rehabilitation center for brain and neurological damages — and that became the focus of his volunteer activities including serving on its board of directors for over a decade and was, most recently, their corporate secretary. He was a career volunteer at Shepherd Center and focused the last 20-years of his life helping new patients there realize there is opportunity after a major spinal cord injury. The obituary of Goot recounts: “His goal was to teach them that there is life after a spinal cord injury. Stephen did not let his limitations define him, and his wit, charm and bigger than life personality made his chair invisible to everyone he met.”
Goot was survived by his wife of 38 years, Debbie and his two sons, Brian Bible and Michael Goot — and an entire industry of rental and stagers.
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NEC Display Launches New LED LineupNEC Display Solutions launched a new series of LED displays that offer 1.2mm to 6mm pixel pitch for indoor applications and 5.8mm to 12.0mm pixel pitch for outdoor applications, perfect for nearly any viewing distance and maximum flexibility. Featuring 24-bit color processing enabling a greater color gradient for smooth, clear images and an increased lifespan to 100,000 hours for maximum value, the LED displays offer the ultimate viewing experience.
The front facing LED panels are easily upgradeable and designed for easy color calibration to ensure color uniformity, even if a panel is replaced. The LED panels can also be arranged in a curved concave/convex configuration and feature a high refresh rate to prevent flickering, making the direct view LED displays perfect for cutting-edge digital signage applications in retail, broadcast, control centers, transportation and more.
In addition, the enhanced line of LED displays is equipped with controllers that can manage a 16-million pixels per controller. All displays are front- and rear-serviceable to reduce install and service costs, leading to an overall lower cost of ownership over competitors. The new LED displays also include an expanded warranty to three years of protection.
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Sennheiser Announces New Design for HD 280 PRO Monitoring Headphones Sennheiser has redesigned the HD 280 PRO monitoring headphones with a new design and improved comfort for the wearer. The most visible change is the headband, which features differently designed padding that keeps the sensitive fontanelle area of the head free from pressure. This, along with a weight of just 285 g, ensures stress-free use for long hours. The headband length can be adjusted in more than a dozen increments, while the swivel joint and the rotatable ear cups ensure a perfect fit around the ear. Soft ear pads round off the comfort features.
The dynamic HD 280 PROs boast a THD of 0.1 percent and a very detailed, linear reproduction, spanning a frequency response of 8 to 25,000 kHz. Their impedance of 64 ohms ensures universal connectivity. The headphones feature a single-sided, coiled cable with 3.5 mm/6.3 mm plug.
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Dynamic Projection Launches Mirror Head for 3-Chip DLP projectors.Dynamic Projection Institute has focused its latest development on Mirror Head system for making creative projection systems. The MH14 allows you to move projection positions and create shows with 3-chip DLP projectors by Panasonic, such as the PT-DZ21K, PT-DZ21K2, PT-RQ13K and PT-RZ12K Series.
The MH14 is optimized for professional show integrators and is ideal for rental and touring. While you are on the road, use the MH14 with quick, secure and easy snap-in mounting for stack frames. It should also be noted that the Mirror Head is usable without a stack frame.
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Sharp Debuts New Displays Sharp today announces its next generation of professional-grade LCD monitors for its PN-R series. Available in 42″ Class (41.9″ diagonal), 49″ Class (48.5″ diagonal) and 55″ Class (54.6″ diagonal) models, they are all commercial-grade displays for digital signage and ProAV.
The new PN-R556/R496/R426 professional LCD monitors offer a slimmer, sleeker, design with a bezel of only 7.8 millimeters on all four sides. This is 50 percent slimmer than its predecessor and the thinnest Sharp has introduced in this size format.
The PN-R series are the first to incorporate the new Mini Open Pluggable Specification (Mini OPS) design, which Sharp brings to market in collaboration with Intel. This enables simplified digital signage development and deployment, low power, reliability and a validated compact, fan-less design.
In addition, the PN-R series accommodates an optional HDBaseT 2.0-compliant receiver board that supports various types of media and control signals. Installing an HDBaseT Receiver Board (PN-ZB03H) allows the monitor to receive HDMI video, audio signals, and control signals sent up to 328 feet via a single LAN cable. This brings convenient connectivity with fewer cables, reducing both the time and cost of installation.
To allow for even greater amounts of flexibility and collaboration, an optional wireless board (PN-ZB03W) allows up to 10 devices — including Mac or Windows computers and users can display the content of one device on the whole screen, or from up to four devices in a 2×2 split screen.
The PN-R496 display will be available to ship in October 2016. The PN-R556 display is scheduled to ship in November and the PN-R426 display in January 2017.
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PreSonus Releases StudioLive AR USB Hybrid Mixers PreSonus is now shipping its StudioLive AR USB-series hybrid mixers. The series includes three models: the 18-channel StudioLive AR16 USB, 14-channel StudioLive AR12 USB and eight-channel StudioLive AR8 USB.
StudioLive AR USB mixers are equipped with a Mac- and Windows-compatible, 24-bit, 96 kHz, USB 2.0 audio interface that can capture all input channels and the main mix. Like every PreSonus mixer, StudioLive AR USB mixers are bundled with everything you need to record, mix, and distribute your music. Create multitrack recordings with one click in PreSonus’ Capture live-recording software, then mix, edit and distribute from award-winning Studio One 3 Artist DAW production software; both are included free. Every StudioLive AR USB mixer comes equipped with an onboard stereo SD recorder that lets you record the main mix without a computer — just hit Record and go. You can also use the SD recorder to play up to 32 GB of MP3 and WAV files for hours of program music or backing tracks without needing a computer.
StudioLive AR USB mixers also feature the unique PreSonus Super Channel, which allows you to play audio from four stereo sources simultaneously. Plug a media player into the Super Channel’s unbalanced RCA inputs. Connect your tablet to the 1/8-inch stereo input. Play stereo audio from the onboard SD recorder or from your USB-connected Mac or Windows PC. Use onboard Bluetooth 4.1 to pair your phone to your StudioLive AR USB mixer and instantly have wireless access to your music library for break music, backing tracks, or ear-training. Have a song you want the rest of the band to learn? Pair your phone and start rehearsing. The Super Channel allows you to play back audio from four stereo sources at one time.
Compact and road-ready, StudioLive AR USB mixers are packed with the connections and features needed to mix and record live, in the studio and in rehearsal, including Class A mic preamps; instrument and line inputs; semi-parametric three-band EQ; and an internal stereo effects processor, providing a superior all-in-one solution for mixing and recording your performances. All models are shipping and the prices are StudioLive AR16 USB, $599.95; StudioLive AR12 USB, $499.95; and StudioLive AR8 USB, $399.95. Here are all the details. Leave a Comment
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NanoLumens Debuts Front-Installable, Front-Serviceable 1.25MM Pixel Pitch LED Display NanoLumens today announced the market introduction of the world’s first 100-percent front-installable and front serviceable 1.25MM Pixel Pitch LED display, featuring new “touch-free” technology that was developed specifically for a United States military command and control center.
Designed to be easily installed in any display environment without requiring changes to an existing location or infrastructure, the new NanoLumens 1.25MM pixel pitch display features precise alignment technology and an updated system layout that supports an exact 1920 RBG pixel wide by 1080 RGB pixel tall, final display of any resolution in 384×360 increments. The display allows for “direct to wall mounting” at a depth of less than 4 inches and comes with a decorative back for optional hanging applications.
Easily front serviceable thanks to NanoLumens’ magnetic Nixel attachment methods and perpendicular removal, the display also incorporates NanoLumens’ new NanoZ technology that assures exact alignment in the Z axis for all Nixels.
In addition, the display boasts the industry’s highest advertised brightness of 950 cd/m2 and features power supplies that are 100% embedded from the line input, meaning there are no external power supplies, no added conversion loss and no additional fans. The new 1.25MM display is available now.
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GLP Announces Release of New 30W X4 atom GLP has announced the release of the upgraded 30-watt version of its X4 atom fixture. GLP says adding a new high power light source into the unit has doubled its brightness and introduced greater optical efficiencies within the unit. At the same time, an additional six-way PSU has been added to the product line up.
The brighter 30 Watt RGBW LED source is from the same family used across all GLP’s X4 range. This ensures full color matching across fixtures despite its compact size.Also, the X4 atom has a 9 to 1 ratio zoom that goes from a wide 34° wash down to a tight 3.5° beam for pinpoint accuracy and great mid-air effects — all the while maintaining a clean output and even distribution of color and intensity.
The X4 atom runs from an external power supply, with a six-way and a 12-way option available that feeds fixtures via an industry standard four-pin XLR cable, tapping into existing infrastructure and reducing the overall environmental impact of the fixture.
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Extron Expands Line of DSC HD-HD 4K Scalers With New Economical 4K/30 Model Extron is now shipping the DSC HD‑HD 4K A, an HDCP 2.2-compliant HDMI to HDMI scaler. It accepts signals from 480i to 4096×2160, and produces a scaled output from 640×480 to 4096×2160. It features 4:4:4 processing for signals up to 4096×2160 @ 30 fps. It incorporates the Extron-exclusive Vector 4K scaling engine that includes integrator-friendly features such as on-screen display, stereo audio embedding and de-embedding, internal test patterns and the ability to display custom images and logos for on-screen corporate branding and messaging.
The DSC HD‑HD 4K A is the latest addition to the DSC HD‑HD 4K Series. There are three models in the series: the DSC HD‑HD 4K A, DSC HD‑HD 4K PLUS A, and the DSC HD‑HD 4K PLUS A xi. The DSC HD‑HD 4K PLUS A supports 4:4:4 signal processing for signals up to 4K/60. The DSC HD‑HD 4K PLUS A xi features a pair of HDMI inputs and outputs, allowing one or two connections for input and output signals up to 4K/60 with 4:4:4 signal processing.
For more information on the DSC HD-HD 4K Series, go here. Leave a Comment
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Studio Technologies Releases Model 362 Listen-Only Beltpack Featuring Dante Studio Technologies has launched the Model 362 Listen-Only Beltpack that features Dante audio-over-Ethernet technology. Intended for use by on-air talent or production personnel, the Model 362 is a two-channel user device that supports headphone monitoring of two audio channels associated with a Dante application.
Key features of the Model 362 include configurable audio channel routing, dual level controls, 1/4-inch and 3.5-mm output jacks, and Power-over-Ethernet (PoE) powering. With only a PoE connection and a pair of headphones or an earpiece, a complete broadcast talent cue or audio monitoring location can be created. Also known as an interruptible foldback or “IFB,” talent cueing is an unheralded but critical part of on-air applications. The Model 362 can be used with other high-performance Dante-enabled products from Studio Technologies, such as party-line intercom and IFB interfaces, 2- and 4-channel intercom beltpacks and announcer’s consoles, as well as being interoperable with products from hundreds of other manufacturers.
The setup and operation of the Model 362 is fast and simple. Both power and bidirectional digital audio are provided via an etherCON RJ45 jack, which is used to interconnect with a port on a standard PoE-enabled network switch. Both 1/4-inch and 3.5-mm output jacks allow use of a wide range of stereo headphones, single- or dual-ear broadcast headsets, and stereo or monaural earpieces or earbuds.
The Dante Controller personal computer application can be used to route two audio sources to the Model 362’s inputs. Two “push-in/push-out” rotary potentiometers make it easy for the user to set and maintain the desired level on the two-channel headphone output. Four LEDs provide a clear and complete indication of the unit’s operating status.
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For all you REGULAR readers of rAVe Rental [and Staging] Edition out there, hopefully you enjoyed another opinion-packed issue!
For those of you NEW to rAVe, you just read how we are — we are 100 percent opinionated. We not only report the news and new product stories of the ProAV industry, but we stuff the articles full of our opinions. That may include (but is not limited to) whether or not the product is even worth looking at, challenging the manufacturers on their specifications, calling a marketing-spec bluff and suggesting ways integrators market their products better. But, one thing is for sure, we are NOT a trade publication that gets paid for running editorial or product stories. Traditional trade publications get paid to run product stories — that’s why you see what you see in most of the pubs out there. We are different: we run what we want to run and NO ONE is going to pay us to write anything good (or bad).
Don’t like us, then go away — unsubscribe! Just use the link below.
To send me feedback, don’t reply to this newsletter. Instead, write directly to me at gary@ravepubs.com or for editorial ideas, Editor-in-Chief Sara Abrons at sara@ravepubs.com
A little about me: I graduated from Journalism School at the University of North Carolina at Chapel Hill (where I am adjunct faculty). I’ve been in the AV-industry since 1987 where I started with Extron and eventually moved to AMX. So, I guess I am an industry veteran (although I don’t think I am that old). I have been an opinionated columnist for a number of industry publications and in the late 1990s I started the widely read KNews eNewsletter (the first in the AV market) and also created the model for and was co-founder of AV Avenue, which is now known as InfoComm IQ. rAVe [Publications] has been around since 2003, when we launched our original newsletter, rAVe ProAV Edition.
Everything we publish is Opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship ePublication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition, co-published with CEDIA and launched in February 2004, is, by far, the largest ePub in the HomeAV market. We added rAVe Rental [and Staging] in November 2007, rAVe ED [Education] in May 2008 and then rAVe DS [Digital Signage] in January 2009. We added rAVe GHGav [Green, Healthcare & Government AV] in August 2010 and rAVe HOW [House of Worship] in July 2012. You can subscribe to any of those publication or see ALL our archives by going to: https://www.ravepubs.com
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rAVe Rental [and Staging] contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors. |
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