Volume 11, Issue 14 — July 30, 2014
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Editorial Editorial Editorial Editorial
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Industry News rAVe BlogSquad Audio Control & Signal Processing Cables, Furniture, Mounts, Racks, Screens and Accessories In Brief
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5120 Is Not 4K and 4K Is Not UHD
By Mark Coxon rAVe Blogger
After my last piece on 4K and UHD and the infrastructure challenges we face in order to implement it in its best form, I honestly thought I’d be done with the topic for a while. After all, the most recent piece I wrote on 4K before that was in May 2013, almost a year prior.
Well I decided to make a joke about HDMI on Twitter and all of a sudden the snowball was in motion. That joke led to an exchange with Josh Srago on Twitter and then to a live debate on AV Shop Talk. The topics ranged form general 4K questions, to infrastructure issues, to the new HDMI spec. Specific to the 4K discussion was an exchange about the marketing confusion around 4K, UHD and 2160p. I assumed that at least the four of us left that conversation knowing the differences.
Today, I was mentioned in a tweet by AV Shop Talk regarding Samsung’s new $120,000 105″ curved display.
They quickly realized a couple minutes later that this wasn’t a 4K display but that the display would be 4K compatible in a pixel for pixel arrangement.
I don’t blame the guys at AV Shop Talk for their initial confusion; they’re extremely bright and well versed in AV. I blame the way that companies have marketed the technology. It’s been as clear as mud.
I couldn’t help but crack open my laptop on a Saturday night to try to put this to bed even in the face of my own insomnia, so here goes.
The only displays that are “4K” are 4096 pixels wide.
No more, no less. 3840×2160 is not 4K. 5120×2160 is not 4K.
3840x2160p is UHD-1. That’s what it is. That’s what we should call it because it’s important. We have to understand the nature of our displays in order to do our jobs correctly. It allows us to know what happens to our signals when they hit the display, and how to best create content to assure the best delivery.
We always get the best result when we can send a display content in the native resolution of the display. This eliminates any scaling of the image.
Secondarily, if we cannot deliver content in that native resolution, it’s best to deliver it in a way that it can be scaled more easily. This typically means working in round multiples of the native resolution. This is one of the reasons that broadcast decided to go with 3840×2160 or UHD-1 instead of the existing cinema format of 4K. Existing HD content in the 1920×1080 format scales easily into 3840×2160. Both the vertical and horizontal resolutions are doubled, creating four times the total pixels of the 1920×1080 signal. If you tried to scale a 1920 wide image to a 4096 wide display, the math gets a lot messier, and scaling becomes somewhat harder and makes the image look worse.
(Think about this: Even when the math is easy, the scaler in a UHD display is having to create 4 pixels for every one that it has data for in a 1920×1080 signal. There is more created data in the image than there is original content. That always decreases quality of the image itself, even if the resolution is higher.)
So why did Samsung pick the 5120×2160 form factor for their new monolith? (We won’t get into the curvature now but I questioned curved screens earlier this year as well.) The display is obviously created for CinemaScope content, which is wider than the standard 16:9 format we have on all the other UHD displays. Why would they create a format that uses a canvas LARGER than the Digital Cinema Package (DCP) created by the studio? This requires the image to be scaled and stretched to fit the display, or if you do a pixel for pixel match, leaves a black border all around the image. (See Below)
CinemaScope in a DCP is 4096×1716. Wouldn’t it have been smarter to make a display with that native resolution? I would argue that the answer is yes, IF the display was ONLY being used for 4096×1716 DCP content (content that I got Sony Pictures Home Entertainment to agree to sell to private individuals for home systems back in 2010, but that integrators felt they couldn’t sell so it died).
However, we know these displays will also be used for other content as well. Cable/satellite TV content will be 1920×1080 most likely, as will Blu-Ray content. Other cinema DCP content is 3996×2160 (1:85:1) — so scaling those images to a 4096×1716 canvas would cause the scaling issues referenced above. Again the math there is messy.
Samsung kept the vertical resolution at 2160, the same as the UHD standard, so that native UHD content would not need to be scaled down. That also means that the scaling can utilize round numbers for older 1080 signals. Both scenarios leave black bars left and right of the image, but fill the vertical resolution of the display fully. (See below).
Obviously that holds true for 3996×2160 (1.85:1) cinema DCP content as well.
And herein lies the irony. The very images that the aspect ratio of the display was designed to accommodate are the only images that the display will actually have to apply some rather complex scaling to in order to fill the screen completely and eliminate the black bars. This means the extra wide images the display is being sold to reproduce may most likely be the ones played back least accurately with the most artifacts.
At the end of the day, the vertical height of the $120,000 display is nearly the same as an 84″ diagonal 16:9 screen. It would be wise to reflect on what the majority of the content you consume is, and then decide whether you’d rather have black bars on your every day content to get a wider image on movie night, or whether you’d rather fill the screen on a daily basis and deal with the black bars when watching movies.
These are the type of conversations we should be having with clients when talking about 4k and UHD. Understanding the differences is the only way to help eliminate confusion and make those conversations valuable.
Have I jumped off the deep end here of AV Geekery? Let me know in the comments. Leave a Comment
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The Finishing Stage And How To Do It Right
By Lee Distad rAVe Columnist
If you’re called back for a second interview for a job, the fact is that they’ve already decided to hire you: The second interview is simply your last chance to screw it up. You just have to reinforce the good impression you made in the first interview and you’re good to go.By that same token, the finishing stage of an AV project is your company’s last chance to screw up the job.
The finishing stage is where you’re supposed to tend to the remaining details, not least of which is running tests to make sure everything is doing what it’s supposed to. That’s what’s supposed to happen, yet sometimes it doesn’t. I’ve gotten plenty of phone calls from end users, looking for someone to “fix” a system that someone else installed, and I know you have too.
Let’s veer away from AV for a moment, so I can tell you a story from outside our industry that underscores the importance of competence in the finishing stage.
Last summer our LG-brand washing machine broke down. The good news: It was covered under the extended warranty. Still more good news: The techs from LG arrived with a replacement wash drum, removed the old one and installed the new one, all in under an hour’s time. The bad news: When reconnecting the water hoses, they misconnected them, so that the hot hose was going into the cold inlet and the cold hose into the hot inlet. Worse news: The error wasn’t discovered until my wife ran a cycle of delicates on “cold,” only to have them ruined in scalding hot water.
What do washing machines have to do with AV installations?
One small error, one failure to pay attention to details turned a good customer service experience into a bad one, with a customer (my wife) who was now purple with fury. So yeah, the finishing stage matters a whole lot.
Fortunately, just like designing and installing, testing and troubleshooting is just another process.
Using a standardized checklist of system functions is a mandatory best practice. Every discipline, including audio, video, lighting control and so on, should have a list of everything that the system is supposed to do, and arrange it so that the tester can check off and initial each function after confirming it, as well as space to write notes if a deficiency is found.
I’ve always used ones that have three columns for confirming functions: one for the installing technician, one for the project manager and one for the sales designer.
Overkill? Maybe, but it’s better to be certain.
If you find an issue, you need to troubleshoot effectively. Effective troubleshooting is a column all it’s own, but the cardinal steps are Diagnose, Analyze, Repair, Test and Prevent.
Upon completion, review the results of the final install checklist in a team business meeting as a training tool. Constructively advising your team on an ongoing basis will contribute to maintaining or better yet improving your company’s standards. Leave a Comment
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Forever Alone No More: Multiplayer Theater Gaming
By Matt Cooper Lead Designer
Despite some negative stereotypes about people who enjoy video games, most modern games have a social focus. From massive multi-player games that host thousands of people in the same persistent world like World of Warcraft and Dota II, to party matching systems for match based games, which is most of them. Even solitary games now include the option to compare scores to your friends and the ability to easily record and post your in-game exploits. One interesting difference between earlier years of gaming systems and today is move away from gaming in the same room with friends.
I guess in today’s world it’s not surprising — we stay connected with friends around the world through social media. It’s a tradeoff between increased reach with many remote friends and decreased personal interaction. Don’t get me wrong — if I’m a curmudgeon about anything, it wouldn’t be about how amazing the connected world is we live in today. But, if I have friends over in my nice theater gaming setup, I really want to play with them in person, in the same room. There used to be more ways to accomplish this with split-screen divisions, turn-based, co-op games. I have fond memories of playing Goldeneye on the Nintendo 64 with a four-way screen split of already marginal resolution — and it was a blast. For the PC world, people have been hosting bring-your-own-computer LAN parties for decades. But if you settle in for a game of Battlefield 4 on a modern console today, unless your friend has her own console and display — you’re not going to play against her in the same room.
Which brings me to a major technology creative innovation from Samsung — it’s just not for a low-end client — the Samsung Series 9 curved 55-inch curved OLED. You can watch an overview from Gary here. The Multi-View technology is very clever, and I’m actually not sure why other manufacturers of 3D capable displays don’t offer it. The feature uses active shutter 3D glasses to show you every other frame. Each of the two viewers see a completely different video sources independently. This kind of setup would be perfect with two consoles as two sources. Another interesting ProAV solution would be to utilize what is being called the digital canvas, which has the potential to be a big deal in HomeAV outside of just gaming or even home theaters. By using multi-image processor, you can roll your own split-screen gaming and movie watching. As many sources arranged as many configurations as you can imagine depending on the hardware. Pair this idea with a 4K projector and wall-sized screen, and you’ve really got something special to sell. There are many choices at different price-points, mostly depending on the level of customization and interactive arrangement of windowed sources. Jupiter Systems pioneered the market for these multi-image processors for command and control, but now you can easily pick and choose from companies like RGB Spectrum, Gefen, Extron, Crestron, TV One/Magenta Research and countless other black box signal processing manufactures.
As a related aside, there are many very interesting things that would come out of pushing a digital canvass in the home as consumer devices move towards the the Internet of things. As wireless standards start to coalesce into one winner that’s accepted and known by average consumers, it will become easier to mix video streams, alerts and UI elements onto a large primary screen. In the future, the consumer will won’t have to shift attention between multiple devices. They will be able to be watching a movie or playing a game, and be able to accept video from a doorbell camera in small window on the same screen. Devices like washing machines will be able to send discrete UI alerts to let you know that the cycle is finished if you wanted to know when to switch loads. Parents will be able to keep a constant baby monitor video or biometric vital info on-screen for peace of mind while relaxing. Visitors should be able to easily send content from phones onto windows on the canvas display with a hand motion — or more realistically now, an Airplay-like button. There are many possibilities that are just starting to open up and the first and most creative integrators will be able to set themselves apart from the competition.
Anyway, back to multi-player video game setups for the demanding social gaming client. One much more simple and cost-effective way to include social gaming in a theater would be to have multiple displays in the room as zones. The key to the setup would be the unorthodox seating arrangement in an average rectangle shaped room. I am envisioning a standard row of three to four seats facing the projection screen, then, back-to-back seats facing the other three sides of the room with screens mounted on those walls. This would provide four separate displays and consoles in the same room with minimal integration complication. Although, if you wanted to get fancy with distribution, I would consider an IP based video matrix like Just Add Power. For PC gamers, consider a row of modular PCs with wall build-ins. Super geeky, but kind of amazing.
These are all options you can present to your clients when selling a gaming theater setup. If you’ve felt out your client and know they love spending time with friends, try pitching one of these multi-player options. As always, consider adding to your demo rooms. Game related setups are sometimes hard for people to envision without as many points of reference compared to movie-centric theaters. Once they sit down and start playing with the family and see what’s possible, you may have create a new type of sale integration sale. Leave a Comment
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The Devil Is In The Details: Product Design Matters!
By Lee Distad rAVe Columnist
Everybody knows that there need to be differences between the products that AV pros specify into projects and the products retailers stock on their shelves.
Obviously AV pros want to avoid products in their bill of materials that can be showroomed by customers who double check stuff on Amazon.com (in fact, you don’t want customers who are going to do that, but that’s another topic). More importantly, where products in the two channels differ most is in the attention paid to the little details, because those two channels have different requirements.
I know that I already started off with an aphorism in the title, but I’m going to lay down one more: Form follows function, and function matters more than anything.
Retail centers around a specific product customer desire: a 70-inch flat panel display, an AV receiver that has HDMI and 3D compatibility, etc. Any add-on selling is an effort to attach additional products or accessories to the invoice. Because of that, product focus tends to be on features rather than details. “Oh look, it’s got 3D!” or “It’s a 4K display! Incredible!”
Those are features, but they aren’t details. I’ll explain what I mean as I go on.
In the exact opposite of the way retailers do it, AV pros focus on selling a complete idea, like a “cinema room” or “whole house AV.” With AV pros, has more to do with adding rooms or functions to the overall design. That aside, for AV pros, beyond the sex appeal of this year’s CE Buzzword Bingo (4K! 3D!) the most important considerations for product selection center around details.
The most obvious of course is that the selected products work together and can actually, you know, be integrated. Less obvious are key product design details that, while of little-to-no-interest to retailers can be unspeakable headaches to AV Pros, whose reputations and profit margins are dependent upon delivering working solutions on time and on budget.
A good example of a key detail is HDMI. I’m not referring to the years of headaches integrators have encountered with making HDMI work in the field; we’ve come a long way in recent years. Rather, I’m referring to the fragility and ease of disconnection that HDMI cables suffer.
I’m sure most of you have accidentally damaged an HDMI port, or had to troubleshoot an installation where a half-unplugged cable was the culprit. Fortunately, there are solutions: Specify locking cables into your designs. I know that it’s not a part of the “official” HDMI standard, but make it part of your company’s official standard. Only use cables that solve that problem.
Most other examples require that you, you know, actually test equipment in your lab/showroom before putting it in someone’s house, which I know is a drum that I often beat. Sometimes you may have to put on your thinking cap and contemplate what the Worst Case Scenario for a product failure might be. Get creative, and think about your prior experiences.
Once, years ago, I was testing a new HDMI extender. When it didn’t work the way it was supposed to, vendor support suggested changing the DIP settings. The unit’s DIP switches were on the underside of the box, and covered with foil tape. For some reason, the factory settings for the switches were NOT the recommended positions, and they had to be manually changed. If you didn’t know that, you would have already bolted the unit into a rack and stitched in its power and HDMI cables, only to find it didn’t work, and now have to uninstall it to change the DIP switches. Imagine you annoyed you’d be.
My favorite example of a poor design detail was an in-ceiling TV lift whose power module had failed. The fact that the module was, well, modular was good: that meant it could be replaced. What wasn’t good was that the only way to replace the module was to remove the TV from the bracket, and have an installer who was skinny, with long arms and (ideally) left-handed to crawl up inot the enclosure with a socket wrench to remove the defective module and install the new one.
Fortunately we had just such an installer, but there was still much straining and cursing coming from inside the lift enclosure. Granted, that was a scenario you’re unlikely to envision ever encountering, but trust me, that one experience will color how you look at motorized lifts for the rest of your life.
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Frank White Named 2014 CEDIA Lifetime Achievement Award RecipientCEDIA has named Frank White, founding partner of StayTuned, as this year’s Lifetime Achievement Award recipient. White will be recognized at the annual Electronic Lifestyles Awards Celebration at CEDIA EXPO on Sept. 13, 2014.
CEDIA’s Lifetime Achievement Award recognizes an individual who has exhibited outstanding, creative, innovative, and visionary leadership in the growth and advancement of the residential electronic systems industry. Nominations are submitted by industry professionals and are evaluated on the basis of achievement and service within the industry.
Frank White has been a member of the industry since 1983, and he has been an active CEDIA volunteer since 1989. Frank has seen success in his various roles in the industry from his 15-year tenure at Multiplex where he created the ChannelPlus brand, to his time at AMX where he helped guide the company through a period of rapid growth, bringing it to a $100 million company. Frank has continued delivering his expertise to a roster of satisfied clients as a founding partner of StayTuned.
In addition to helping the companies he works with grow, Frank has also been instrumental in the growth of CEDIA, serving six years on the CEDIA Board of Directors and delivering vision and leadership in a variety of volunteer positions. CEDIA training participants have awarded Frank the CEDIA Top 10 Instructor Award seven times, and Frank was a core developer of CEDIA Boot Camp, a training program that is still used by the association today. Leave a Comment
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Mackie Launches “Affordable” Creative Reference Speaker LineMackie just launched its Creative Reference Multimedia Monitor Series, which the company says is an “affordable” version of a studio-quality speaker.
The series includes two models — the CR3 and CR4 — with 3-inch or 4-inch woofers and 3/4-inch silk-dome tweeters. CR monitors are housed in all-wood cabinets and include custom-tuned rear ports. Unique to the line, a left/right speaker placement switch allows users to locate the volume control on the left or right of their workstation. The front panel includes a on/off/volume knob with a lit power indication ring that will also control the volume of headphones, which can be plugged directly into the front of the monitors. Great for comparing mixes, auditioning files or just enjoying a bit of music or video, there’s also a front-panel aux input for simple connection of a media device.
Creative Reference monitors come with all the connecting cables needed for the user to get started immediately. As a bonus, there’s even a pair of acoustic isolation pads included. Used in professional applications, acoustic isolation pads minimize unwanted bass buildup that can muddy a mix. Plus, the pads’ angled design allow the user to tilt the monitors slightly up or down for more focused listening depending on their setup.
The new Mackie CR3 and CR4 Creative Reference Multimedia Monitors will as pairs ship in August, and the CR3 will list for $129.99 while the CR4 monitors will list for $199.99.
All the specs are here. Leave a Comment
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Fusion Ships HD Wireless Audio Distribution System Fusion Research has started shipping three new products that make up its Ovation Wireless Audio Distribution System. The new products include a Base Station that acts as the server and two new players, one amplified and one passive.
The Base Station (FR-OBS) is hard wired onto a network and includes one analog source. The players both incorporate the Burr-Brown DAC that is used on the Signature model, which ensures 24/96 HD track compatibility as well as 192kHz/24-bit output. The FR-OWP2 is passive and its output requires amplification, while the FR-WA50 has a powerful 50Wx2 amp built in that can drive the quality in-wall/ceiling speakers that integrators are putting in.
Up to 16 players may be added to a system and simply sit on a standard Wi-Fi network. They are all individual sources but may be combined in a ‘Party Mode’ to play the same music throughout the project. They also seamlessly fit into most major home automation systems with two-way drivers available from RTI, Elan g!, Savant, Control4, AMX, Crestron and soon a new driver for URC.
All the specs are here. Leave a Comment
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DVDO Launches Scaler/Switcher Exclusively for ROKU Streaming StickDVDO has announced something it’s marketing as a “Roku Ready” DVDO box in the form of the Quick6R 4K Ultra HD HDMI switcher. Basically, you plug in the Roku Stick into one of the six DVDO box inputs and it outputs all of the content as 4K via an MHL port — no wires or extra remote required. Like the original Quick6, the Quick6R is specifically designed to work with an existing home entertainment system without replacing the A/V receiver. Features include 4K switching, 3D, Picture-in picture (PIP), as well as InstaPrevue, a Silicon Image technology that makes TVs and AV receivers better at switching between HDMI sources. The new Quick6R is specifically designed to support the Roku Streaming Stick (Roku Ready Version) and includes a new DVDO remote control capable of controlling all Roku streaming functions.
The certified Roku Ready Quick6R lists for $429 and here are all the specs. Leave a Comment
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RTI Ships Next-Generation RK1+ In-Wall Keypad Remote Technologies Incorporated (RTI) has announced that the company is now shipping its next-generation RK1+ in-wall keypad, available in two-, four- and eight-button models. Each unit now includes multiple faceplate and button colors in addition to a custom-engraved button set option for a completely customizable control experience at an affordable price.
The RK1+ offers white, black and light almond faceplate and keycap kits, while the button backlight can be configured to 16 different colors on each button. The unit also ships with a certificate for one set of custom engraved button keycaps using RTI’s Laser Shark service, which lets installers create customized button keycaps featuring graphics and text for a control experience specific to each individual installation.
The RK1+ fits in a single-gang electrical box and is compatible with any standard Decora type wall plate. Offering direct control of electronics via an integrated IR output, the device can also be used with RTI control processors and accessories for even more powerful capabilities, including two-way control, as it provides visual feedback via the configurable backlight color.
Here are all the specs. Leave a Comment
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Pakedge Ships BakPak Cloud Management System Pakedge Device and Software’s new BakPak Cloud Management System lets system integrators remotely monitor, manage and maintain their clients’ networks to ensure that they are continuously operating properly. From a smartphone, tablet or any computer web browser, a technician can manage multiple client networks through a simple centralized dashboard. Configurable alerts, sent through text messaging, email or push notifications, instantly inform the technician of any connected device or network component issues. Upon detection or notification of a problem, the technician goes to the dashboard to begin the resolution process. Identification of the faulty devices is facilitated through the visual interface — all connected devices are mapped in a hierarchical structure with the faulty device highlighted in red. In contrast, a properly-operating device is highlighted in green or yellow. Once the faulty device is located, the technician can either power-cycle the unit on or off through the upstream Power over Ethernet (PoE) switch port, or through a connected power controller. Advanced repairs and configuration updates can be performed by accessing the device portal from the dashboard. All of this is done off-site of client premises, in real time, through any iOS or Android-based smartphone or computer web browser.
The BakPak Cloud Management System comprises of the NP36 hardware device and the BakPak web/smartphone app. The hardware unit integrates and manages information from the various connected devices and makes it securely accessible from the cloud. The software app provides the interface that technicians use to manage the network. The system is available in three different device management configurations — up to 25 devices for small networks, up to 50 devices for medium size networks, and over 50 devices for large networks. The device limits only apply to non-Pakedge equipment; an unlimited number of connected Pakedge equipment can be monitored regardless of which BakPak configuration is purchased. Users with pre-release versions of the BakPak Cloud Management System should contact Pakedge technical support to bring their system up to the current release version.
All the details are here. Leave a Comment
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THIEL Audio Appoints New CEO THIEL Audio has announced today that as part of a complete brand revitalization plan, the company’s headquarters has been relocated to the Nashville, Tenn. area and new ownership has appointed John Wittman as CEO. Wittman joins THIEL Audio with a successful track record in consumer products, manufacturing, distribution and most recently the publishing industry.
To read the complete press release online, click here. Leave a Comment
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Call for Entries: D-Tools Design AwardsD-Tools Inc. has announced call for entries for its annual contest, the Design Awards. D-Tools is pursuing System Integrator software users’ greatest success stories and project designs that display how the software has positively affected their business and ROI. Winning success stories will be selected from a diverse group of D-Tools users and announced at CEDIA Expo in Denver in September.
To read the complete press release online, click here. Leave a Comment
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Digital Home Suppliers Partners with M&K Sound, Becomes U.S. DistributorDigital Home Suppliers has announced a new partnership with speaker manufacturer M&K Sound to become the exclusive distributor of M&K Sound products in the United States. Founded by former Electronic Stockroom Vice President Jason Saret and a group of veteran consumer electronics, audio and technology experts that includes a former Director of Velodyne Acoustics, Digital Home Suppliers is both a modern day independent manufacturer’s representative and distribution firm that services residential systems contractors, retailers, PRO AV contractors and premium incentive resellers that are looking for home theater, integrated home systems, consumer and enterprise networking and commercial AV products.
To read the complete press release online, click here. Leave a Comment
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For all you REGULAR readers of rAVe HomeAV 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% opinionated. We not only report the news and new product stories of the high-end HomeAV 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.
rAVe HomeAV Edition, co-published with CEDIA, launched in February, 2004.
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rAVe HomeAV Edition 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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