Volume 11, Issue 22 — November 26, 2014
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Editorial Editorial Editorial Editorial
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TVs Control & Signal Processing Audio Cables, Furniture, Mounts, Racks, Screens and Accessories In Brief
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It’s Almost December — Are You Prepared?
By Lee Distad rAVe Columnist
In the time that I’ve been in distribution, it’s been a mental adjustment for me to get used to the fact that, on my side of the business at least, December is a low-key month.
Indeed, in direct contrast to all the previous years, I don’t have to work very hard in December. I don’t schedule store visits or meetings with buyers because they don’t have time to see me. Indeed, I count it as a good thing that they don’t have time to see me.
November is a busier month for me than December, because that’s when all the final decisions on pipeline fills for the Christmas season are made. By December it’s only replenishment orders, and those are mostly automated.
In fact, on the mobile side of my business, I’ve joked that every year September/October, with the hype and hysteria surrounding the annual iPhone launch, is my December. Things are a lot more frantic then than during Christmas itself.
Given how important this time of year is to most businesses, regardless of whether you’re in retail, AV integration or both, it’s important now to pay attention to the little details that will improve your business over the holiday season.
The first suggestion: Think proactively. This week I experienced a shock when I reached out to many of my dealers expressly to discuss their projected inventory levels for December, with an eye towards some last minute fine-tuning.
A surprising majority responded with “Uh oh, I haven’t even thought about that yet! What have you got?”
I say that, not to shame anybody, but to be thankful that I chose to be proactive. Even if they weren’t prepared I was, and collectively we’re able to better prepare their inventory levels for the next six critical weeks of sales.
On the AV side, I always made a point to call up clients at this time of year to extend holiday greetings to them. Aside from being congenial, there were two main reasons for it. The first was to gently drum up new business. “Oh, I’m glad you called,” I’d often hear, “My brother in law is thinking about a cinema room and projector.” Chance favors the prepared, as they say.
The other reason was even more important: proactive service. Typically clients won’t call you over minor system glitches, even if they’re annoying, until things reach a tipping point. Before the season where people entertain family and friends in their home begins, now is a perfect time to reach out and hear from them: “Since you called, you should know that sometimes I have to hit the button three times before it switches from PVR to XBox ONE.”
Find out about those service calls now, and make time for your techs to fix them in the course of your regular workdays so that you don’t get a panicked call on a Saturday night in mid-December.
For the service calls you didn’t manage to head off early, be prepared, and make arrangements for on-call emergency services over the holiday break. For when your office is closed, maintain an emergency number, and leave that number on your office voice mail message. One dealer in Vancouver I know maintains not one, but two emergency pager numbers, a main and a backup, and the numbers are the first option callers hear on the company’s voice message during off hours, not just during holidays.
In their case, they see the hotline as a management tool. The hotline is a barometer of their abilities, and the general manager knows that if they’re getting after hours calls, that indicates issues that need to be addressed, whether it’s their work, or the equipment they’re using.
Thankfully, according to AV pros, fewer emergency service calls are necessary than in years past, due to remote monitoring and networked automation hardware. In the event of a service issue the tech who’s on call is able to log on to the client’s system, diagnose the fault and most of the time fix it remotely.
Proper preparation prevents poor performance. Prepare your company for the holiday season, and that will help keep your business merry and bright. Leave a Comment
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Under Pressure: Uncompressed vs. Lossless
By Mark Coxon rAVe Blogger
In today’s world of video, there are a lot of numbers swirling around. We have resolutions like 4096 (4k), 2160p (UHD), and 1080p. We have frame rates like 24, 29.97, 50 and 60. We have color bit depths of 8, 10 and 12. And we have data bit-rates of how fast all this data is transferred down our cables. It’s enough to make all but the most patient engineer’s head spin.
Then we have the additional pleasure of having to distribute these signals over multiple types of cables and distribute them through several different types of switches. We even convert the signals to other signals to make sure we can push them longer distances through the aforementioned cables above.
If you really think about everything that happens in this convoluted chain of electrical manipulations, its amazing that we ever get a picture back on the other side in the first place. Thankfully we do get a picture at the other end more often than not, (even if sometimes it takes hours of troubleshooting to attain). But what is actually happening to our pictures in the process?
Two words typically emerge when discussing video extension and video distribution. Those two words are “uncompressed” and “lossless.” Manufacturers love to use these words when describing their products, but what do they actually mean?
Video signals are usually compressed to save space. The space in question is the space required to store the video. Compression is almost always required in stored media. Think about a movie for instance. Blu-Ray discs easily store a 1920x1080p movie that plays at 24fps. However, if you calculate the space needed for a file of that size, (even at 8 bits and 4:2:0 color sampling), that file would take up 536 GB of space. (Here’s a fun tool to play with to calculate uncompressed video in case your geekery overtakes your weekend). Yet a Blu-Ray disc is typically 50GB. How does that happen? Compression. In VTC scenarios, most codecs are using H.264. Compression.
Now let’s explore the other term, “Lossless.” Compression can actually be either a “lossless” process (preserving every bit of data but just compressing it to take up less space) or a “lossy” process where pieces of the data are actually thrown out. So given these parameters, compression is not always a bad thing for quality as long as the compression is lossless. It can be bad for our signals if the compression is lossy.
Funnily enough, most of the compressed signals we deal with use lossy compression. MPEG-4 and H.264 notwithstanding. This is why we get motion and compression artifacts in many of our signals. The codecs (compressors/decompressors) use algorithms to predict what data should have been in the spot where the data was tossed aside, and some do this better than others. We make quite a few compromises to save space and bandwidth.
We are now seeing companies start to adopt better compression schemes like JPEG2000. JPEG200 is the standard compression scheme for digital cinema packages used in theaters. It is a major upgrade to MPEG-4 in that it is less lossy and much more resistant to bit errors and artifacts. (It can also be used in a way that is lossless as well).
Some extenders like these from SVSI now use JPEG2000 compression to allow larger video streams like UHD to pass through standard gigabit Ethernet switches. An uncompressed 3840x2160p signal averages around 6 Gbps (depending on bit depth and refresh rate) while SVSI can use JPEG200 to get that under 900 Mbps to pass through a gigabit switch. (If you want to do uncompressed UHD, SVSI does that as well at 6 Gbps but you’d need a 10G backbone with SFP connectors).
So if a system can distribute, extend and switch signals by compressing them and do it in a way that is lossless, what is the advantage to having an uncompressed signal? The answer is latency. Compression on the send side and decompression on the receiver side take some time. How much time depends on the technology being used. The SVSI piece mentioned above advertises a 16ms delay. I’m not sure if that is cumulative or at each side, but either way, it doesn’t sound like a lot. However, in mission critical situations, the importance of that latency would need to be discussed.
At the end of the day, I think we can all agree that the idea of our signals being compressed and lossy does not sound very attractive. We’d much rather tell our clients that their signals are uncompressed and lossless. The reality, however, is that compression can be lossless and not compromise the integrity of the signals given that latency is not a major issue.
So here is the million dollar question. If you extend a your Blu-Ray or VTC signals with video extenders that tout “uncompressed” signals, is the signal actually uncompressed? No. It just means that the extenders didn’t compress the video again. It transferred the already compressed video from point to point without squashing it down again. It was lossless and traveled without delay from point A to point B, BUT it was lossy before it ever arrived at point A to begin with!
In summation: Uncompressed is not always realistic. Compressed is not always bad. Lossless does not always really equal lossless. Lossy is never a good thing.
Have a great weekend #AVTweeps.
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AV People: Penny Sitler of Draper
By Molly Stillman rAVe Contributor
Penny Sitler is a staple of the AV industry… but working in AV wasn’t something she originally thought she’d do!
“I really did fall into the industry,” Penny explained. “ I went to DePauw University in Greencastle, Indiana. My passion was for languages and business and I was a romance languages and international business major. Back when I could take an intro to computer programming class and they’d roll a Radio Shack TRS80 into the room to teach us… it just didn’t seem all that interesting at the time.
“While I was in college, I’d come home for the summers and I’d work for a local company… I was a summer intern at Draper Shade & Screen (as it was called then). I worked for the marketing manager, John Pidgeon. I remember asking him if he would look over a cover letter and resume for me and instead of doing that, he offered me a job. So, I have worked for him ever since.”
That was almost 33 years ago, and John is Draper’s president today.
Penny started off working with print promotions and brochures — developing a lot of the marketing materials. She also did some sales support at the time because, quite frankly, a full time advertising department just wasn’t needed at that time.
Penny has loved that over time, things at Draper, Inc. (and in the industry) have just grown. The technology has changed and evolved and Draper produces all its marketing in house… whereas they used to go to an outside designer for typesetting and page layout…and the internet, video production and social media just didn’t exist. Today, Draper is doing all of those things (and SO MUCH MORE) in house. The marketing team is a team of eight very creative people now. So things have come a long way.
Between Draper’s growth in size, number of employees, product volume and strengthening of its lines, it’s all added so much interest to the creative work that Penny and her team get to do. Penny believes that’s a big part of what contributes to her longevity (and so many others’) at the company.
“It is not uncommon for people to stay here at Draper a long time,” said Penny. “I work with people where we have raised our children side by side. Most of the sales management team have been here at least 15 years. If you go back to the factory, I knew a man who retired after more than 50 years with Draper. We have others who have been here 40+ years.
“The company is really personal — family owned since 1902 — started by John’s great grandfather and the owners have a real commitment not only to the industry, but also to the community and the employees… they balance making decisions. They don’t look only at the bottom line. They make it very clear to all of us that they are taking into consideration what’s good for the company, employees, and community. It’s a good place to be. Plus, we’re in a small town community and many of us have local roots.”
Draper is headquartered in Spiceland, Indiana — a very small town of a population of just under 1,000… the employee base of Draper is about 500. So the Draper factory and facility is definitely the largest thing in Spiceland.
As a person who has stayed rooted in a small, rural community, Penny loves that she’s able to get out and connect with the rest of the industry — people from all over the country and all over the world.
“We have lots of relationships with dealers who are selling our products,” said Penny. “I love meeting my peers. The growth of social media has helped so much because it’s so easy to stay in touch with people between trade shows and other events that bring us physically together.”
Outside of her work at Draper, Penny has been active for over 20 years with the Indiana Business and Professional Women. That’s one of the ways that she loves to give back.
Penny also has a husband who is a pastor and she loves supporting him in his ministry.
Another fun fact is Penny is also a musician (a pianist) and participates in a lot of church music… in fact, she winds up going to a lot of different churches to play.
“I have been playing the piano since I was five,” said Penny. “I worked at it pretty hard all the way through high school and then it came time to decide what my greatest passion was and it just wasn’t piano… but I do still enjoy it very much.”
On top of that, Penny and her husband have two wonderful kids, both in college now. Her son is a composer and songwriter and is in a band. Her daughter is going to school in St. Paul, Minnesota and Penny is very thankful for Skype in order to keep in touch.
Overall, Penny is driven to love and support her family and her Draper and industry colleagues.
“Coming into the industry today, there’s a lot to learn, but there are so many opportunities to learn,” said Penny. “I encourage anyone starting out to get out there and find the classes, read the blogs, and learn and connect from the people of this great industry.” Leave a Comment
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Panel Makers LCD TV Target Growing by Only 3 Percent in 2015, as They Shift to Larger Sizes
By David Hsieh DisplaySearch
We collect business plans of TV panel makers in the Quarterly LCD TV Value Chain & Insight Report, and the current 2015 target is 257M, up only 3 percent Y/Y from 2014, which is 249M, as described in the Quarterly Large-Area TFT Panel Shipment Report. However, 2015 will show strong area growth, as large panels are expected to grow substantially.
Large area LCD TV panels expected to grow substantially
Source: Quarterly LCD TV Value Chain & Insight Report, Quarterly Large-Area TFT Panel Shipment Report
As shown in the figure, panel makers such as AUO and Sharp are limited by capacity, so are not able to increase unit shipments, but are focusing on larger size panels. For example, AUO plans to decrease 39”, and increase 50” and 55” in 2015. AUO is also planning to increase its Gen 8 capacity on the order of 15,000 input sheets per month, enabling it to increase production of larger panels. Sharp also plans to increase its 60” production in 2015, and develop ultra-large sizes like 120”. Innolux is also limited by capacity, as it has not built any new factories for the past three years. Innolux’s 2015 business plan is flat at 49M. However, the company plans to increase its capacity at existing Gen 6, 7 and 8 lines. In addition, Innolux will invest in its Gen 8 fab to better utilize the fab space and the increase the efficiency of the equipment.
LG Display is converting some of its Gen 8 capacity to oxide backplane to manufacture OLED TV panels. At the same time, it is expanding Gen 8 capacity in Guangzhou. The incremental increase planned for 2015 will be in larger sizes such as 43”, 49” and 65”. Samsung Display is likewise expanding its Gen 8 capacity in Suzhou. Samsung Display plans to decrease 32” production, and to increase 40”, 48’, 55” and 65” and larger sizes.
BOE is planning on a 24 percent Y/Y growth, based on its increasing capacity, especially its Gen 8 fab. ChinaStar is planning to expand its capacity through its second Gen 8 line at the end of 2015, and is planning for 26M TV panels in 2015, with the growth mainly in 55”. While CEC-Panda’s planned growth is mainly in 32,” it is planning to start 65” production in 2015.
The three Chinese companies will be the only ones to increase 32” supply in 2015, and the total 32” supply will fall from 78M in 2014 to 75M in 2015. 32” has fallen from 39 percent of the total LCD TV panel shipped in 2013, to 31 percent in 2014, and it is expected to be 29 percent. However, 32” remains the typical size for the first LCD TV purchase, especially in developing countries. In addition, 32” production is very efficient in Gen 6, 7 and 8 lines, so panel makers will continue to produce it.
Meanwhile, demand for smaller LCD TV sizes continues, especially in developing markets like South America. Sizes of 26” and less, especially 23.6”/24”, demand remains level at 26M in 2015.
As shown in the table, larger sizes will continue to increase, as 40” replace 39”, 43” takes share from 42”, 48” replaces 46”, 49” replaces 47”, and 55” diminishes the growth of 50”. While 50” will only grow from 16.7M in 2014 to 17.1M in 2015, 55” will jump from 16.7M in 2014 to 24.1M in 2015. Meanwhile, 39” will fall dramatically from 9M in 2014 to 3.6M in 2015, as Innolux has shifted its focus to 39.5” (40”), and AUO has also phased out its 39” FHD models gradually and to focus on HD only.
This column was reprinted with permission from DisplaySearch and originally appeared here. Leave a Comment
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Séura Intros New GEO Collection of Lighted Mirrors for HDTVsKnown for its HDTVs embedded behind mirrors, Séura’s introduction of the Séura Design Series, a family of etched designs called the Geo Collection, is way more than the typical mirror with a TV inside.
In the Geo Design Collection, the first in the Design Series, Séura uses geometric shapes and patterns that accentuate the elegance of Séura lighted mirrors. The Topaz, Agate and Quartz are among the ten designs in the collection. The etching patterns from the Geo Design Collection are available in conjunction with standard and custom mirror shapes and sizes, bevel choices, lighting technologies, TV sizes and locations and astonishing frames.
All Séura lighted mirror designs are etched only on the back of the glass using what they call a Clean-Last Etching process. Seura says this helps keep the glass free of debris and allows for easier cleaning. Etching on the front of the glass is more open to collecting contaminants, scuffing, and visible fingerprints that are difficult to clean and make the mirror appear dingy over time. Additionally, Séura uses a Computer Numeric Control (CNC) etching method to guarantee etching perfectly matches the intended design every time.
A TV can go behind any of the designs.
Here are the details. Leave a Comment
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BenQ Ships New Hybrid Gaming Monitor BenQ is now shipping its XL2420G gaming monitor. Featuring NVIDIA’s G-SYNC technology, BenQ says this display allows players to entirely eliminate performance issues related to image tearing, stuttering and latency. The XL2420G gives users the freedom to switch between BenQ’s Classic Mode and G-SYNC Mode to create a customizable solution. The XL2420G offers a wide 24-inch screen and fast 1ms GTG response time. It also allows users to select between two new gaming modes: G-SYNC Mode, which ensures that images appear instantly the moment they are rendered, and BenQ’s proprietary Classic Mode for use playing games unsupported by G-SYNC. Users just switch their input cables to match their gaming requirements.
The XL2420G features BenQ’s RevolutionEyes technology, which uses ZeroFlicker capabilities and eliminates traditional LED flicker issues. It also features BenQ’s Black eQualizer, which enables players to adjust brightness without over-exposing white levels. In addition, the monitor brings a 144Hz refresh rate for faster pixel rates to give players more gaming control.
This monitor also offers Low Blue Light technology, which is designed to manage the exposure of blue spectrum light and therefore protect players’ eyes during extended periods by providing several adjustable low blue light levels that automatically adjust emission without affecting picture quality.
Now shipping, the XL2420G retails at $649. More information is here. Leave a Comment
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Crestron Now Shipping Streaming Input Card for DigitalMedia Switchers Crestron today announced it’s now shipping its DMC-STR Streaming Input Card. It enables card-based Crestron DM switchers to receive H.264 video stream over an IP network. The source can be an IP camera, a streaming server or content from a DMC-STRO streaming output card in another DM switcher. Crestron says that because DigitalMedia provides both point-to-point and streaming on a single platform, this signal can then be distributed via HDMI, HDBaseT, or fiber.
Streaming removes all distance limitations and utilizes existing infrastructure to enable signal distribution for applications where dedicated wiring is impractical or can’t be installed. Because DM uniquely provides both point-to-point connections (such as HDBaseT and fiber) and streaming on the same platform, you can configure the switcher on an input-by-input and output-by-output basis.
Crestron specs the DMC-STR to support streams at resolutions up to HD 1080p, with bit rates up to 25 Mbps. The streaming input can be configured to receive streams via its dedicated “Content LAN” port (to isolate control and content onto separate networks), or via the DM switcher’s LAN port (to enable a single network connection for the entire switcher, including streaming).
The DMC-STR Streaming Input Card receives H.264 streaming video in, and then the DM switcher outputs the content via any output card as any signal type or infrastructure. Conversely, the DMC-STRO Streaming Output Card transmits any source signal as H.264 streaming video.
Card-based DM switchers are easily configurable as organizational needs change. By simply adding or replacing cards, streaming capabilities can be added without having to change or replace switcher frames. You can even install a DMC-STR card in a DMCI card interface for a standalone streaming decoder.
Here are all the detailed specs. Leave a Comment
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Kramer Enters Commercial and Residential Audio Realm With New Speaker LineOriginally launched at this summer’s InfoComm show, Kramer’s new speaker lines — Galil, Yarden, Tavor and Dolev were introduced so Kramer could become a “major global player in the audio arena.” Crestron will now compete with Atlas, TOA, JBL, Extron, Crestron and Bose, among many others, in the commercial and residential audio world.
Galil Family: Kramer’s Galil family is a classic fits-all speaker solution designed for transportation centers, hotels, educational facilities, small and large boardrooms, shopping centers and other large venues. Galil is supported by constant voltage amplifiers and Lo-Z to Hi-Z audio transformers. The Galil line offers an affordable range of 4”/6.5”/8” open and closed (UL) in-ceiling round speakers and an affordable full line of 4”/5.25”/6.5” on-wall speakers. All speakers include tapping transformers (70V/100V/8Ω).
Yarden Family: The Yarden family is Kramer’s new performance-based line designed for executive boardrooms, high-end hotels, banks, embassies, government facilities and music halls. Offering exceptional and unprecedented sound quality, Yarden includes 4”/6.5”/8” in-ceiling round speakers and 4”/5.25”/6.5” on-wall speakers with multiple tweeters that provide varying degrees of dispersion for a variety of purposes. Yarden features stereo or stereo/mono speakers, a music/speech switch to enhance intelligibility, Kevlar woofers, titanium pivoting tweeters such as ceiling-tile speakers, round in-ceiling high-power speakers, on-wall speakers and more.
Tavor Family: The new Tavor family of powered speakers offers all-in-one solutions where time and space saving installations are important. Tavor includes ceiling-tile speakers, on-wall and subwoofers. The Tavor line is designed for transportation centers, hotels, educational facilities, small and large boardrooms, shopping centers and other large venues.
Dolev Family: Dolev is a new family of high-quality bi-amplified studio-grade speakers that deliver clear and balanced flat response with low THD even at high volume. Dolev speakers are designed for control rooms, editing studios, sports bars, music clubs, high-end facilities and home entertainment. Dolev offers three different models: 5.25” with a 50-watt amplifier, 6.5” with 75-watt amplifier and 8” with 100-watt amplifier.
Here are the specs on each line. Leave a Comment
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Pakedge Intros Fiber Optic Cables Pakedge Device & Software is launching its own brand of fiber-optic cables for residential and commercial AV projects. Designed specifically to work with Pakedge routers, switches and GBICs, the new cables offer multiple benefits over copper Ethernet cables, including less electromagnetic interference, greater speed capabilities (up to 10 Gbps), greater bandwidth, greater durability, less signal degradation, elimination of heat dissipation and less transmission power.
Pakedge-Compatible Fiber Optic Cables are supplied in lengths of 1, 2, 3, 4, 5, 10, 25, 50, 75, 100, 200, 300 and 400 meters as well as in custom-lengths. Pakedge doesn’t have a photo yet and its not on the company’s website yet, but they will be here. Leave a Comment
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RTI Hires Scott Kelley as Vice President of Sales and MarketingRemote Technologies Incorporated (RTI) announced this month that Scott Kelley is joining the company as vice president of sales and marketing. In his new position, Kelley will be responsible for RTI’s global sales and marketing organization, with a focus on growing RTI to the next level and driving increased brand awareness in the consumer and commercial markets. Previously, Kelley held senior management positions at 3M and Bose.
To read the complete press release online, click here. Leave a Comment
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THIEL Audio Expands Engineering Department With Dennis Crosson and Gavin BenceTHIEL Audio has made two new hires — Dennis Crosson as director of engineering and Gavin Bence as audio engineer — as the company expands the scope and capability of its engineering department. Headed by VP Mark Mason, THIEL’s engineering team will help drive new product launches for the brand throughout 2015 and beyond.
To read the complete press release online, click here. Leave a Comment
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Eighteen Sound Hires New CEO, Pierpaolo MarzialiItalian company Eighteen Sound has appointed Pierpaolo Marziali as its new CEO. Marziali, a native of Macerata, Italy, and a graduate of the Alma Graduate School (Bologna, Italy) with a Master’s Degree in finance, has been a member of the Landi Renzo Group since 2008.
To read the complete press release online, click here. Leave a Comment
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Stewart Filmscreen Reps EDA Marketing Expands to Four New StatesStewart Filmscreen has announced that EDA Marketing will expand its Stewart representation beyond the southeast to the west south central region to include Texas, Oklahoma, Louisiana and Arkansas.
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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