Volume 11, Issue 6 — June 29, 2017
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Crew Call Editorial
- The Sound of Sound
Dr. Frederick Ampel : President & Principal, Technology Visions Analytics Editorial
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Tear the Tents Down, Clean the Cages
By Joel Rollins rAVe Columnist
It’s the last day of the show, and TGIF. It really has been a great show, setting records for attendance, and I think the attendees really got their money’s worth this year. There was lots of new technology and ideas, and most new products that were introduced seem to be shipping, which means people can go home and get right to work implementing them.
So I sit here, back at the keyboard, trying to sum it all up. So here, in no particular order, are my impressions of InfoComm ’17.
First, the show itself: InfoComm ’17 was, from everything I saw, an exceptionally well-run show. Both the manufacturers and the attendees seemed to think so, at least the ones (probably in the hundreds) that I talked to. I really appreciated the increased attention to the Staging and Live Events Pavilion, and I am really glad to see the increased participation of the I.A.T.S.E. In the rigging and safety demonstrations. For far too long, many of our members (and thus our association) held an almost adversarial relationship with the dominant live events union, and it is great to see us working together as we (in my humble opinion) always should have. On top of that, I thought the lighting, staging and audio areas of the floor were well organized, with less confusion and less conflicting audio than in years past. Part of this, no doubt, is the increased use of the separate audio demonstration suites off the show floor.
I have only one negative comment about the show, and it is strictly a personal one. The fact that some companies in our industry still employee scantily-clad women from outside the business to try to draw people to their booths is moronic. The biggest comment I heard was that they must have to do it to compensate for their products or services. It embarrasses me that our industry still lets this happen. I have the great honor of being here with rAVe and working with one of the most talented and hard-working groups of young people I have ever met, and many of them are young women. The “Mad Men” mentality of this should have been over YEARS ago. Grow up.
Then, there was product. Oh, boy, was there product. As Gary mentioned in one of our podcasts, this year we received more new product announcements than we have for any previous InfoComm show. And there were whole new categories of product shown, including Samsung’s stunning QLED products, LG’s continuing developments in their (IMHO) even more beautiful OLED line, and more high-resolution laser engine projection systems than you could shake a proverbial stick at. Even better (for me) were all the manufacturers showing product for the Virtual Reality and Augmented Reality portions of the market. I have been shouting about the coming of VR for years, and have been afraid that the AV industry would miss the boat and cede this market to the IT and Consumer Electronics portion of the business. I’m glad to see we in the pro end of the industry seem to be catching on.
There were way too many new products to point out all the ones I really liked, but I do know that in 45 minutes, when our final wrap up podcast begins, Gary Kayye is going to demand that I pick one. And so I have. It’s not one of the biggest or most expensive products, just one that I know will be particularly useful to me. So this isn’t a rAVe award, just my pick for the show.
The Tascam DR-701D is a four-channel audio recorder and mixer, designed for use with DSLR cameras and higher-end camcorders with the stupid “power mic” input. It has four XLRs input, and both records and outputs a mixed signal to the camera’s single audio input. I have used it’s predecessor, the DR-60D, for a couple of years now, and it has seriously “fixed” the audio issues I have had with this type of camera. The new DR-701D adds two more XLR inputs, HDMI sync and finally a ruggedized magnesium case. One of these will definitely wind up in my audio kit very soon.
The other thing that really excited me at the show was the “Tech Crew” program from Australia, a program for getting kids excited about the technical end of our business at a young age – and making the detailed and demanding process of learning the technical end of our business FUN. My hat is off to these guys, and I hope you will look at their video here on our web page.
Anyway, it has been a great show, and I am about to get on the road with my bag of literature, t-shirts, and fidget spinners. Thanks to all of you in the industry who combined to make another great InfoComm show. I’ll see you soon.
JRR
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The Sound of Sound
By Dr. Frederick Ampel President & Principal, Technology Visions Analytics
In a world of steadily increasing digitization, robotization and electronic origination of everything from voicemail prompts to virtual customer support, the musical world has not been left out of the progression to artificial sources. Of course there remains the world of orchestral, operatic and some styles of folk/country music performances, which are as unrepentantly “live” acoustic events as they ever were. But even those supposedly sacred spaces have been quietly infiltrated by recorded tracks, electronic sources, synthesized music support and all kinds of “augmentation.” The HOW music world is no different in this respect than any other style or format.
Perception Is Necessary
What this trend towards artificial sources has created is a lack of cognition of what things actually sound like and how natural, acoustic sources create a “space” or congregate to become a performance as perceived by the listener. Without exposure to non-reinforced natural acoustic sources, it is extremely difficult to have any kind of mental image of what people, instruments and most importantly multiple individual instruments or groups of anything actually sound like. Without that mental “file,” the tendency is to assume that every source needs to be processed or helped in some way in order to sound right.
Certainly a portion of this predicament has been created by the world of sampling and the stunning growth of digital keyboard and synthesizer capabilities. Literally anything that produces sound can be sampled and reused whenever and wherever it is desired. There is no need to find someone who knows how to play, use or operate that device, no need rehearse, no need to deal with actual people and their numerous “issues,” and most importantly for the professional musicians, no need to pay them. Punching up that cembalo dulcimer or Irish harp sample on a digital keyboard is much faster and easier than getting a person to play one, let alone finding one.
The problem is that however accurate the sample might be (and that varies dramatically depending on the sampling device/method and from prerecorded loop to prerecorded loop), it’s still just a sample — a minuscule, frozen moment of some portion of the acoustic output of the particular source. It is most certainly not a high-definition picture of the whole of the source, especially not of that source as heard live with all of its complex harmonics and ear/brain/room interactions.
Do not forget that any “sample” is really only a spaced series of ‘stills’ of the loudness of the continuously variable analog input signal. If it helps, think of them as frames in a movie, so many per second, each of which is then saved as a binary value (zero or one) in some kind of computer style memory. Then, when you play the sample, those stored loudness values are played back (hopefully) in the correct order, reconstituted by a chip called a DAC (Digital to Analog Converter) as a variable waveform, and what we hear is an pseudo-accurate replica of the sound that was originally ‘sampled.’
How high the sample rate was/is or what kHz it was archived at or how slick the microphones were or any of that are all irrelevant. The actual sample library size needed to truly recreate any natural source beyond the ability of the human ear to discern the difference is so huge as to be outside the realm of feasibility for all practical purposes. Yes, I’m sure you could stack up enough storage devices to accomplish the task (terabytes, at least), but that would be for just one specific guitar and specific player, for example. If you change just one string’s tuning even a semi-tone, you have to start over.
More prosaically, especially in the world of HOW music, take the case of the legendary Hammond B3 Organ and Leslie Speaker combination. If you move just one tone bar 1/4”, it’s a wholly different set of parameters, and there are lots of tone bars and lots of possibilities (pardon me while I fire up the Cray supercomputer to calculate the possibilities — we’ll get back to you with the answer in a couple of months).
Now throw into the equation the variables associated with the rotating speaker in the Leslie cabinet and the absolutely humongous number of harmonics and overtones that adds to the “sound” of the organ. Oh, and by the way, how loud the speaker is playing also builds in another googol (a googol is the large number 10100) of dataset variables, but you should get the point by now. (Let me add in another two or three NSA grade super computers to the calculation process to get that answer in a year or so.)
That doesn’t mean you can’t fool the ear into thinking it heard the real thing, sort of, just like you can use multichannel time differences to create localization effects or perceptive positioning of a source. But it’s not the real thing; it’s just close enough that you can get away with it… sometimes.
There’s an old remark supposedly attributed to Sir George Martin (the celebrated Beatles producer/engineer) that goes, “If you want real strings, hire real string players.” The other well-used phrase is that you only get points for being close in horseshoes, hand grenades and nuclear weapons.
If for some reason, you believe that by now, in the 21st. century we should be able to do this perfectly, think again. Here is a spectral graph of two ‘samples’ of a violin and the other of a flute. Both are playing the same note G4. G has a frequency of 392 Hz and the harmonics are all multiples of this fundamental frequency (or about 800 Hz, 1200 Hz, 1600 Hz, etc.).
It is immediately obvious that although they are both playing the same note, the frequency spectrum of their G4 content is radically different, which is why we know when we hear the actual instruments themselves making this note that one is a flute and the other is a violin.
(For an excellent reference to the actual frequency spectrum of any musical instrument see, go here. This site allows you to look up a huge number of instruments and see the frequency rage they produce and the bandwidth they cover.)
Why Does This Matter?
Why does all this matter to the HOW readership and especially those tasked with or who have volunteered for sound reinforcement duties? It matters because the people who attend the service, no matter the denomination or style of worship, will use their ears to determine the success or failure of our efforts. Sure, they might not know you’re using a sample, or how much you’re processing the signal, but they do know if it sounds real and right to their ears. Even if they have never actually heard the specific instrument up close they have a mental ‘picture’ of what it is supposed to sound like- and that’s all that matters- both to you and to them.
So before we get to the rules of the road so to speak, there is one thing that every “sound” person should do, no matter what level of experience you have, and that is LISTEN to the real thing! This means, quite simply: Spend the time to carefully listen to what the instrument or voice sounds like, in its natural, un-processed, un-reinforced, un-sampled, un-digitized state.
Go to a rehearsal or practice session or a music school, or store that provides lessons, or anyplace you can actually hear an acoustic guitar or any other instrument and just listen. Build up that mental file picture of what the instrument sounds like to your ear so that when you have to reinforce it you will know whether the microphone or pickup is giving you something that actually resembles the real un-adulterated sound of that particular source.
Equally important is to listen to the musicians in your worship space without any technology between your ear and their sound. You need to know what they are hearing, before you can create a presentation of that sound to the congregants.
Thus, it should be the golden rule in worship sound reinforcement (or any reinforcement for that matter) that any sound reproduction attempt should be focused on producing a convincing and realistic presentation of what is happening ‘on stage’ or wherever the live source(s) are.
This means recognizing some essential rules that more often seem to be forgotten if not ignored in current practice. These rules are like the famous t-shirt showing Einstein’s face that says “186,000 miles per hour is not just a good idea, it’s the law.”
Unlike the absolute rules of physics (at least non-quantum physics), these rules are like the edge barriers on freeways — stay in lane and you’re fine, drift too far and…
Rule Number 1 — Not everything in a mix needs to be heard all the time. Music is a dynamic entity and it flows — instruments move in and out of focus. Trying to make everything audible leads to mush. Sure, the worship leader, pastor, minister, priest or whom ever is the primary speaker MUST be heard, just like the lead vocal, but even the head honcho has to take a breath now and then.
Rule Number 2 — Unless you’re Phil Spector, a wall of sound is a bad idea. Music needs space around both the total program and each individual part. Think in 3D, not 2D. Think vertically and horizontally. Way, way, way back in the early 1970s when I was just a newbie engineer, one of the studio’s old dogs wandered in about 1 a.m. when I was working on “my stuff.” He just stood there for a while and then when the 16-track stopped he said, “Nice sounds, but you have no space between the speakers.”
I just looked at him with a deer-in-the-headlights expression, and he said, “Here, I’ll show you,” and proceeded over about 10 minutes to redo the mix so the rhythm section sat stacked up in the middle and the other instruments were spread out left to right and top to bottom, making nice holes for vocals and solos. You could even hear the cool reverb effects I had spent so much time on.
Rule Number 3 — If it’s too loud, it’s too loud. Proving you can reach the physical performance limits of the sound system proves nothing except you have the wrong focus. Loudness is no substitute for quality or esthetics and is not a requirement.
Just because you have a system that can produce 100dB+ does not mean you have to add the entire audience to the rolls of the hearing impaired. Besides, as level goes up the ability to discriminate among the various parts of any performance goes down. Your ability to discern subtleties vanishes into the dBs.
Rule Number 4 — Mixing is a subtractive art, not a game of how many faders can you push to the stops. 99 44/100 percent of the time, less is more. Watch the really good live sound engineers. They don’t just jam everything up and try to make sense of the subsequent cacophony. They blend, scale, assess and control the sound. In fact years ago the job used to be referred to as a “balance engineer.” It’s still is a game of balance!
Rule Number 5 — If it doesn’t make sense, it won’t sound good. Think before reaching for that knob or throwing technology at something. Just because you can do something doesn’t mean you should. Having a digital mixer with copious amounts of signal processing does not imply that every effect has to be applied to every instrument and voice on every performance. The gear won’t spoil if you don’t use it. Before you insert that EQ, compressor, etc., decide why you’re doing it and what your goal is.
Rule Number 6 — It’s still ultimately all about the service and the word being delivered to the parishioners, not your technical genius. Showing how cool you can be only shows how little you understand why you’re there.
I like to think about this whole process using another infamous slogan seen on 1970s’ bumper stickers in the northeast: “E=MC2±2dB.” The rules are there, but this is live HOW sound and things need some maneuvering room to function. Be smart and be flexible, and the performance will always sound better. Leave a Comment
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rAVe NOW’s InfoComm Coverage Is Next Best Thing to Being There
By Gary Kayye rAVe Founder
There’s no substitute for going to InfoComm — it’s a must-attend trade show if you are in the commercial AV industry. But, not everyone is allowed to attend.
If you weren’t one of the lucky 44,077 people that were in Orlando for InfoComm 2017, then we have a solution for you.
We actually brought over 25 reporters to the show. So, we have way, way, way more coverage than anyone else. And, we covered more than you could have had you attended yourself.
How? Well, we went to every single booth on the show floor and shot videos (1,650+ of them) of all the new products launched at InfoComm this year. And, we recorded podcasts (45+), we video live-streamed daily each day using Facebook LIVE, we wrote blogs 20+), we published 300+ news stories and we shot in excess of 3,500 photos from the show floor!
And, it’s all in one, searchable, dedicated website — a website we built just for infoComm 2017. Check it out here.
InfoComm 2018 is in Las Vegas so you should put it on your calendar now — June 6-8, 2018!
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Alcons Launches LR28/110 Wide Dispersion Larger Format Line Array Alcons has launched the LR28/110 Wide Dispersion Larger Format Line Array — a three-way, line-source sound system for use as vertical array with extended horizontal coverage in up to the largest applications.
Originally introduced in 2015, the LR28/80 features an 80º horizontal dispersion pattern, but is identical to the new, wide-dispersion LR28/110 in all other aspects. Both models combine the highest sound quality possible with very high SPL capabilities and throw. It is a true ‘what you mix is what you get’ (WYMIWYG) solution, where the system doesn’t add anything to the original source: input = output.
The RBN1402rsr and mid section (featuring four high-efficiency 6.5″ midrange transducers) are jointly mounted on an aluminium cassette for optimised heat-dissipation/reduced power-compression and prolonged system output.
The LF section comprises two reflex-loaded, custom 14″ woofers with reinforced cone and large voice-coil Neodymium motor structure for improved heat dissipation and reduced power compression.
The LR28/80 and LR28/110 are powered and controlled by four channels of the Sentinel10 amplified loudspeaker controller; Through the integrated processing and feedback, the ALC offers LR28-specific drive processing with array compensation, filter-presets, system EQ, phase-matching and other facilities. The Signal Integrity Sensing pre-wiring of the LF and MF sections ensures dynamic cable/connector compensation between the LR28 and Sentinel, resulting in a fast, tight mid/bass response and reducing distortion even further.
The patent-pending rigging system enables angle setting on the cabinets without lifting the array, resulting in safer and faster set-up with minimal handling. The flying system facilitates two different ways of array assembling — caterpillar and pre-rig-style — with compressed and non-compressed suspension. It has a WLL of 24 cabinets under 10:1 safety.
The LR28/110 is element of the Alcons application-configurable touring package, including the LR28 line-arrays, LB28 bass array-extension, BC543 cardioid subwoofer system, Sentinel amplified loudspeaker controller, ARC 3D-simulation tool and power / signal- distribution and transport logistics.
Here are all the specs. Leave a Comment
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Google and BenQ Ship Jamboard Collaboration BoardThe category of Collaboration Boards really became big earlier this year with the launch of 10+ new brands into the space at ISE in Amsterdam. One of those was Google. The Google Jamboard is a 55″, 4K (3840×2160) digital whiteboard that teams can use to brainstorm, write notes, sketch plans and receive immediate feedback from remote team members via the integrated video conference and collaboration features. Jamboard brings a team together with the same real-time co-authoring that powers Google’s G Suite of apps including Google Search Docs, Sheets and Slides — even add photos stored in Drive.
So, if you are 100 percent tied, as an organization, to G Suite, you will likely love the Jamboard. The Jamboard is available in Cobalt Blue, Carmine Red and Graphite Gray. It’s being exclusively distributed by BenQ. Here are all the details. Leave a Comment
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Christie Launches New Spyder X80Today Christie introduced an all new processor in the Spyder lineup with the Christie Spyder X80. Delivering what Christie says is four times the pixel management capacity of anything else available on the market, the new Spyder X80 is capable of handling 4K at a 60Hz refresh rate on a single channel.
The new Christie Spyder X80 multi-screen windowing processor offers many capabilities for rental staging and large scale experiences that help make display walls easy to set up and manage, while incorporating the latest standards and connectors, including HDMI 2.0, DisplayPort 1.2, and 12G HDSDI. Christie Spyder X80 solves both the large and small display canvas needs of today, with enough power to solve display needs of the foreseeable future.
The new Christie Spyder X80 offers an array of innovative features and benefits:
- Large display canvas support – A modular configuration supporting up to 24 inputs and 16 outputs, with all connections capable of displaying 4K at 60/50Hz, customers benefit from 4K support for narrow pixel pitch LED, tiled video walls, plus complex, multi-display projection environments
- Card chassis based design allows customers to match input and output needs with room to change and upgrade in the future
- All source content can be displayed freely across multiple types of displays including displays configured in portrait mode with Spyder’s ability to rotate outputs individually
- Single channel 4K support on every channel – Christie Spyder X80 supports 4K at 60Hz at 8/10/12 bit processing on a single cable, plus 4K at 120Hz on dual or quad cables
- Super low latency – Continuing in the Spyder tradition, 80 megapixels and 4K at 60Hz support has super low latency impact
- 24/7 operation – Proprietary hardware processor allows 24/7 operation for the most demanding and critical applications
- Scalable and flexible – With industry leading scaling and format conversion, customers can mix and match multiple SD, HD, 4K, and stereoscopic video formats without compromising the creativity to flexibly arrange and manipulate content while maintaining original picture quality
- Christie Spyder Studio client software (GUI) — Advancing Spyder’s reputation for show control, from simple presets to complex frame accurate timelines, Spyder Studio has the flexibility and functionality required for the most demanding live environment
The Christie Spyder X80 is at InfoComm (in Orlando, Fla. June in the Christie booth #2553 next week or you can see it here. Leave a Comment
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Legrand Buys Milestone AV
Legrand (parent company for Middle Atlantic, Luxul, ON-Q and Vantage) today announced that it has signed a definitive agreement to acquire Milestone AV Technologies, the parent company of AV brands including Da-Lite, Vaddio, Sanus, Projecta and Chief, which makes projector mounts, projection screens, PTZ cameras, equipment racks and AV furniture for both the HomeAV and ProAV markets. The completion of the transaction is subject to customary closing conditions, including termination or expiration of the applicable waiting period under the U.S. Hart-Scott-Rodino Antitrust Improvements Act.
What does rAVe founder Gary Kayye think of this — and how much was Milestone AV purchased for? Go here and find out.
Here is the letter that Middle Atlantic President Mike Baker sent to its partners.
“Legrand is committed to serving the professionally installed AV industry which is an attractive growth area driven by the advancement and expansion of video applications,” said John Selldorff, president and CEO of Legrand, north and central America. “The combination of Milestone’s display mounting, projection screen and content capture technologies with Legrand’s strong offering in enclosures, power, furniture, connectivity and cable management, will greatly enhance Legrand’s position in the industry – in both the commercial and consumer segments – and make us a more significant AV infrastructure supplier to our customers and channel partners.”
Once the transaction closes, the plan is for Milestone and Legrand’s Middle Atlantic business to come together under the AV Division of Legrand. Both the Milestone and Middle Atlantic product lines will continue to remain in the market place, establishing an offering that can be expanded to serve AV customers globally.
“Legrand and Milestone are recognized for solving customer challenges with innovative products and delivering exceptional customer experiences,” said Scott Gill, CEO of Milestone. “Bringing together Milestone and Middle Atlantic under Legrand will allow us to offer an expanded range of highly complementary AV brands to our customers while leveraging combined best practices to deliver continued innovation.”
Milestone AV is here. and Legrand is here. Leave a Comment
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Apogee Sound Announces New Linear Array Column SpeakerThe Apogee ALA-C1 is a passive two-way, indoor/outdoor, 70-volt/8-ohm, linear array column loudspeaker designed for speech enhancement and music reproduction in small and medium-sized public spaces such as school and civic auditoriums, small theaters, lecture halls and houses of worship.
The ALA-C1’s line source array is comprised of nine 4-inch mid/woofers in a line source configuration and six 1-inch tweeters precisely placed on a glass-filled polypropylene bridge. The design offers extremely broad horizontal dispersion (140-degrees) and focused vertical dispersion (25-degrees) — ideal for uniform side-to-side coverage while minimizing ceiling and floor reflections that could degrade intelligibility.
The 4-inch mid/woofer drivers use aluminum alloy diaphragms with a low viscosity ferro-magnetic liquid suspension in place of the usual distortion-inducing mechanical spider. The surrounds are a polymer amalgam that is impervious to salt, fertilizers, chlorine, UV, temperature extremes and the other environmental elements that destroy typical rubber surrounds. Likewise, the tweeter domes are also metal alloy diaphragms with the same suspension technology as the mid/woofers. These technologies account for the low distortion, high definition sound of the ALA-C1 across a wide temperature range, as well as the ability to withstand many years of outdoor exposure.
With a system sensitivity of 93dB (1 watt at 1 meter), the ALA-C1 achieves high SPL (116dB continuous, 119dB peak at 1 meter) with even modestly powered amplifiers. At the same time the robust components delivers high power handling (400 watts continuous, 800 watts peak) and rock solid reliability.
The enclosure and grille frame are constructed from 6061-T6 extruded aluminum alloy, with internal ribs to virtually eliminate enclosure resonance. The finish is a UV resistant powder coat. The speaker is available in either black or white, or can be painted to match the surrounding décor.
The built-in multi-tap autoformer offers five power levels 8-watt, 16-watt, 32-watt, 64-watt and 128-watt with 70-volt operation, plus 8-ohm bypass for use with low impedance amplifiers.
A vertically adjustable, color-matched ball joint wall-mounting bracket with safety cable is supplied with the speaker. The ALA-C1 is here. Leave a Comment
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Peavey’s New nWare Control Suite ShipsPeavey Commercial Audio announced shipping their latest nWare 2.0 software control suite ahead of InfoComm Orlando 2017, as well as a preview of what is possible with the latest video compatibility.
nWare is the drag and drop audio systems configuration, management, monitoring and control software platform behind the MediaMatrix and Crest Audio series of network controllable and configurable products. With more than 42 feature sets and functionality upgrades since its introduction back in 2005, the configuration and control platform for Peavey’s network audio products nWare 2.0 has a new user interface, ‘quick keys’ and 22 new built-in project templates.
nWare 2.0 is the most extensive update yet to one of the World’s most trusted platforms for mission critical applications, seamlessly working with the Crest Audio network amplifiers, as well as the new MediaMatrix nTouch-180HD and Kiosk-180HD touch screen controllers, the H-DCM & F-DCM (Dante/CobraNet IO modules) and integrated with the ‘Kiosk2Go’ HTML-5 browser based control interface platform.
nWare 2.0 features include:
- Device Tree: nWare’s device tree has been reorganized, hiding advanced and arcane devices to non-advanced users and slimming down iterations of devices that were cluttering the tree. Devices can now be assigned to quick keys for more rapid placement and with the new filter option, time spent navigating the tree to find a specific device has been eliminated.
- Control Interface: Several new products have been added to the control interface; nTouch 180HD, Kiosk 180HD as well as new and improved Crest Amplifier control devices. Kiosk2Go has improved security and loading speeds and has also been hardened to better maintain and restore sessions over intermittent Wi-Fi.
- User Interface: nWare’s integrated design environment (IDE) has undergone a facelift for a far more user-friendly interface. In addition to updated graphics and toolbars, a template chooser with 22 project templates has been added — offering a starting point for new files in various categories. Handling of media assets, grid and snap settings usability have also been greatly improved.
Here are all the details. Leave a Comment
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Roland Pro A/V Updates V-800HD Multi-Format Video Switcher Roland Professional has updated “Mark II” version of its V-800HD Multi-Format Video Switcher. The V-800HD MK II includes new dedicated switches for aux source selection offering enhanced visibility and operability, in addition to a new interface redesign. An advanced keyer lets users adjust phase range, amount of chroma and other parameters based on the HSV color space that is closely related to human chromatic sensation — providing high quality and tight key compositions especially when using 1080p video sources.
The Roland V-800HD MK II is a true multi-format video mixer with a dedicated scaler for every input, allowing for all different video resolutions to be switched at the same time. Most every type of digital and analog input is available, in video or computer format, and on the output side scalers allow for direct connection to LED walls without the need for external scaling devices. A built-in HDMI multi-viewer provides a convenient monitoring solution. In addition to video channels, two channels are available for still images, which upload by USB memory stick or frame grab.
Ten assignable video cross-points allow the reordering of channel buttons. Multi-Zoom functionality can be enabled when one video input is shared internally with up to three more inputs. The scaler for each input can zoom into any position in the video image to give the appearance that additional cameras are connected, thus creating a virtual multi-camera environment.
The Roland V-800HD MK II will be available in June with at a price of $7,995 and all the specs are here. Leave a Comment
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Adamson Expands Install-Focused IS-SERIESAdamson Systems Engineering is launching the IS10 and IS119 installation loudspeakers at InfoComm 2017.
The IS10 is a two-way, full-range line array cabinet containing two ND10-LM, 10” Kevlar Neodymium drivers and an NH4TA2, 1.4” exit compression driver. The critically optimized waveguide produces a slightly curved wavefront with a nominal dispersion pattern of 110° x 10° (HxV). Adamson claims that the waveguide’s efficiency allows for increased vertical dispersion without sacrificing high-frequency presence in the far field while the patent-pending Controlled Summation Technology further eliminates the low-mid lobing normally associated with two-way line source systems.
For impulse response, the companion IS119 subwoofer uses a lightweight, long excursion 19” ND19 Kevlar Neodymium driver utilizing Adamson’s Advanced Cone Architecture and a 5” voice coil for exceptional power handling. It is mounted in an ultra-efficient, front-loaded enclosure, designed to reproduce clean, musical low-frequency information. The grill profile of the IS119 has been replicated in the rear of the cabinet, allowing for cardioid deployments that appear visually identical from the audience’s perspective.
The IS-SERIES cabinet construction uses marine-grade birch plywood and aircraft-grade steel. All IS-SERIES products come standard with two NL4 connections and can also be ordered with barrier strips. A plate-and-screw rigging solution is recessed in the interior of the rear rigging fins for easy installation. The IS-SERIES is available in a standard black and white, with RAL colors available as a custom order.
All the specs are here. Leave a Comment
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Christie Adds to Its GS Series with 10K Lumen Models with BoldColor TechnologyThe new Christie DHD1075-GS and Christie DWU1075-GS 10,000 ISO lumen laser phosphor projectors combine many of the potent features from the Christie HS Series, including more powerful grid-based warping and blending with Christie BoldColor Technology, all in a more compact form-factor.
Whether used in fixed installations or event staging, the DHD1075-GS and DWU1075-GS are “rugged” and built for staging as well as install markets. Compact and lightweight for easy transportation and handling, both projectors blend easily into their environment and thanks to the camera-based stacking, blending and warping, can be quickly aligned with other projectors. The Christie 599-GS, 700-GS and 850-GS models are available in HD and WUXGA in either black or white. The Christie 850-GS and 1075-GS models include Christie BoldColor Technology for the most life-like images and natural color reproduction possible with laser phosphor illumination. Christie 555-GS models are available in three resolutions: WXGA, HD, WUXGA in black only.
Featuring two HDMI inputs and one HDMI loop out, DVI and 3GSDI, both projectors ship in the summer of 2017. Here are the details. Leave a Comment
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wePresent Intros New WiCS-2100 wePresent re-announced the launch of their newest model, the WiCS-2100. First shown at Integrated Systems Europe in February, the WiCS-2100 is the first in the new line of wireless collaboration systems.
The WiCS-2100 is a wireless presentation and collaboration solution that allows presentation, interaction and collaboration between users with any kind of device. WiCS-2100 supports Windows or Mac computers, smartphones, tablets and Chromebooks for wireless connectivity.
WiCS-2100 offers complete integration with Chromecast and Airplay devices, including audio and video support. This allows users of both mirroring solutions to collaborate simultaneously and take advantage of the full range of on-board interaction and collaboration tools available, such as on screen annotation and interactive whiteboard capabilities.
WiCS-2100 is the first wePresent model to offer an “eco” standby mode which allows for reduced power consumption. Eco standby mode utilizes discreet power to maintain functionality while conserving energy use. For environments where moderator control is crucial, WiCS-2100 offers the conference controller an on-screen user preview for all connected users.
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Canon Debuts Short Throw REALiS LCOS Projectors With Optical Lens ShiftCanon introduces two new LCOS Projector models to the REALiS lineup – the REALiS WUX500ST Pro AV LCOS Projector and the REALiS WUX500ST D Pro AV LCOS Projector. These new additions, which include a short throw ratio of 0.56:1 and optical vertical lens shift of 0-75 percent feature:
- These short throw projectors feature a 0.56:1 throw ratio which allow for 100-inch diagonal projection from less than 4 feet away from the projection surface.
- The REALiS WUX500ST and WUX500ST D Pro AV LCOS short throw projectors are spec’d at 5,000 lumens, native WUXGA high resolution (1920 x 1200), and use Canon’s LCOS technology with AISYS-enhancement and advanced color management.
- Inputs include HDMI and DVI-I, and also offer an HDBaseT receiver which allows uncompressed HD video, audio and control signals to be transmitted over one single LAN cable up to a maximum distance of 328 feet (100m).
For those in the medical education and training fields, the REALiS WUX500ST D Pro AV Installation LCOS Projector is available with all of the same features of the REALiS WUX500ST projector, plus a special DICOM Simulation Mode for displaying monochrome digital X-rays, CAT scans, and MRIs with superb grayscale gradation. This mode, which offers both clear and blue base color temperature presets, simulates the results of devices compliant with the Digital Imaging and Communications in Medicine (DICOM) Part 14 standard. This mode can also be utilized in other specialized applications like black and white photography where an expanded range of gamma adjustment is required.
The Canon REALiS WUX500T LCOS Projector lists for $8,249 and the Canon REALiS WUX500ST D LCOS Projector lists for $8,849 and both will ship by the end of June 2017. Here are more detailed specs. Leave a Comment
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The MS-TestPro Is the HDBaseT Test Tool Every Integrator Needs Media Solutions has announced a new feature for the MS-TestPro, a handheld solution for in-field testing of HDBaseT systems and cabling, designed especially for AV installers, integrators and technicians. The new feature allows installers to generate a certification report, inspect the quality of each cable installed, thus simplifying the installation of HDBaseT networks, including compatibility with 4K format. The MS-TestPro generates a report after a very short test, indicating the quality of various installation parameters. These include detail information about link quality, link status of the transmitter and receiver, pixel clock, HDBaseT link chip type and cable length. In addition, user-friendly graphs summarizing the overall information are generated. rAVe RADIO actually had a videocast with Media Solutions last week to demo this feature. You can watch the videocast here.
The MS-TestPro sells for US$1395 for the Touch Screen Model with a built-in 3.5” touch screen (MS102TD) and US$1695 for the Wi-Fi Client Model, with 3.5” screen, built-in HDMI pattern generator (MS103TDs). During InfoComm 2017 (and from June 5th through June 30th), a special 10 percent discount with free international shipping will be offered.
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Renkus-Heinz Intros New SA Series Amplifiers at InfoComm Renkus-Heinz will introduce their next generation of amplification at InfoComm. Renkus-Heinz SA Series amplifiers include the new C and T Series point source loudspeakers with full networking capabilities, RHAON II control and monitoring, and connection via a choice of Analog, AES/EBU or Dante single or redundant network input.
Renkus-Heinz SA Series amplifiers will be available in three models. The SA-625 amplifier outputs 500W + 125W; the SA-1250 outputs 1,000W + 250W; and the SA2000 delivers a total of 2000W. With power to spare, SA Series amplifiers deliver more than enough wattage to easily drive additional loudspeakers, and all models are equipped with output connections to power external drivers.
All SA Series amplifiers are equipped with native DSP, including delay, equalization, multi-channel limiting, and noise reduction, with nine available preset memories. Connectivity configurations include analog input, as well as RHAON II control and monitoring, with networking connectivity in copper and optical formats.
There aren’t specs out for them yet but when they are online, they will be here. Leave a Comment
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Middle Atlantic’s InfoComm Launches Middle Atlantic Products will reveal how it’s building towards the future at InfoComm 2017, June 14-16 at the Orange County Convention Center in Orlando, Florida. The company will demonstrate its latest furniture, rack, mount, connectivity, and power solutions that address the needs of today’s commercial applications. A special Innovation Pavilion, within booth 1928, will display concept solutions that imagine how integrators will navigate the future of AV installations.
At the show, attendees will see the latest advancements in Middle Atlantic’s offerings:
Conference Tables
Middle Atlantic’s T5 Series conference tables are specifically designed to properly support AV technology with ultimate system reliability. Built upon Middle Atlantic’s well-known rack engineering expertise, the T5 Series features a patent-pending, swing-out rack that ships immediately and can be configured for rackmount or small device gear. Engineered with unmatched innovation and mounting flexibility, this pre-configured, all-in-one furniture system includes power distribution, table boxes with connectivity, and cable management. This particular table is featured in the rAVe InfoComm 2017 Top 10 Tour!
Storage and Mounts
Middle Atlantic has broadened its lineup of AV storage and mount solutions for commercial AV. The innovative, expertly designed Proximity Series AV storage and Vision Display Mount (VDM) lines provide integrators with a comprehensive offering and endless system design flexibility to support decentralized, all-in-one systems in commercial applications.
Lecterns
Encapsulating the needs of the integrator from entry-level to future innovation, the company will showcase the new L2 Series, updates to its legacy L5 lectern, and a concept design that addresses the needs of integrators and end users now and in the future. The new L2 Series Lectern is the only budget-friendly lectern that comes complete with a rack, power, thermal, and cable management and connectivity, delivering support and security for AV systems. The L5 Lectern Series provides even more storage options with contemporary and durable design options to meet any aesthetic demands. Both series are available in easy-to-order, pre-configured models with expedited lead-time, making them ideal furniture solutions for projects with tight deadlines. Also on display within the Innovation Pavilion will be a forward-looking concept lectern that builds upon the series’ flexibility.
Vertical Wall Mount Platform
The VWM Series vertical wall cabinet is an expertly engineered wall-mount cabinet that completely reimagines equipment mounting for AV applications. The VWM Series is the industry’s highest-capacity low-profile solution — providing vertical mounting of deep equipment as well as small devices. Available in pre-configured models or customizable to exact system specifications, the VWM Series utilizes a patent-pending modular systems approach to equipment mounting, providing unmatched configurability and systems reliability.
Power and Connectivity
Solving the requirement for power and connectivity solutions engineered for AV, the Select Series PDU with RackLink and Controlled Wall Plate will also be on display. Ideal for small to large enclosures in commercial applications, the Select Series PDU with RackLink offers versatile vertical, compact, and traditional rackmount form factors that simplify installation and reduce the cost of service by providing intelligent power optimized for AV systems. Designed for simplified and convenient universal control and efficient integration, the Controlled Wall Plate provides extended power and control capabilities to powered loudspeakers and other commercial devices within a compact, single-gang design that delivers exceptional value without the complexity and expense of breaker panels or multiple high/low voltage boxes. Also within the Innovation Pavilion, Middle Atlantic Products will explore the future of IP-enabled power management.
More information about Middle Atlantic Products is available here. Leave a Comment
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Dynacord Launches New Power Amplifiers for Live Events Dynacord will launch a new two new dual-channel power amplifier series at InfoComm 2017: the L Series and the C Series. Both amplifier series comprise a linear amp design and have a software tool that allows for full configuration, control and supervision of sound systems with multiple amplifiers.
Four different models per series are available, with total output power ranging from 1,300 watts to 3,600 watts and engineered for stability at 2 ohms. Dynacord L Series power amplifiers are designed to provide sound reinforcement for live music applications. The Dynacord C Series power amplifiers are designed for permanent installation applications, to provide background or live music in venue including bars, churches, restaurants, sports facilities and performing arts centers. The C Series is also suitable for direct drive applications with 70V / 100V speaker lines, providing high flexibility for a variety of install scenarios. In addition, the amplifiers feature Euroblock connectors for convenient wiring, remote power-on delay and GPIOs (general-purpose input/output) to interface with third-party controls.
The onboard DSP (digital signal processing) includes multi-band PEQs (parametric equalizer), crossovers, limiters, and delay per channel. It also has true channel grouping control with extra DSP capabilities like PEQ, GEQ (graphic equalizer) and delay for each group.
Both series consist of four dual-channel models, each with different output power specifications.
L Series and C Series — maximum output power per channel:
- C3600FDi / L3600FD: 1800 W @ 4 Ω, 3200 W @ 2 Ω
- C2800FDi / L2800FD: 1400 W @ 4 Ω, 2300 W @ 2 Ω
- C1800FDi / L1800FD: 900 W @ 4 Ω, 1600 W @ 2 Ω
- C1300FDi / L1300FD: 650 W @ 4 Ω, 1100 W @ 2 Ω
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MuxLab Brings New Selection of Pro Audio Integration Solutions to InfoCommThree new products from MuxLab are designed to help integrators create unique, audio-based infrastructures that are IP-based. Available for the first time at InfoComm are the Dante/Quad Channel Audio PoE Gateway (500765), the Audio/AMP over IP Extender with Mic (500755-AMP) and the 70v Audio Converter (500755-70V).
Analog audio sources can be sent to Dante-compatible professional audio equipment using an IP network as a bridge with the Dante/Quad Channel Audio PoE Gateway. Dual two-channel or quad single-channel full range (20Hz to 20KHz) balanced analog audio signals are routed via an Ethernet switch over the network to Dante audio equipment. Dual two-channel or quad single-channel balanced analog audio signals may also be received from Dante compatible equipment in the same manner. Standard Cat5e/6 cable connects all equipment up to 100 meters from the Ethernet switch. PoE support allows this product to be powered by the Ethernet switch.
MuxLab’s Audio/AMP over IP Extender with Mic supports dual, two-channel analog audio inputs with a microphone over an IP network via an Ethernet switch. A 50W two channel amplifier is included on the receiver, which can be bridged to support a 100W mono output and when paired with MuxLab’s 70V transformer (500755-70V), supports a 70V speaker system over longer distances in a daisy chain configuration. Multiple audio sources and destinations can be configured in a virtual matrix configuration, allowing users to easily send any audio source to any destination supporting both simple and complex audio systems.
MuxLab will also be unveiling a prototype of its HDMI to HDMI with Audio Extraction 4K/60 and its HDMI 2.0 Audio Extractor with Video Out (, both of which will be launched later in 2017. They are here.Leave a Comment
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Bose Professional Intros Panaray MSA12X Modular Steerable Array Loudspeaker Bose Professional announces the introduction of its Panaray MSA12X Modular Steerable Array Loudspeaker. The self-powered Panaray MSA12X features a slim, unobtrusive acoustic design with twelve full-range 2.25-inch transducers (with 75 Hz – 14 kHz response) in a columnar line array configuration, to provide consistent audio levels with outstanding vocal intelligibility and full-range music reinforcement in acoustically challenging spaces.
The MSA12X model includes 12 internal power amplifiers (50 watts per channel; total 600-watt rated power) and onboard DSP to allow digital control and beam steering of array vertical coverage patterns. Proprietary Articulated Array configuration allows wide, 160-degree horizontal coverage. Independent level and EQ control is supported for two separate beams per array, and onboard memory stores up to 10 user-selectable presets. The MSA12X features both Dante network connectivity and line-level analog input.
The modular design allows up to three MSA12X units to be vertically arrayed to increase coverage distance and low-frequency pattern control. The slim, low-profile elegant enclosure mounts close to surfaces, blending in with the visual aesthetic of a space, and its digital control eliminates protruding pitch brackets. An integrated mounting bracket allows up to 90-degrees of pivot away from surfaces. Design, setup, and control of beam coverage is provided by Bose Professional Modeler and ControlSpace software. The MSA12X is available in either black or white finish and is paintable.
Designed for use in houses of worship, auditoriums, museums, transportation facilities, lecture halls, conference facilities and theaters, the Panaray MSA12X Modular Steerable Array Loudspeaker will be previewed during the 2017 InfoComm show and are scheduled for fall 2017 availability. All the details are here. Leave a Comment
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beyerdynamic inc. Launches New TG 1000 Wireless System with Dante beyerdynamic, inc. will show a new version of the TG 1000 digital wireless system at InfoComm. This 24-bit system now has a Dante interface and can be integrated into digital audio networks based on the Audinate solution. The TG 1000 dual receiver is equipped with a Dante network interface in the form of an RJ45 connector flanked by status LEDs on the back of the 19” device (1 HU).
The beyerdynamic TG 1000 wireless system has a switching bandwidth of 319 MHz in the UHF range (470 – 789 MHz) and is integrated with an OLED display, one button navigation and Chameleon software. Up to six dual receivers can be cascaded without the need for external antenna splitters.
The total latency from transmitter to receiver is only 2.1 milliseconds. In optimal environmental conditions, the transition range can reach up to 984 feet. There is an assortment of capsules available for the TG 1000 handheld transmitter that, in addition to dynamic variants and condenser capsules, also includes the beyerdynamic TG V90w ribbon module. The TG MM1w interchangeable capsule can be used in combination with the TG 1000 handheld transmitter to calibrate public address systems in theatres, at live concerts and at festivals.
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Chief’s Rental and Staging Stand Debuts at InfoComm Chief is debuting a new stand designed for the rental and staging market at InfoComm. Chief engineers worked with AV professionals who work in the rental and staging space every day to find out the common problems with display stands. The main issues they discovered were speed, storage and wear.
The PRSU was made to be intuitive to set up so anyone can figure it out quickly. No tools are needed to set up the stand, which also saves time. Most people can set it up in under two minutes, even the first time.
The so-called rugged design can withstand the wear and tear that is commonplace in the rental and staging market. Other stands can become marked up over time, particularly on chrome parts. The PRSU also breaks down and folds up for easy space savings and can be stored in a customized, wheeled case accessory that can be stacked or set upright to accommodate various truck and warehouse spaces.
Features include tilt, height adjust, cable management, padlock security, landscape and portrait orientations and tool-free installation. Accessories are available.
The PRSU is here. Leave a Comment
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Barco Introduces Two New 4K60p Interface Cards for Event Master
As part of the continued development of the Event Master screen management systems, Barco has introduced two 4K60p video interface cards. With the new 4K tri-combo input and output cards, single cable 4K60p is supported via DisplayPort 1.2, HDMI 2.0 and 12G SDI.
With full 4K@60 4:4:4 12-bit processing at low latency and a rugged modular design that supports easy field upgrade Event Master series. In addition to DisplayPort 1.2, HDMI 2.0 and 12G SDI, each card also supports four 3G SDI inputs for both quad 4K or multiple HD support.
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Professional Wireless Intros New Rental Company Packages
The new PWS VX-4 Antenna Combiner is an expansion of the GX series. Users are now able to combine up to four VHF range transmitters into a single antenna. The VX-4 is the perfect complement to pair with four rack-mounted Lectrosonics VHF IFB transmitters. Also new are the PWS UHF In-Line Filters, which are designed to attenuate extraneous RF energy outside the tuned wideband 470-698 MHz range. Both product series of the in-line filters (1 & 2) are designed to lower the noise floor in increasingly tough RF environments.
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Absen’s New Indoor/Outdoor LED Line of Xv-Series Debuts at InfoComm Absen Inc announced today to launch of its next generation in mobile indoor/outdoor LED solutions called the Xv-Series. The Xv-Series is aimed at the rental and staging market, with the ultra-fine 2.6-millimeter, 3.9-millimeter and 5.2-millimeter pixel pitch versions that provide a viewing angle of 160°/140° with a brightness level of 5,000 nits. Features include easy installation and dismantle, quick-to-swap power/data core and front and rear serviceability as well as:
- Curvability that’s integrated with ±5° adjustable side locks
- 3840Hz refresh rate
- Weather resistant design with universal replaceable modules
Along with the integrated curving side locks, the Xv-series offers additional curving brackets allowing designers to create unlimited concave curves and any angle up to 5° convex curves. Here are all the details. Leave a Comment
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Key Digital Introduces Video Wall ProcessorThe new Key Digital KD-VW4x4PRO is designed to bring video wall capabilities to all displays and digital signage. This processor supports seamless switching and features eight different user-selectable video wall modes with many horizontal and vertical layouts. These modes include: four horizontal: 1×4 rotated, 1×4, 1×3 and two sets of 1×2; and three vertical: 4×1, 3×1, two sets of 2×1 and typical 2×2 setup.
The KD-VW4x4Pro supports seamless 4×4 matrix switching, and analog to digital conversion of incoming VGA with analog audio signals. Four HDMI/VGA inputs accept digital/analog video and audio from computers, media players, and other sources. With the eight onboard video wall processing modes, the four outputs can be configured to display video from a single input over a four-output video wall. Fitting into a wide variety of professional video installation and live event needs, this device is also ideal for retail, digital signage, conferencing applications, classrooms, home-theater and bar/restaurant needs.
Additionally the KD-VW4x4Pro has adjustments that can be made, such as bezel compensation, to fine-tune the video wall to fit different screen types. Device control is achieved through a couple of options including the front panel buttons, included wireless IR remote control or via software through RS232 and Ethernet.
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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).
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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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