Volume 12, Issue 6 — June 29, 2018
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Editorial
- Mentee Fresh
Ron DeVoe : Principal, Successful Sales Consulting Crew Call
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Searching for Internet Cheese
By Joel Rollins rAVe Columnist
In my day job, I answer a lot of people’s questions about audiovisual and virtual reality technology. In fact, lately, that’s really all I seem to be doing. And to find those answers quickly, especially when it comes to determining things like part numbers and dimensions, I turn to the source that most people use: the World Wide Web.
Now, I have been using the web since its very first iterations, back when HTML was just a concept and we were all migrating from bulletin board systems (BBSs) to the internet. In 1993, I can distinctly remember being dressed down by our owner in our national sales meeting over wasting everybody’s time with a presentation on the future internet that suggested that we create a website. In no uncertain terms, he told me that the World Wide Web was a fad, that all anybody did was put their brochure on their website and that he was not going to buy every employee a computer just so they could “surf the web.”
By the end of that decade, I was working for Extron, where the early development of the website was made a high-level corporate priority. Extron had already been one of the few companies to truly embrace the CD-ROM as a method of distributing product information and they saw the web as the next logical step. All of their leadership felt that making this information easily available to dealers was one of the most important functions that the sales and marketing department had. I was impressed then with their attitude about it and I still am. When I am designing a system or show, I often depend on the Extron website for fast access to the latest information about their products. And I also hear many of their dealers tout their website as one of the things that makes them a leader in their field. These facts have been well known (and I believe, generally accepted) in the industry for the last 20 years.
So I’m truly dismayed that the current trend in consolidation in our industry seems to have damaged the usability of the audiovisual industry’s websites. Some of my very favorite manufacturers have recently been acquired by much larger industry firms, who have attempted to wrap these products into their general distribution lines. In doing so, they have made appropriate information much more difficult to find. And I hope, by this article, to alert them to the idea that the successful manufacturers in this industry do not necessarily have a better mousetrap. They have simply created better ways for the mouse to find the cheese.
So, speaking as one of the mice, and as somebody who has to help a lot of other mice find cheese, let me offer a few comments on the current trend in industry websites.
Mice don’t give a damn about style if it makes the cheese harder to find. The current trend in websites is to move to the “one-page” design style, with minimalist menus that simply hop you up and down the page, often with some type of “floating” menu design. It’s really pretty and if I were a millennial “surfing” that site on my smart phone, I might find it OK. But manufacturers should pay attention to the idea that the people who specify their products find this truly annoying for a couple of reasons. First, because it makes it hard to find details like product numbers and spec sheets. And second, because it makes it nearly impossible to print PDF portions of that webpage to fit into a proposal. And while you may get great customer comments on how pretty your website is, it does not represent how people buy things in this industry. Note also that this is also not how any of the truly successful websites in e-commerce — like Amazon — work.
Mice like consistency. If you acquire a company, when you merge them into an operation, one of the most important considerations should be how dealers use their existing website or what they find wrong with it. Be especially alert to this if you are acquiring companies whose products serve different vertical markets than the ones that you have experience with. For instance, I work with a lot of architects and system designers. I am recently seeing a major shift in several product lines that they specify based almost entirely on the fact that information is easier to get from one manufacturer’s website than another.
A hungry mouse needs cheese now, not later after you have explained how your new website works to them. If it isn’t self-evident where to get product dimensions, specifications and PDF spec sheets, then your website is not working. The destruction of a manufacturer website that designers rely on for information, just in order to fit it into your existing company website, is a mistake.
Clients often check the designer’s recommendations on the web. If it’s hard for them to find information confirming the mouse’s opinion, they will doubt the mouse.
My friend Gary Kayye, who has spent most of the last three decades being one of the industries top proponents of the use of the internet, has a saying: “If you can’t find a product on the web, does it really exist?” And in many ways, he’s right. In these days of instant information and gratification, products without good published information become invisible.
And I just can’t recommend an invisible product. Leave a Comment
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Mentee Fresh
By Ron DeVoe Principal, Successful Sales Consulting
By Ron DeVoe Total Marketing, LLC
A little time has now passed since InfoComm 2018 turned off the lights. I hope that the sore feet have un-throbbed, the voice has lost its hoarseness and the bloodshot eyes have cleared.
I attended my first NAVA a “couple” of years ago and I remembered how exhilarating that show was with all of the AV gadgets and gizmos that one could sell. At InfoComm 2018, I met one of my dealers who had with him a new salesperson who was attending his first InfoComm. He had the same wide-eyed expression. It made me reflect on my time, the talented people I know and how many are still active within this industry. Conversely, I think of how many of the talented people moved on or out of this industry and that still bothers me.
I sat next to Chris Miller of PSNI, at an AVIXA meeting during InfoComm and Chris related that on recent trips abroad, he asked AV leaders in different companies what challenges they were facing. From Beijing to St. Petersburg, the answer was the same… finding and keeping good people.
Why do we lose good, talented people from an industry that is full of promise? Some feel that technological advancements are hard to keep up with, as are the changing acronyms. However, there is a common frustration seen among newer people within this industry. They feel overwhelmed, overworked, underappreciated and underpaid. These frustrations are nothing new. Noah’s wife complained while on the ark, although she did not tell me personally.
A great answer has been training, which can be found in abundance through manufacturers, AVIXA certifications, webinars and so on, but a common theme at this year’s InfoComm was the need for mentorship. John Thomas of Visitec Marketing presented “How to be an effective Mentor” to a large group. In this session he discussed along with a panel, the process, commitment and payback of a program. Amanda Eberly Boyer of AVIXA conducted the Inter-Council meetings with the theme of Mentorship. Attendees left the Inter-Council meetings with a dedication of mentorship. Gary Kayye, the esteemed publisher of this publication, called out to industry members to embrace AVolunteerism, which included mentorship.
So, mentors are available, they understand their role and are ready to help. Now all that is needed are the mentees. A few years ago, InfoComm organized a mentors group, but no mentees came forward. Studies show that businesses with a mentorship program have greater employee retention. Within dealerships, there might be that one person that can mentor while not coaching. This person has to be able to listen and have the confidence that the mentee’s thoughts and concerns remain private. Dealerships, no matter what size have their own process and culture and many feel that mentorship should not be from outside. However, factory reps or independent reps are an excellent source for mentors in that they do understand and recognize the process, culture and the reward of seeing a dealer’s employee become more enthusiastic, energized and productive. The “silverbacks” of the AV Industry are an excellent source for mentors, although any mentorship sessions become irrelevant when introduced with “in my day…”
Ours is a small but growing industry that has not become so large that people do not count. Our industry does need to grow by continually filling it with quality people.
Mentees, we are here for you. We want to keep you excited. Leave a Comment
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Mackie Expands DL Series Lineup With Two New Models
Mackie today announced two all-new DL Series digital mixers, the 16-channel DL16S and 32-channel DL32S Wireless Digital Live Sound Mixers with Built-In Wi-Fi for Multi-Platform Control. The DL16S and DL32S offer an all-new affordable, Built-Like-A-Tank stagebox form factor with built-in Wi-Fi.
Both models have built-in Wi-Fi networking and multi-platform support on the Master Fader control app. The DL32S and DL16S offer Onyx+ mic preamps, fully loaded DSP on each input and output plus four FX processors. They also get a new suite of FX like chorus, flanger, rotary, auto-filter and more.
The DL16S and DL32S feature full multi-track recording via USB to create live recordings and play them back into each channel for an easy virtual sound check. Not only is this great for recording performances, it’s also great in the studio when you need a high number of inputs for recording.
Master Fader 5.0 has been re-engineered from the ground up to deliver users more choices for how users control their DL Series mixers with the addition of multi-platform support on Android, Mac and PC, plus the new FX suite and UI.
The Mackie DL16S and DL32S are available worldwide beginning fall of 2018. Sold individually, the list pricing is $999.99 for the DL16S, and $1819.99 for the DL32S. The Master Fader 5.0 app will be available as a free download on iOS and Android devices in fall of 2018.
Here are more details. Mackie is here. Leave a Comment
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Bose Professional Expands DSP Offerings
Bose Professional broadens its ControlSpace sound processor line with six new DSP models and three attractive digital wall controllers. The new ControlSpace CSP-1248 and CSP-428 commercial sound processors offer right-sized I/O and simplified configuration for small-to-medium-scale projects. They are designed to serve as standalone DSPs in commercial applications such as retail stores and restaurants or any public place where modest processing, high-quality sound and facilitated installation are desired. They include balanced analog I/O, RCA inputs, eight GPIs, one GPO, a mute contact, RS232 serial, Ethernet network (for configuration or wall control) and Bose AmpLink out, for simplified digital audio connectivity to supported power amplifiers.
The new ControlSpace CSP models feature a quick-setup workflow using an integrated webserver with browser-based control software. Much like setting up a wireless router, installers use their PC (or Mac) and web browser to access the CSP configuration page. This real-time interface features live metering and is designed to augment the natural workflow of commercial projects with common tasks such as setting sources, paging thresholds, adjusting EQs and tuning limiters presented in an intuitive and logical manner. This approach reduces complexity by presenting common processing needs for repeatable commercial applications, minimizing design errors and ultimately reducing installation time — without extensive DSP training.
The new CSP models include the following Bose-proprietary algorithms, configurable using the control software, that bring predictable, reliable operation to commercial sound systems:
- AutoVolume compensation continuously adapts zone output level based on the ambient noise of that room (when paired with the new Bose ANC sense microphone accessory) to maintain consistent program material.
- SmartBass dynamic equalization enhances the low-frequency output of small loudspeakers.
- Opti-voice paging provides a smooth transition between the music and page signals.
- Opti-source level management monitors the input level of up to four sources. Source levels are continually adjusted to maintain a consistent volume level among different source.
In addition to the new ControlSpace CSP processor line, Bose has also rolled out an update to two popular ControlSpace ESP fixed-I/O engineered sound processors. New variants of the Bose ESP-1240 and ESP-880 models have been upgraded based on integrator feedback to include options for Dante audio networking and Bose AmpLink connectivity. The new variants — the ESP-1240A, 1240AD, 880A and 880AD — have a new appearance while maintaining key features from their predecessors.
New ESP-1240A and ESP-880A engineered sound processors have 12×4 and 8×8 analog I/O, respectively, with integrated Bose AmpLink output for digital connections over Cat5 to Bose AmpLink-equipped Bose amplifiers. The new ESP-1240AD and ESP-880AD versions have both AmpLink and 32×32 Dante onboard. All four ESP models use ControlSpace Designer software for configuration, control and monitoring, and support scalable networked audio systems.
To complement both the new ControlSpace CSP and ESP processors, Bose has also introduced three new user-friendly digital wall controllers: the CC-1D, CC-2D and CC-3D. Each model comes in white and is available in regional variants. They feature a single rotary encoder and circular LED ring. The CC-2D and CC-3D models allow the rotary encoder to be pushed for A/B or A/B/C/D source selection with LED source indicators on the panel. In addition to the new digital wall controllers, the new CSP and ESP processors are supported by ControlSpace Remote, where customized control panels can be built and deployed to end users for wireless control of their systems from mobile phones, tablets or laptops.
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New Extron 12G-SDI Cable Equalizer Supports 4K Video
Extron just introduced the 12G HD-SDI 101, a one-input, one-output cable equalizer for multi-rate SDI digital video signals. It offers a solution for sending multi-rate SDI digital video signals over long coaxial cable runs. The 12G HD-SDI 101 supports all common serial digital video data rates up to 11.88 Gbps, while passing HDR, embedded audio and other ancillary data allowed by the latest SMPTE and ITU specifications. Automatic input equalization adds up to 984 feet (300 meters) for SDI, up to 787 feet (240 meters) for HD-SDI, up to 590 feet (180 meters) for 3G-SDI, up to 295 feet (90 meters) for 6G-SDI and up to 230 feet (70 meters) for 12G-SDI digital video, when using Extron RG6 cable.
The 12G HD-SDI 101 is housed in a one-eighth rack width, metal enclosure, providing mounting options for both new and existing AV systems.
The 12G HD-SDI 101 is here. Leave a Comment
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KLANG:technologies Debuts KOS 3.1 at InfoComm
KLANG:technologies has released a new OS (3.1) – adding a MIDI translator tool. This provides an MCU (Mackie Control Universal) protocol integration, which allows engineers to connect one or more MIDI MCU-compatible fader controllers to the company’s KLANG:app for tactile mix control. Designed for monitor engineers that want to dial into musicians’ mixes from a hardware-based controller, the new integration provides facilities for Mute and Solo buttons, Channel labels, Bank Select and Snapshot control, in addition to bi-directional fader control.
KOS 3.1 allows for daisy chaining of KLANG:fabrik and/or KLANG:vier devices into a hive of units functioning as a larger system. In this configuration, engineers can quickly move between various artists’ mixes within the cascade via the top mix bar, as well as create, save and recall snapshots and presets on all units in the setup simultaneously.
With KOS 3.1’s new master cue facilities, monitor engineers no longer need to use one mix for cueing into an artist’s mix, but can cue into the mixes of any unit in the cascade. This is accomplished by daisy chaining a cue output of a mixing console to the KLANG cascade and then choosing to listen to the KLANG cue or console cue.
Also, the newest OS increases the available channel count when working with EQs activated. And this software release is accompanied by a new Dante Firmware release for the new master cue routing, which now makes all KLANG products Dante Domain Manager (DDM) ready.
KOS 3.1 from KLANG:technologies is here. Leave a Comment
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Prime Image Debuts Time Tailor Software Prime Image just released new Software Time Tailor (STT) that provides broadcasters with a software-based time optimization tool that optimizes the run-time of broadcast-quality video in order to create time to allow additional ad insertions into programs as well as for content trimming.
STT has the same functionality of Prime Image’s established hardware-based Time Tailor 3500 and Time Tailor Digital Media Controller (DMC) products, but can run either in a cloud environment or on a generic Dell server in the customer’s data center. All of Prime Image’s Time Tailor products provide automated micro-editing of content that maintains creative intent while creating run time for additional revenue generating opportunities.
While runtime reduction is an obvious use of Time Tailor products, Prime Image customers have also used the product for the automated trimming of content and for specific niche uses such as reducing the perception of propagation delay in studio-remote broadcasts.
The Software Time Tailor runs on Linux or Windows operating systems in a virtual machine configuration, and cloud service is an option using Amazon Web Services (AWS) or Microsoft Azure. It can automate playout clock distributions for broadcast and OTT media assets, and reduce the bandwidth of OTT streams and the size of an operation media archive.
Standard features include retiming automation; multi-segment retiming with segment in/out points defined using timecode; an embedded transcoder that supports MOV, MXF, and Mp4 containers and broadcast codecs; 1080psf24, 1080i, 720P, and NTSC /PAL SD format support; up to 16 channels of audio processing with multi-track per channel formats; a tempo regulator to dynamically manage drop rate to eliminate audio tempo variation; and faster than real-time processing on a single asset with these results varying by codec and retime rate.In addition to the cloud service, other optional features include support for frame accurate closed captions; slate and black slug formatting at program start or between segments; a vertical cut log file that specifies all vertical cuts expressed in timecode or frames; a chapter retiming mode; and a black slug formatting mode to normalize black slugs in OTT streaming assets.
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ProCo Sound to Show Latest Dante-Enabled AoD I/O Modules at InfoComm 2018
ProCo Sound is introducing its new Dante AoD I/O Modules for a simple connection to a Dante network while also providing studio-quality, low-latency audio, at this year’s InfoComm show (Booth C1734). ProCo is also showcasing two new Dante interface enclosure options for both mobile and fixed applications.
Built with uncomplicated designs and the highest quality A to D and D to A converters, ProCo’s AoD I/O Modules guarantee easy delivery of studio-quality, low-latency audio delivered through any analog source or Dante Network. The modules support 44.1, 48 and 96 kHz sampling rates and up to 24-bit depths.
Its latest modules include the AoDoM two-channel interface (AoD-FAN3-2XM) featuring one RJ45 Dante input and two Neutrik XLR analog outputs. Its rugged aluminum extrusion channels offer a durable solution for providing line level analog audio signals to output devices. It is designed with a 3-foot analog audio tail with black Neutrik XLR connectors. The AoDiMX4 four-channel interface is equipped with one Neutrik EtherCon Dante output and four Neutrik XLR analog inputs, while the AoDoMX4 four-channel interface has one Neutrik EtherCon Dante input and four Neutrik XLR analog outputs.
As with all ProCo’s Dante-enabled products, these latest interface solutions can be configured with Audinate’s free Dante Controller software. Users can automatically discover and configure device parameters such as device names, channel labels, signal routing, sample rates and latency. Power is supplied through a standard Ethernet cable via a Power over Ethernet (PoE) capable network switch or from a separate PoE injector circuit. Locking Neutrik EtherCon connectors ensure durability, performance and resilient cable strain relief.
ProCo is offering pro AV integrators two durable enclosure options for its Dante Interface hardware. ProCo’s new Drop Snake Boxes are a portable, handheld unit for audio transport, while its Dante Wall Plates can be easily installed into any established pro AV environment. Both chassis options offer the exact same functionality with differing rugged aluminum extrusion enclosures. Three configurations of two to four Neutrik analog XLRF inputs and/or XLRM outputs are available for each enclosure, along with one Neutrik EtherCon Dante input. Each module is designed with LED indicators, which can be configured to display the status of the user’s Dante ecosystem.
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Want to Use Both Hands to Control Live Events While Standing?
Gig Gear has announced the addition of the Two Hand Touch Harness, a wearable iPad and tablet case that is secured to the chest via a flexible harness, leaving both hands available to interface with remote mixing apps and other apps necessary during live production.
These days remote mixing on an iPad or tablet is commonplace. It gives engineers the opportunity to get out from behind the board and hear sound in the venue from different locations while making mix changes on the spot. Almost every remote mixing app has multi-touch capabilities built in, but taking advantage of the multi-touch features are next to impossible when one hand is always being used to actually hold the iPad. Not anymore, thanks to the Two Hand Touch Harness by Gig Gear.
Apps that have multi-touch capabilities can now be used with ease, and mixing can be done more similarly to the way it would be done on an actual board — with both hands on the faders.
Two models are available: the Two Hand Touch 9 and the Two Hand Touch 12, which are designed to perfectly fit the standard iPad 9.7-inch size and the iPad Pro 12.9-inch size, respectively. With multiple elastic bands in different configurations included on the inside of the case, tablets and phones of all sizes can easily be secured as well. When not in use, the case flattens up against the harness and can be secured out of the way. On the front of the case are strategic pockets and pouches that can hold multiple accessories and tools including, pens, a dB meter, microphones (both handheld and measurement), gaffers tape, cables, radios, picks, drum keys, wrenches, allen keys, and more.
The Two Hand Touch is an ergonomically better option — eliminating the need of holding tablets up for long periods which can cause cramping and other repetitive motion injuries in the hand and fatigue in the arms. With the Two Hand Touch, the lightweight harness takes the tablet and puts the weight at the center of the trunk of the body allowing for a healthier method of utilizing a tablet for long periods of time. The Two Hand Touch can stay attached to the user for as long as necessary without causing fatigue or muscle cramping and tightening.
The Two Hand Touch is also perfect for all other production professionals who need access to their iPads while working, including lighting designers and techs, stage managers and technical directors, film production pros, event and floor managers, and more.
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Fulcrum Acoustic Announces FH15 Full-Range Coaxial Horn Product Line
Fulcrum Acoustic has launched its FH15 Full-Range Coaxial Horns. The FH15 Series’ two-way, coaxial horn systems with 15″ horn-loaded woofer and 4″ diaphragm compression driver provide precise pattern control to below 400 Hz, low frequency extension to 54 Hz and extremely high output for products of their size while using only a single amplifier channel.
FH15 Series systems’ large 4″ diaphragm compression driver enables operation at frequencies too low for smaller compression drivers to handle. This allows the high frequency (HF) horn to smooth the polar response of the low frequency section in the frequency range where the HF horn would otherwise cause shadowing. It also allows the compression driver to produce extreme sound pressure levels with an effortless sonic character.
FH1565 (60°x45°) and FH1596 (90°x60°) models are now available with a full complement of horns in development — here are the details. Leave a Comment
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Neutrik Announces NA2-IO-DLINE Dante I/O Interface Neutrik USA announced the NA2-IO-DLINE Dante I/O Interface. A two-in / two-out device, the Neutrik NA2-IO-DLINE simultaneously converts analog signals to Dante and Dante signals to analog. Genuine Neutrik input and output XLRs, along with a locking etherCON connector, provide professional-level connectivity. Four LED indicators provide network status as well as DANTE SYS and SYNC status.
The NA2-IO-DLINE has optional mounting brackets and rackmount panels are available for attaching the NA2-IO-DLINE to floors, walls, tables or racks.
With the ability to transmit signals up to 100 meters (328 feet) via CAT5e cable, the new NA2-IO-DLINE functions with nearly any network switch that provides Power over Ethernet or else a PoE injector. Creating and saving routing configurations is quick and easy using Audinate’s free Dante Controller software. The NA2-IO-DLINE is AES67 compliant.
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Crest Audio Debuts C1 Series Contracting Amplifiers with DSP and Dante-C
Crest Audio has unveiled the new C1 Series range of contracting and installation amplifiers — Class D designs with on-board digital signal processing, Dante protocol networking and USB/Ethernet connectivity for monitoring and control. The new C1 Series amplifiers are aimed at contractors thanks to the addition of Euro connector inputs and barrier strip outputs as well as fault relays and CV (control voltage) inputs.
The C1 Series currently comprises four models:
- C1 86k eight-channel amplifier with 750 watts per channel into 4 ohms
- C1 48k four-channel amplifier with 2000 watts per channel into 4 ohms
- C1 44k four-channel amplifier with 1000 watts per channel into 4 ohms
- C1 25k two-channel amplifier with 2500 watts per channel into 4 ohms
All models incorporate an efficient switch mode power supply and Class D circuitry with full bandwidth PWM modulators for ultra-low distortion, high efficiency and superior circuit protection. The clip/limiter function provides output monitoring to prevent speaker damage with gentle gain reduction at clip threshold as well as efficient heat dissipation and overheat protection for uncompromised reliability.
In addition to being powerful workhorses, C1 Series amplifiers are also capable and sophisticated loudspeaker processors thanks to a powerful internal DSP engine with sampling rates of 96 kHz/24bit and high performance 24bit AD/DA converters. Everything you need to optimize a loudspeaker system is at your fingertips; IIR HP/LP crossover filters, RMS compressor, parametric EQ, alignment delays and white/pink noise.
Users can set parameters, select input source and load presets via the convenient front panel LCD touchscreen. A Dante network module enables primary and redundant connectivity to a digital audio network and allows seamless external control and monitoring of the amplifier. The C1 Series amps will be fully integrated with Peavey’s MediaMatrix hardware and NWare software, allowing signal distribution, control and monitoring of the C1 Series amps in MediaMatrix projects. The C1 Series power amps may also be integrated with other DSP/control platforms that support Dante audio networking. Applications for these powerful, networked multi-channel power amps include stadia, transportation hubs, theme parks, arenas, convention centers, retail spaces or any other projects requiring high quality, reliable networked audio.
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Leyard and Planar Announce Next-Generation Leyard DirectLight LED Video Wall System
Leyard and Planar today introduced the Leyard DirectLight X LED Video Wall System, adding unrivaled video processing and management capabilities into the product.
The Leyard DirectLight LED Video Wall System, introduced in late 2016, was unique at the time as it was one fo the first to offer front-mounting, thin profile, front service access, low power consumption, hot-swap off-board power and higher-end image performance. Leyard DirectLight X builds on this by adding the latest 4K video standards, signal extension, multi-source processing, system monitoring and modern web-based graphical control software. The result is a complete system that reduces dependence on external processing systems while making the video wall easier to operate and monitor.
Leyard DirectLight X features a new, off-board video controller and it includes new Leyard WallDirector Software for video wall installation, monitoring and management.
Leyard DirectLight X comes with the Leyard Video Controller, making it the first LED video wall system on the market to integrate a remote power supply directly into the product. Rack-mounted Leyard Video Controllers can scale to support nearly any size video wall, and allow for scaling, windowing and Picture-in-Picture to give flexibility as to how and where sources are displayed. The Leyard Video Controller includes Planar Big Picture Plus video wall processing, which can scale sources across the entire video wall or across sections of the video wall. It also incorporates Leyard WallSync, providing precisely synchronized video playback and genlock across the video wall.
The Leyard Video Controller supports multiple 4K @ 60Hz inputs and the latest video standards including HDMI 2.0, DisplayPort 1.2 and HDCP 2.2. It provides a built-in video signal extension over CAT6 and optional fiber optic support for longer video runs and greater signal security.
Leyard DirectLight X comes with Leyard WallDirector Software, a web-based user interface that simplifies video wall set-up, configuration, operation and monitoring. Leyard WallDirector offers the ability to drag-and-drop sources onto the video wall canvas and easily manipulate their size and position. It also includes presets that can recall video wall windowing layouts, making it quick to configure video wall content.
Leyard DirectLight X is available in 0.7, 0.9, 1.2, 1.5, 1.8 and 2.5 millimeter pixel pitches. It features a 27-inch cabinet with a 16:9 aspect ratio, and comes with the Leyard Remote Power Supply, a redundant and hot swappable power supply that eliminates heat, weight and points of failure from the video wall.
With the Leyard EasyAlign Mounting System, Leyard DirectLight X can be fully installed and serviced from the front—using six-axis alignment features to ensure the video wall is perfectly aligned and seamless. The video wall can be installed to occupy less than four inches of depth from the wall, making it compliant with the Americans with Disabilities Act (ADA).
Details on it can be found here or here. Leave a Comment
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Christie Previews Automated Content Generation Using AI for Pandoras Box at InfoComm
Christie previewed a new capability of Christie Pandoras Box media server at InfoComm 2018: Automated Content Generation (ACG), allowing customers the freedom to develop quality content easily.
Automated Content Generation exploits new artificial intelligence technologies, providing Pandoras Box users with tools for creating repeatable content — a first in the media server market. Use of reference style templates means that special artistic and production software skills are not required to create a wide variety of visually appealing content. Creative professionals and AV integrators now have more tools that allow them to quickly, easily and affordably produce new content for 2D projection mapping, show control and AV playback systems, from within Pandoras Box.
Christie Pandoras Box is for real-time video processing and show control. All the specs are here. Leave a Comment
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Panasonic Debuts New SOLID SHINE Laser Projectors at InfoComm
Panasonic Systems Solutions Company will showcase its expanded portfolio of professional laser projectors. The expanded portfolio now includes the new PT-RQ22KU 21,000-lumen, 3-chip DLP laser projector with 4K+ resolution, and two new 1-chip DLP SOLID SHINE laser projectors featuring super high brightness: the PT-RZ120 providing 12,000 lumens of brightness and the PT-RZ870 offering 8,500 lumens of brightness. Also included will be the new PT-MZ770 Series 8,000-lumen LCD laser projectors. All of these new projectors will be on display in the Panasonic booth C3185 at InfoComm 2018 in Las Vegas, NV from June 6-8, 2018.
PT-RQ22KU 3-Chip DLP SOLID SHINE Laser Projector with 4K+ Resolution
The new compact and lightweight PT-RQ22KU 3-Chip DLP SOLID SHINE Laser 4K+ projector is perfect for a wide range of large-venue applications, delivering 21,000lm of maximum brightness. The PT-RQ22KU with 4K+ resolution (5120×3200-pixel) incorporates Quad Pixel Drive technology which creates extra pixels vertically and horizontally, quadrupling pixel density and by doing so, produces film-like image quality with the finest details in exquisite 4K+ resolution. Key features and advantages of the PT-RQ22KU include flexible 360-degree installation, long-distance HDBaseT-based DIGITAL LINK video/control transmission, Multi-Screen Support Systems and Geometry Adjustment software for network management over LAN complete with optional plug-ins for simultaneous auto-calibration of multiple projectors and expanded multi-screen support functions. Coupled with a 240 Hz-capable Real Motion Processor for fluid motion reproduction, Detail Clarity Processor 5+ technology with 4K optimization, System Daylight View 3 analysis technology, and digitally laser light-source modulated 20,000:1 dynamic contrast for spectacular visuals from fast action scenes to film-like text and graphic reproduction. The PT-RQ22KU also provides 4K BT.2020 color-space emulation and supports HDR standard for accurate handling of next-generation video formats. Other important features include highly desirable Quick On/Off, mechanical shutter functionality, and power management functions to ensure smooth, energy-efficient, virtually continuous 24/7 operation in long-term or temporary installations. The PT-RQ22KU will be available in August 2018.
New 1-Chip DLP SOLID SHINE Laser Projectors – PT-RZ120 and PT-RZ870
The new 12,000lm PT-RZ120 with 4K signal input and 8,500lm PT-RZ870 projectors blend crisp and vivid imaging with bright, dual-laser-module and dual-phosphor-wheel SOLID SHINE laser drives designed to support mission critical applications. A unique color-wheel system enhanced by dual heat-resistant phosphor wheels works in harmony to maximize color accuracy while reducing energy loss from the light sources. Both projectors are capable of maintenance-free operation for up to 20,000 hours thanks to air-tight and dust-resistant optical units and cooling systems negating the need for air filters. These projectors offer the flexibility for 360-degree installation and DIGITAL LINK (based on HDBaseT technology) for single-cable connection. The PT-RZ120 and PT-RZ870 projectors will suit the needs of many industries, such as education, corporate, museum and house of worship venues. The customers will have options to decide which high brightness, high reliability projector will best meet their needs. The PT-RZ120 will be available in October 2018, the PT-RZ870 begins shipping in July 2018.
PT-MZ770 Series of SOLID SHINE LCD Laser Projectors
The PT-MZ770 Series of SOLID SHINE LCD laser projectors offers a compact, lightweight design that delivers 8,000lm of brightness and high contrast to ensure exceptional picture quality. With Detail Clarity Processor 4 and System Daylight View 3, the PT-MZ770 Series delivers high resolution, sharp and vivid images in virtually any environment. Quick start/quick off and wireless capability also make the PT-MZ770 Series great for use in a classroom, a meeting room or in an executive boardroom. Featuring an airtight dust-resistant optical unit, one-way airflow, and a long-lasting ECO filter, the PT-MZ770 operates up to 20,000 hours with virtually no maintenance, significantly reducing operating costs. The ultimate projector for flexibility, the MZ770 Series provides powered lens shift, zoom, and focus, 360-degree installation, DIGITAL LINK (based on HDBaseT technology) for single-cable connection as well as Panasonic’s LinkRay Light ID technology to enable delivery of information to smartphones, making it a great match for signage and other exhibition/display applications. The PT-MZ770 Series includes two models, the PT-MZ770 that features WUXGA (1920×1200) resolution and 4K signal input, the PT-MW730 with WXGA (1280 x 800) resolution. Both models are available with a standard lens or without a lens, six optional lenses are available to choose from. The PT-MZ770 Series will be available in July 2018.
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Optoma Introduces New Line of High Brightness, Laser Projectors
Optoma at InfoComm 2018 today unveiled four new laser projectors for higher education, houses of worship, rental and staging and corporate environments. The Optoma ZW500T, ZH500T, ZU500T and ZH500TST deliver 20,000 hours of virtually maintenance-free operation.
- Optoma ZH500T and ZH500TST are 1080p HD projectors that feature an impressive 5,000 lumens of brightness and a 300,000:1 contrast ratio with ExtremeBlack enabled. The ZH500TST offers a short throw of 0:79:1 from just a few feet away. These projectors feature horizontal and vertical lens shift, 360-degree and 24/7 operation, and portrait mode for maximum usability at any angle. Both projectors are also equipped with several connectivity options, including HDBaseT and HDMI inputs to maximize convenience. They are available for an estimated street price of $2,999and $3,999 respectively.
- Optoma ZW500T and ZU500T, featuring WXGA and WUXGA resolution respectively, provide stunning projection with a 300,000:1 contrast ratio with ExtremeBlack enabled, a powerful laser light source and 1.6x zoom. The ZW500T and ZU500T project 5,000 lumens of brightness and feature extensive connectivity options, including HDBaseT and HDMI inputs. Both projectors offer built-in installation features, including horizontal and vertical lens shift, four corner correction, 360-degree and portrait mode operation to support professional installations at all difficulty levels. The ZW500T is available an estimated street price of $2,499, while the ZU500T is available for an estimated street price of $3,199.
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Christie Expands Capabilities of Mystique Install Software
Christie has announced a major update to Christie Mystique Install, a software that configures, aligns, warps and blends complex multi-projector arrays.
With Mystique Install – Large Scale Experience (LSE) Edition, recalibration of complex projection mapping on 3D surfaces now just takes — according to Christie — a single click. Mystique Install – LSE detects any changes in projector or camera positions and automatically corrects the blended image using a camera-based alignment system. Featuring markerless calibration for projection mapping on 3D surfaces, it eliminates the need for screen or object markers.
Mystique Install – LSE reduces maintenance and labor costs for 3D projection mapping projects, eliminating the time and expertise it can take to set up a complex system using an unlimited number of cameras and projectors. Additionally, it works with either Christie 3DLP® projectors and a 3D media server or the Christie Pandoras Box media server and third party projectors.
Mystique Install – Essentials Edition and Mystique Install – Pro Venue Edition feature Christie Guardian, a new solution that can correct projector alignment even when content is playing. Guardian works exclusively with the Christie Boxer Series and the all-new Crimson Series of 3DLP®] laser phosphor projectors.
Christie Guardian does not require light patterns to align and blend the image to the screen – instead, the software automatically scans for misaligned blended images and, while the content is playing, almost instantaneously realigns them without stopping the visual experience or displaying a visible test pattern so audiences are unaware of any problem.
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Lightform Debuts Augmented Reality-Based Projection Mapping System
Lightform is a design tool for projecting augmented reality (and image mapping) that works with ANY projector brand. If you’re one of the more than 7,000 people who have watched or attended one of rAVe’s founder Gary Kayye, 4K keynotes, you may remember him showing you his vision for the future of meeting rooms and classrooms — immersive environments. He used a video from the prototype of Lightform. Well, this is the real thing.
Lightform allows users to augment real life with projected digital designs, information, and magical effects. Unlike the current forms of AR and VR, projected AR can be seen with the naked eye, no need for a headset or phone.
With projected AR, users can transform everyday scenes into immersive experiences, an outdoor equipment retail display can come alive with projected fire, rain, and product information, a photo booth can become an underwater world. Expect to see projected AR menus, murals, and psychedelic artwork popping up in cafes, offices and public spaces nationwide. Watch this video to understand what we’re talking about.
Projected AR (also known as projection mapping or video mapping) used to be a tedious, complicated endeavor. Lightform vastly simplifies the process with a streamlined, end-to-end design system consisting of two parts, the LF1, a tiny computer and scanning device, and the Lightform Creator design software.
The LF1 mounts to almost any projector, scans a scene, and wirelessly sends the scan data to Lightform Creator. Within Lightform Creator, users can quickly design epic visuals using Lightform Creator’s suite of smart mapping tools, instant effects, and stock videos. Once the user is done creating their experience, LF1 plays the project back wirelessly. The LF1 is $699.
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Waves Audio Debuts MultiRack Software
Waves Audio has debuted Waves MultiRack, a software host that lets FOH and monitor engineers run multiple, simultaneous instances of the same Waves plugins used in recording studios and mixing rooms.
MultiRack application is designed for live sound, broadcast, post-production facilities and more. With easy setup and advanced preset capabilities, MultiRack delivers all the flexibility and portability of software, with sound quality and convenience that Waves Audio says actually beats hardware. Features include:
- Full recall, full control
- Set and save presets, snapshots and Hot plugins per song and song sections
- Advanced side-chaining capabilities
- Windows- and OS X-compatible
- Run plugins live in real time and low latency (MultiRack SoundGrid only)
- Simultaneous processing and recording capabilities (MultiRack SoundGrid only)
- Plugin chain presets saved on MultiRack can be loaded in StudioRack and vice versa
- Supports 5.1 and 7.1 Surround plugins and plugin components
- Hot Plugin Panel with individual gain reduction meters for each plugin
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Focusrite Intros RedNet X2P Interface
Focusrite has debuted the RedNet X2P 2×2 Dante audio interface. The RedNet X2P features two Red Evolution mic pre-amplifiers, balanced line outputs and a stereo headphone amp. Housed in a compact form factor, X2P provides a remote I/O solution for Focusrite RedNet or other Dante audio-over-IP networks. X2P can be simply and quickly integrated into Dante-enabled broadcast, post production and music workflows, since power, audio and remote control are supplied using a single Ethernet cable. For on-air productions requiring additional remote mic pre-amps, X2P provides a quick, modular one cable solution.
The two digitally-controlled Red Evolution mic pre-amps provide clean gain along with stereo linking, individualy selectable phantom power, a high-pass filter and phase reverse. They also include Air mode, emulating the sound of Focusrite’s classic transformer-based mic preamps. The RedNet X2P provides audio conversion with over 118dB dynamic range. These converters have been expertly selected and calibrated to provide the best balance of sound quality, dynamic range and conversion latency.
RedNet X2P features a “more me” control, allowing the talent to mix the level of the local mic pre inputs at zero latency with the cue mix feed to the unit via the network inputs assigned to feed either the local line outputs or headphone amp. The unit can be mounted directly to a mic stand, keeping it out of the way and within reach.
Flexible remote control enables local control of mic pre-amp settings and output settings or both to be locked. Artists can adjust their headphone mix and level, safe in the knowledge that they cannot accidentally adjust the mic pre-amp gain.
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Bose Professional Expands DSP Offerings
Bose Professional has broadened its ControlSpace sound processor line at InfoComm 2018 with six new DSP models and three digital wall controllers. The new ControlSpace CSP-1248 and CSP-428 commercial sound processors offer I/O and simplified configuration for small-to-medium-scale projects. They are designed to serve as standalone DSP’s in commercial applications such as retail stores and restaurants, or any public place where modest processing, high-quality sound and facilitated installation are desired. They include balanced analog I/O, RCA inputs, eight GPIs, one GPO, a mute contact, RS232 serial, Ethernet network (for configuration or wall control) and Bose AmpLink out, for simplified digital audio connectivity to supported power amplifiers.
The new ControlSpace CSP models feature a quick-setup workflow using an integrated webserver with browser-based control software. Much like setting up a wireless router, installers use their PC (or Mac) and web browser to access the CSP configuration page. This real-time interface features live metering and is designed to augment the natural workflow of commercial projects with common tasks such as setting sources, paging thresholds, adjusting EQs and tuning limiters presented in an intuitive and logical manner. This approach reduces complexity by presenting common processing needs for repeatable commercial applications, minimizing design errors and ultimately reducing installation time – without extensive DSP training.
The new CSP models include the following Bose-proprietary algorithms, configurable using the control software, that bring predictable, reliable operation to commercial sound systems:
- AutoVolume compensation continuously adapts zone output level based on the ambient noise of that room (when paired with the new Bose ANC sense microphone accessory) to maintain consistent program material.
- SmartBass dynamic equalization enhances the low-frequency output of small loudspeakers.
- Opti-voice paging provides a smooth transition between the music and page signals.
- Opti-source level management monitors the input level of up to four sources. Source levels are continually adjusted to maintain a consistent volume level among different source.
In addition to the new ControlSpace CSP processor line, Bose has also rolled out an update to two popular ControlSpace ESP fixed-I/O engineered sound processors. New variants of the Bose ESP-1240 and ESP-880 models have been upgraded based on integrator feedback to include options for Dante audio networking and Bose AmpLink connectivity.
New ESP-1240A and ESP-880A engineered sound processors have 12×4 and 8×8 analog I/O, respectively, with integrated Bose AmpLink output for digital connections over CAT 5 to Bose AmpLink-equipped Bose amplifiers. The new ESP-1240AD and ESP-880AD versions have both AmpLink and 32×32 Dante onboard. All four ESP models use ControlSpace Designer software for configuration, control and monitoring, and support scalable networked audio systems.
Bose has also introduced three new digital wall controllers: the CC-1D, CC-2D and CC-3D. Each model comes in white and is available in regional variants. They feature attractive styling with a single rotary encoder and circular LED ring. The CC-2D and CC-3D models allow the rotary encoder to be pushed for A/B or A/B/C/D source selection with LED source indicators on the panel. In addition to the new digital wall controllers, the new CSP and ESP processors are supported by ControlSpace Remote, where customized control panels can be built and deployed to end users for wireless control of their systems from mobile phones, tablets or laptops.
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ROE Visual Introduces High-Contrast Black Marble Glass Top Floor Display at InfoComm
ROE Visual used InfoComm to launch Black Marble, a high-contrast LED floor display. ROE Visual’s Black Marble was specifically engineered for concert stages, television studios and commercial stands with crossover capacity to many other creative applications. ROE Visual’s Black Marble allows for expanded floor lighting design by way spotlights incorporated into one of its modules and pairs with the company’s show Sapphire LED system. It’s available in four different pixel-pitches from 4.7 to 150mm and brightness specs from 1200 to 2000 nits.
In addition to Black Marble, ROE Visual launched the Diamond 2.6 (DM2.6) using a carbon and magnesium frame design for lightweight panels while allowing for curving.
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Professional Wireless Debuts 4×4 Quad Antenna Distro for Shure Axient
Professional Wireless Systems (PWS) has announced the availability of the PWS 4×4 Quad Antenna Distro, designed to provide distribution for the Shure Axient Digital Quadversity wireless microphone system. The unit handles up to four receivers and features 470-616 MHz filtering, bias power control/status LEDs for each input, rotary attenuators and dual power inputs that allow for redundant power.
The 4×4 Quad Distro is designed for anyone using multiple Shure AD4Q receivers in Quadversity mode. The unit claims to simplify setup and ensure uninterrupted wireless.
Housed in a 1RU all-metal chassis with reinforced rack ears, more information on the PWS 4×4 Quad Distro is here. Leave a Comment
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EM Acoustics’ HALO-A Large Format Line Array Makes U.S. Debut
EM Acoustics recently debuted the HALO Arena large format line array system to the North American market.
The larger HALO-A follows the same core design as the more compact HALO-C, providing the signature EM Acoustics “maximum headroom” design approach that ensures consistency of performance regardless of SPL level. The compact enclosure (14.3/362 x 40.2/1020 x 24.4/619 in/mm) and low weight (145.2/66 lbs/kg) translates into less truck space used and smaller motors required.
The HALO-A utilizes a proprietary patent-pending emulation manifold, which combines the energy of four 3.4-inch diaphragm, 1.4-inch exit compressions drivers into a plane-wave array. This assembly gives not only a significant moving area for the high frequency section but also provides twice the headroom of comparable systems.
The HF section is flanked by a pair of high power 3.5-inch voice coil, 12-inch neodymium low frequency transducers. These two drive units combined with optimally-tuned low turbulence porting and generous cabinet volume ensure HALO-A has a low frequency performance to match the incredible highs.
A single HALO-A exhibits a flat, free-field frequency response from 48 Hz to 19kHz (+/-3dB) and a phase response which is +/- 20 degrees between 150Hz and 18kHz. Due to the unique loading technique applied to the low frequency drivers, combined with the high frequency waveguide, the dispersion pattern control is maintained down to 250Hz.
HALO-A requires two amplifier channels and makes use of the latest in FIR DSP technology requiring use of the EM Acoustics DQ20 advanced system amplifier. The enclosure (is constructed from premium 15mm (5/8-inch) and 30mm (1 3/16-inch) multi-laminate Baltic birch plywood, rebated, screwed and glued together for maximum strength. Intelligent bracing combined with low-loss porting structure minimizes panel flexure removing unwanted resonances while keeping the overall enclosure weight low, and the enclosure is finished in a weather-resistant polyurethane coating.
Each enclosure offers a simple and intuitive 3-point flying system, assembled from ultra-high tensile strength steel parts coated with Zylan for enhanced durability.
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Fulcrum Acoustic Unveils the World’s First Cardioid Coaxial Stage Monitor
Fulcrum Acoustic has launched the FW15 15 inch Coaxial Cardioid Stage Monitor. The FW15 is the world’s first cardioid stage monitor incorporating Fulcrum Acoustic’s patented Passive Cardioid Technology. This proprietary technology enables tour-grade, low-profile FW15 stage monitors to attenuate rear low frequency radiation which interferes with the audience, stage microphones and front fills.
Fulcrum’s FW15 stage monitor is designed from the ground up with the customer foremost in mind. The FW15’s coaxial transducer and 75° x 75° horn provides optimal coverage for monitoring applications, and its large-format 3″ compression driver and 3.5″ voice coil 15″ woofer assures robust headroom.
The monitor’s pattern control, coupled with Fulcrum’s TQ DSP processing allows superior consistency and gain-before-feedback both on- and off-axis. The clarity and source separation of the FW15 allows performers to clearly distinguish their own voice among others. This capability benefits mix engineers as well as performers.
The FW15’s multi-faceted enclosure includes 40° and 55° angles for downstage and upstage distances respectively. Its road-ready, ergonomic design includes stout double grille construction and four input options positioned close to the stage to reduce the visual impact of connected cables. The powerful yet very portable FW15 coaxial cardioid stage monitor features integrated handles to facilitate carrying.
The FW15 stage monitor’s cardioid behavior is produced by a meticulously conceived acoustical circuit that balances the position of the coaxial driver/horn assembly, the enclosure depth and volume, and specially constructed side ports toward the back of the cabinet which include a calibrated resistive element. The FW15’s subcardioid low-frequency control produces 3 to 4 dB of 90° off-axis rear rejection over its operating range.
This elegantly designed portable stage monitor’s unique shape and compact size make it unusually unobtrusive on stage and/or camera, and an ideal choice for applications including houses of worship, theaters and performing arts centers.
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For all you REGULAR readers of rAVe Rental [and Staging] Edition out there, hopefully you enjoyed another opinion-packed issue!
For those of you NEW to rAVe, you just read how we are — we are 100 percent opinionated. We not only report the news and new product stories of the ProAV industry, but we stuff the articles full of our opinions. That may include (but is not limited to) whether or not the product is even worth looking at, challenging the manufacturers on their specifications, calling a marketing-spec bluff and suggesting ways integrators market their products better. But, one thing is for sure, we are NOT a trade publication that gets paid for running editorial or product stories. Traditional trade publications get paid to run product stories — that’s why you see what you see in most of the pubs out there. We are different: we run what we want to run and NO ONE is going to pay us to write anything good (or bad).
Don’t like us, then go away — unsubscribe! Just use the link below.
To send me feedback, don’t reply to this newsletter. Instead, write directly to me at gary@ravepubs.com or for editorial ideas, Editor-in-Chief Sara Abrons at sara@ravepubs.com
A little about me: I graduated from Journalism School at the University of North Carolina at Chapel Hill (where I am adjunct faculty). I’ve been in the AV-industry since 1987 where I started with Extron and eventually moved to AMX. So, I guess I am an industry veteran (although I don’t think I am that old). I have been an opinionated columnist for a number of industry publications and in the late 1990s I started the widely read KNews eNewsletter (the first in the AV market) and also created the model for and was co-founder of AV Avenue, which is now known as InfoComm IQ. rAVe [Publications] has been around since 2003, when we launched our original newsletter, rAVe ProAV Edition.
Everything we publish is Opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship ePublication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition, co-published with CEDIA and launched in February 2004, is, by far, the largest ePub in the HomeAV market. We added rAVe Rental [and Staging] in November 2007, rAVe ED [Education] in May 2008 and then rAVe DS [Digital Signage] in January 2009. We added rAVe GHGav [Green, Healthcare & Government AV] in August 2010 and rAVe HOW [House of Worship] in July 2012. You can subscribe to any of those publication or see ALL our archives by going to: https://www.ravepubs.com
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Copyright 2018 – rAVe [Publications] – All rights reserved. For reprint policies, contact rAVe [Publications], 210 Old Barn Ln., Chapel Hill, NC 27517 – (919) 969-7501. Email: sara@ravepubs.com
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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