Volume 8, Issue 11 — November 24, 2014
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Pulled Up By the Roots
By Joel Rollins rAVe Columnist
Well, time for another article that makes me feel old.
Believe me, I don’t do this on purpose. I usually do it because one of the young(er) people who works for me asks a question that prompts me to wax philosophical. I try to pretend that this makes me feel like an elder statesman, when in fact it usually just makes me feel elder.
Today’s question, from a new technician, was essentially a simple one: “I never knew this industry existed. Where did it come from?”
This, of course, sent me off into a flight of old stories, about our industry, its history, our associations and, by extrapolation, our future. It also sent me off thinking about the history of our companies, and some of the legacy issues that can result from long conditioning to that history.
We talk often about where we as individuals come from, and there are of course some commonalities, or at least there have been over the 20 years or so that I have been involved in the industry. When I got involved, I was enthusiastic about the AV and projection industry because of my history as an enthusiastic amateur photographer. Many of my colleagues had gotten into the industry from being musicians, television repair, film students and amateur theatrical buffs. If you look around the business, this is the background of many of the senior people, and indeed many of our new people still come from these backgrounds. Because of this, we bring to the industry varying kinds of experience, and contribute it to the strength of companies in a niche industry where those parts come together in a cohesive whole.
So, this got me to thinking. Much like AV personnel as individuals, the companies in our industry have a tendency to have evolved out of a number of different backgrounds. And, like individuals, this gives them some general sets of strengths and weaknesses that are legacy of their history. So, over the next couple of articles, let’s take a look at the background that these companies come from and see if any of our stereotypes hold true. As I have collected these over the years from a number of different colleagues around the world, don’t be surprised if you think I’m talking about your company. I probably am.
This week: The “Stereotypical” Audiovisual Company
Our industry was largely born as a separate industry following the second world war. The principles of staff command and the requirements that soldiers in a new kind of war had new kinds of training made the use of audiovisual equipment more widespread, both in the military and in all of the industries that the returning G.I. went to work in. Throughout the 1950s and 1960s, the use of audiovisual grew in schools as these new instructional methods were adopted. I fell in love with audiovisual in school in the ’60s and ’70s, where I was the kid who raised my hand and jumped up and down to be allowed to advance the filmstrip projector when the record went beep. Later on, I was the only kid in my junior high school who could thread a 16mm projector, which got me a blanket hall pass and got me out of study hall.
During that time, we saw the emergence of truly separate audiovisual companies that were formed to satisfy that demand for audiovisual equipment. Names like Kodak, Dukane, Bell & Howell, Eiki, etc. were prominent on their walls.
At first, those companies were mostly very small companies, run by entrepreneurs taking advantage of early title money flowing into schools. The company I first went to work for, Audio Visual Systems, (Dayton, Ohio) was one of these. I went to work for them in the mid-80s as one of the first employees in a brand-new rental department, which was formed to take advantage of the growing pool of demo equipment that our company had to have to represent these lines.
And this was not unusual. Many of the companies that were members of the National Audio Visual Association (NAVA, later ICIA and now InfoComm) came from the same background. In those days, most audiovisual fans and business cards carried three words: Sales, Service and Rental.
This background gave us a number of advantages, such as access to manufacturing lines at dealer cost, and the demo room populated with equipment that we could steal in the middle of the night. We used to refer to this process as a midnight inventory transfer, although it drove our owner and the salespeople crazy when they would come in the morning and find a gap in the demo rack. The first time we did this, our lead salesperson thought we had been burglarized.
So if they gave us some advantages, it also gave us some disadvantages. The rental department often felt like a redheaded stepchild. We didn’t go to InfoComm, and weren’t included in a lot of meetings. At least not at first. Our rapid growth rate changed all that, along with an internal rental department philosophy that said that it was easier to apologize for something you had already done that it was to get permission to do it. This story will be familiar to a lot of you.
In fact, in an organization where the rental department grew out of a sales organization, a common feeling is that the rental department is treated as a way to do expensive and time-consuming demonstrations for the sales department. We often referred to this derisively as a “freebie.” In organizations that were accustomed to deriving most of their revenue from sales of equipment, the rental department is often treated as a pool of technicians that the sales department can call on whenever they like, and the internal cost of that labor is often not transferred, producing some friction between the departments. The rental departments customers are also often seen as a source of leads for the sales department, especially if they are commissioned, and I have seen several repeat customers move from being rental customers to purchasing setups of their own. This is natural but in many organizations is treated by the rental department as an undesirable result.
In fact, I have worked in several companies that originated in this mold. Each of them had the problem in common that the rental and sales departments felt that the other side of the aisle didn’t understand what they do. In every instance, I have eventually found it necessary to separate the disciplines into separate operating groups each with their own budget and bottom line in order to maintain a happy family and the feeling that the various disciplines were being paid attention to. This separation is often dismissed by owners as being unnecessary and a creation of internal paperwork shuffling between departments, but I have always found the difference worth having.
I can see that I’m already running out of space for this article so I’m going to leave this open for next month when we will discuss the good and bad points of a company that grew up as a pure rental and staging company. in the meantime, I look forward to your comments, especially from those of you who have been around long enough to recognize the companies that I’m talking about. Leave a Comment
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Hitachi Adds CP-HD9320 and CP-HD9321 to DLP Projector Lineup Hitachi America is introducing two new DLP projectors, the CP-HD9320 and CP-HD9321 — both with full HD 1080p (1920×1080) resolution and they’re designed for large auditoriums, conference rooms, museums, and concert or stage productions.
Hitachi’s new projectors provide six interchangeable lenses and brightness outputs up to 8,200 ANSI lumens. Two built-in color wheels enable users to easily switch between what they call a Rich Color Mode (higher saturated colors) and Bright Mode (full light output). Because, the CP-HD9320 and CP-HD9321 use a dual lamp system, if one lamp stops functioning during use, the second lamp continues to run and projects the image with no interruption. Twenty-four hours of continuous operation is possible with the Alternative mode, which alternates the use of the two lamps.
Hitachi’s CP-HD9320 and CP-HD9321 incorporate five digital inputs including 3G SDI for broadcast capability,HDBase-T, VGA, HDMI and video.
Here are each projectors specs CP-HD9320 and CP-HD9321. Leave a Comment
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New Master Fader v3.0 for Mackie DL Series Mixers Mackie has announced the availability of Master Fader v3.0. Built specifically for commercial applications, Master Fader v3.0 works with their new DL32R as well as the DL1608 or DL806 (but some features are specific to the 32-channel DL32R).
Master Fader v3.0 is now available for free download from the App Store.
New features include the addition of four subgroups and four VCAs. Subgroups can be stereo-linked and feature dedicated processing. VCAs offer flexible control over groups of channels. Users can dial in the mix and get single-fader control over groups like drums, guitars and more. There’s also a new overview screen which includes information for all input and output channels.
Info on the DL32R is here. Leave a Comment
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Schertler Launches New DYN P48 Contact Microphone SeriesSwiss manufacturer Schertler has announced the release of its new, re-engineered range of DYN contact microphones. The DYN P48 Series features a collection of fully balanced, active, dynamic models with Class A electronics.
The new P48 Series are notable for their minimalist design that is now smaller, lighter and therefore less obtrusive to the player. All models are supplied with Schertler’s new custom cables. Highly robust and even more torsion resistant, the cables are specially designed to withstand the rigors of daily use while delivering best possible performance. The microphones can be easily and safely applied to instruments using special adhesive putty. They can also be quickly transferred between instruments during performances or recording sessions. All models (with the exception of the passive DYN-UNI) require 48V phantom power.
Here are the details. Leave a Comment
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Extron Ships 3G-SDI to 3G-SDI Scaler with Audio Embedding and De-Embedding Extron is already shipping their new DSC 3G-3G A — a 3G-SDI scaler that converts between 3G‑SDI, HD‑SDI, and SDI resolutions and frame rates. It accepts, scales, and outputs SMPTE video resolutions from 480i and 576i up to 1080p/60 and 2K. The DSC 3G-3G A features advanced Extron video signal processing with 1080i deinterlacing and Deep Color processing for optimal image quality. The DSC 3G-3G A also provides flexible audio capability with analog audio embedding, de-embedding and level adjustments. Dual SDI outputs, genlock and an input loop-through facilitate integration in demanding professional environments, while the compact enclosure simplifies installation.
The DSC 3G-3G A offers several features that enhance and simplify AV system integration, including two 3G-SDI/HD-SDI/SDI outputs so that a pair of displays can be driven simultaneously. The scaler also features input equalization which conditions incoming 3G-SDI signals to compensate for signal loss over long input cables. Reclocking on the SDI input loop-through eliminates high frequency jitter. Additionally, the DSC 3G-3G A offers a range of audio capabilities including SDI audio management, input gain and attenuation controls, input audio muting, and output volume control. Two channel audio input and output connections are provided for embedding audio onto the SDI output, or sending de-embedded content to a sound system or other audio destination. The output can be set for stereo or dual mono.
Here are the detailed specs. Leave a Comment
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Three Upgraded Christie Twist Options Provide Enhanced Image Quality for Multiple Projector Setups Christie is launching three upgraded versions of its Christie Twist technology this week. The Christie Twist solution allows for full image warping and advanced edge blending in Christie 3-chip DLP projectors using software that controls and edge-blends multiple curved images seamlessly on any surface.
Easier to use and with better, more precise pixel-to-pixel alignment than previous versions, the upgraded Christie Twist product family includes three tiers of specialized Twist software each for different application requirements. ‘Christie Twist’ software is a free download from the Christie website. ‘Christie Twist Premium’ and ‘Christie Twist Pro’ are paid upgrades and provide additional functionality for more complex projects.
Christie Twist and Christie Twist Premium are ideal for live theater and events, projection mapping, trade shows, large classrooms, corporate boardrooms, museums, house of worship, casinos and entertainment facilities and more. For more intricate projects – including flight simulators, virtual caves and domes Christie Twist Pro delivers unlimited arbitrary placement points for even greater accuracy. When purchasing Pro or Premium, customers can buy a dongle to attach to a PC running Twist software or license individual projectors and eliminate the need for a dongle.
Christie Twist technology also provides networked projector control by allowing the user to launch a virtual remote from within the twist software with all the functionality of standard Infrared remotes.
Here are the three versions:
Christie Twist
Maximum Projectors – 6
Control Points – Up to 81 Grid control Points
Brightness Uniformity – No
Auto Blending (Wallpaper) – No
Auto Blending (Field of View) – No
Arbitrary Point Placement – No
Christie Twist Premium
Maximum Projectors – 18
Control Points – Up to 87 Grid control Points, including six arbitrary points
Brightness Uniformity – Yes
Auto Blending (Wallpaper) – Yes
Auto Blending (Field of View) – No
Arbitrary Point Placement – Maximum 6
Christie Twist Pro
Maximum Projectors – Unlimited
Control Points – Up to 1,500 arbitrary or grid control points
Brightness Uniformity – Yes
Auto Blending (Wallpaper) – Yes
Auto Blending (Field of View) – Yes
Arbitrary Point Placement – Yes – Unlimited
All details are here. Leave a Comment
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Premier Ships Transport Cart to Help Move Mounts Around for Rental Applications Premier Mounts’ is now shipping its Mobile Transport Cart (MTC), which came about as the result of feedback from the rental and staging industry. Users were having problems moving rental signage carts around from room to room on a job. Enter the Premier MTC. The MTC holds up to four TS or TL bases, along with corresponding poles, mounts and adapters. It is the AV industry’s first cart and a 2014 rAVe [Publications] award-winner that provides the following benefits:
- Up to 75 percent greater transportation efficiency
- 25 percent warehouse storage space savings
- Reduced risk of injury for workers
- Easy maneuverability in standard elevators, trucks and especially in narrow passageways
- Protects and prolongs the life of your equipment
- Use this professional looking cart for your most discerning corporate accounts with strict appearance rules
The MTC is offered in black color at a list price of $2,723. In the near future, they say they will also offer optional personalization upgrades, such as a choice of seven standard colors and other branding options incorporating your logo. More information on the MTC can be found here. Leave a Comment
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Dante PCIe Now Includes Thunderbolt Expansion Support Audinate has released its latest firmware update for the Dante PCIe soundcard. Version 3.7.1 delivers a range of new features, including audio signal presence indicators, latency statistics monitoring and packet error detection. In addition, the Dante PCIe high performance soundcard may now be used with several popular Thunderbolt expansion chassis, to enable connection to computers such as Apple’s Mac Pro, MacBook Pro and Mac mini. And, the Dante PCIe soundcard has been certified to run with Apple’s latest version MAC OS 10.10. The soundcard will also run on Microsoft Windows servers: both Windows Server 2008 R2 and Window Server 2012 R2 are supported.
The Dante PCIe Soundcard supports up to 128 channels of bi-directional audio with low latency.
The Dante PCIe soundcard has been improved to support the advanced Dante Controller feature set to monitor the status of the audio network. This allows the Dante Controller to remotely detect audio signal presence on computers running the Dante PCIe soundcard, which can also report latency statistics and packet errors to the Dante Controller.
For more information on the Dante PCIe soundcard, go here. Leave a Comment
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PixelFLEX Intros FLEXUltra LED Tile at LDILED screen manufacturer PixelFLEX will release the FLEXUltra, a 2 millimeter curveable LED display at the LDI Convention 2014 this month. Capable of creating convex or concave curves up to +/- 10 degrees per tile, the FLEXUltra incorporates machined aluminum frames that are customized to the installation, allowing the client’s complete and unlimited control over their design. Additionally, FLEXUltra is front-accessible and the panels can be quickly removed by utilizing two magnetic grip handles to remove the panel from the frame without disassembling the entire wall.
With a cabinet made of special high tolerance, machined aluminum and a full black face LED technology, the FLEXUltra has a brightness of 1200 nits. Ethercon data and Neutrik True One power connectors give the FLEXUltra rock-solid, dependable connections and the magnetic guide ports allow for secure fixing of panels to frames.
More information will be here. Leave a Comment
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Roland Intros New Dante-Enabled M-5000 Live Mixing ConsoleRoland has announced support for Audinate’s Dante audio networking solution as an optional expansion card in its new M-5000 Live Mixing Console. Supporting Dante in addition to REAC, MADI and Waves SoundGrid positions, the new Roland M-5000 Live Mixing Console and the O.H.R.C.A platform as one of the most openly networked audio consoles on the market.
The Roland M-5000 Live Mixing Console sits on a new platform called O.H.R.CA. This represents “Open,” “High Resolution,” and “Configurable Architecture” by delivering definable audio paths, supporting multiple audio format protocols, plus 96 kHz sound quality throughout the system. The M-5000’s internal mix architecture is not fixed and can be freely defined for mixing channels, AUXs, Matrices, subgroup buses, MIX-MINUS buses within a range of up to 128 audio paths allowing the user to create a console structure to suit the needs of the application.
Here are the details. Leave a Comment
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dnp Debuts Supernova XL, Large Optical Front Screen dnp Denmark has launched what it’s calling the Supernova XL — the world’s largest optical front projection screen available as a single screen solution. With an image area of up to 5.3×3 meters (that’s a 240” diagonal 16:9 screen, by the way), the Supernova XL Screen is designed to be rolled up during transportation. The XL screens are shipped in boxes of only 600×425 millimeters (length determined by screen height) significantly reducing transport and handling costs. Once on site, dnp says that the screen can easily be assembled by two people in a couple of hours. This makes it perfect for temporary, large screen applications.
The Supernova XL Screen is available in any aspect ratio and image size up to 5,334 millimeters (210”) wide and 3,048 millimeters (120”) high. The screen is supplied as standard with an 86-millimeter wide black frame. Frame options include black sand or black velvet for optimal light absorption. It also has compliance with ANSI/INFOCOMM PISCR standard. Complete specs are here. Leave a Comment
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DiGiCo Releases SD App DiGiCo has an iPhone/iPad App for its SD Range that allows users to take advantage of both Apple and DiGiCo’s touch screen technology. This application takes the existing feature set and presents it in a new way to take advantage of the extra screen. This allows engineers to implement very specific functions dedicated for FOH or Monitors.
Aimed at installation and touring applications, the DiGiCo SD App includes a number of dedicated screens that open up the iPad surface to a selection of the consoles’ functionality. For example, there are eight macros available on the hardware buttons of an SD9, but by connecting the iPad via the DiGiCo SD App, a large number of user-defined buttons will be available; these can reside on the iPad screen, allowing for quick access, while the console remains clear to mix the show on.
Here are the details. Leave a Comment
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AmpliVox Upgrades Audio Power of Integrated Multimedia Lecterns AmpliVox Sound Systems has unveiled major upgrades to over 15 of its integrated multimedia lectern products, now equipping them with 150-watt digital amplifiers. An upgrade from the 50-watt amps in previous models, each lectern also includes new connectivity and control features. In addition, the lecterns are now integrated with Bluetooth audio streaming capability from a smartphone or tablet, with volume and playback controlled from the lectern panel. Additional upgrades include a 16-channel UHF wireless receiver, a hot gooseneck dynamic microphone for all S/SW models and a standard AC power plug. Many lecterns can be customized with logos, colors, lamps and other design choices.
They’ve published a comparison guide here. Leave a Comment
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Hosa Intros Cable Line For Simplying Connection of Consumer Products to Professional ProductsHosa Technology’s new Hosa Pro line of cables are designed to make the process of interfacing consumer audio products with professional equipment easier. With Hosa Pro Breakouts, any consumer audio product equipped with a stereo minijack output can be interfaced with professional units with quarter-inch Tip/Sleeve, XLR, or even RCA connectors.
Hosa Pro Breakouts are available in three configurations. The 3.5 mm TRS (tip/ring/sleeve) to dual RCA option—identified as the HMR-000Y Series—designed for DJ mixers or home stereo systems. The 3.5 mm TRS to dual 1/4-inch TS (tip/sleeve) breakout—identified as the HMP-000Y Series—can be plugged into patch bays or a mixer’s phone inputs. The third category, the 3.5 mm TRS to dual XLR3M breakout—known as the HMX-000Y Series—is for connecting into discrete channels on a professional mixer or similar interface.
All three configurations utilize nickel-plated REAN connectors (a brand of Neutrik AG) for efficient signal transfer and durability. Hola says these cables sport 24 AWG Oxygen-Free Copper (OFC) conductors for enhanced signal clarity and 90 percent OFC spiral shields for a higher signal to noise ratio.
Here are all the details. Leave a Comment
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eyevis Adds 4K Monitors eyevis expanded its Ultra HD monitor lineup today by adding 58‘‘, 85‘‘ and 98’‘ formats. Housed in what the company says is a ruggedized case, all of them are spec’d to have at least a 450 cd/m2 brightness and a range of contrast levels.
All of them can be integrated into a video wall configuration with looping or distributed signals with or without a processor. In then video wall mode, four single signals can be depicted on one screen. These can be four full HD signals or four Ultra HD signals. Thus, the large-format displays offer an alternative to a conventional 2×2 video wall with four single displays. Here an ultra HD display can definitely save costs because just one power supply and one wall mounting are needed; on top also the bezels can be omitted.
Complete 4K Display Lineup:
- EYE-LCD-3150-QHD-LD — Resolution: 3.840 × 2.160, Diagonal: 31,5‘‘ (ca. 80 cm), Brightness: 450 cd/m², Contrast: 1.000:1
- EYE-LCD-5800-QHD — Resolution: 3.840 × 2.160, Diagonal: 58‘‘ (ca. 147 cm), Brightness: 450 cd/m², Contrast: 5.000:1
- EYE-LCD-6000-QHD-LD — Resolution: 3.840 × 2.160, Diagonal: 60‘‘ (ca. 152 cm), Brightness: 500 cd/m², Contrast: 5.000:1
- EYE-LCD-8400-QHD-LE — Resolution: 3.840 × 2.160, Diagonal: 84‘‘ (ca. 213 cm), Brightness: 500 cd/m², Kontrast: 1.400:1
- EYE-LCD-8500-QHD-LD — Resolution: 3.840 × 2.160, Diagonal: 85‘‘ (ca. 216 cm), Brightness: 500 cd/m², Contrast: 3.000:1
- EYE-LCD-9800-QHD-LD — Resolution: 3.840 × 2.160, Diagonal: 98‘‘ (ca. 248 cm), Brightness: 500 cd/m², Contrast: 1.300:1
All of them can be found here. Leave a Comment
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NEC Intros 84” 4K Commercial Display NEC Display just introduced the X841UHD, an 84-inch ultra-high-definition (UHD) commercial-grade monitor with a 3640×2160 native resolution at 60 Hz through the DisplayPort connection. Designed for videoconferencing and command and control centers (but certainly capable of a meeting room or digital signage applications), the X841UHD can display up to four simultaneous images with its Multi-Picture mode. Giving the user further control, any one of these images can be rotated, moved and manipulated.
The X841UHD display also comes with NEC’s SpectraView Engine, a custom-designed color processor, and connectivity that includes every analog or digital port on the market.
NEC’s published feature set:
- Native resolution of 3840×2160 at 60 Hz
- S-IPS LCD panel in tandem with 500 cd/m2 maximum brightness and 1400:1 contrast ratio
- 10-bit color performance
- Full metal chassis with integrated temperature sensors and fans
- A multitude of digital inputs provides highly flexible connectivity
- Full software support (NaViSet Administrator, PD Comms, SpectraView, MultiProfiler and NEC Display Wall Calibrator)
- Reduced power consumption with LED edge lighting
- Landscape and portrait modes for installation flexibility
- Built-in dual 10-watt speakers
The X841UHD display will be available later this month for $16,999. More information is here. Leave a Comment
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QSC Unveils New Processing Amplifiers QSC has announced the addition of GXD Series Processing Amplifiers to their line of amplifiers for entertainment and production applications. Featuring what QSC is calling “contemporary styling,” multiple routing options and advanced protection circuitry, GXD Series Amplifiers are housed in a 2U rack-mount configuration, feature class-D power output in a so-called lightweight chassis design. The GXD models offer a DSP that includes High and Low-Pass filters (24dB LR), 4-band parametric equalizer, signal alignment delay, and RMS/Peak speaker protection limiting. To allow users to get up and running quickly, 20 preset “starting points” for selected typical systems are provided. The GXD Amplifier’s digital limiter prevents destructive clipping which can damage loudspeaker components while still delivering the maximum usable output. Smart loudspeaker protection is set by selecting the loudspeaker’s continuous power and impedance (4Ω and 8Ω), and either a Mild, Medium or Aggressive protection mode as desired.
The GXD Series front panels include a power switch, four status indicators, and a large LCD screen that provides metering and status monitoring. When combined with the two rotary encoders and three menu buttons the user is offered complete amplifier control allowing parameter selection and adjustment of amplifier gain and DSP parameters. The rear panels include XLR and ¼” TRS inputs, NL4 and binding post outputs and the AC power inlet. With a solid 400-watts-per-channel at 8 ohms (600 watts-per-channel at 4 ohms), the GXD 4 provides a Max Total Peak Power of 1600 watts while the GXD 8 provides a robust 800 watts-per-channel at 8 ohms (1200 watts-per-channel at 4 ohms) with a Max Total Peak Power of 4500 watts.
The GXD 8 has a list price of $999.99 and the GXD 4 is $599.99 and both models will be available in January 2015 and complete specs are here. Leave a Comment
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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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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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