Volume 15, Issue 2 — January 29, 2018

Like a lot of the Zen koans he was fond of dropping, on the surface, that doesn’t seem very helpful. When you run a business it costs money. You want revenue, but that’s not guaranteed. What is guaranteed is that you’re going to have costs. So it’s important to be able to classify them, and thus prioritize them.

To start out, I want to talk about sunk costs.

It’s a simple definition. Sunk costs are expenses that you have already paid for and you can’t recover them. If you want more nuance, sunk costs are the opposite of prospective costs, which are future expenses that you will incur based on what decisions you may make, now or later. And any discussion of business costs also requires an understanding of the difference between fixed and variable costs. Fixed costs are just that, fixed and easily forecast, and are unaffected by scale, whereas variable costs are dependent upon the scale of your business.

An easy example of a fixed cost is the licensing fee you pay for the software you use, whether it’s monthly or annually. A variable cost will be how many spools of cable or any other materials you need to order from your suppliers in a given period. Your inventory costs will vary based on your business volume. While it’s still necessary to forecast (which is another word for “guess”) your inventory costs, there are more variables in play.

Where sunk costs differ from both fixed and variable costs is mostly philosophical and is subject to some interpretation. You can think of fixed and variable costs as being ongoing — you’re going to continue to incur them into the future, whereas a sunk cost exists only in the past.

In that sense, really all costs are sunk costs. But economists get paid to split hairs, so in order to refine the definition they turn to decision-making theory.

In a perfect world, with perfectly logical decision makers, only future costs should be considered when making decisions and past, sunk costs should be disregarded. But we don’t live in a perfect world and sunk costs do indeed influence our decision making about future expenditures. My grandfather had an expression for that: He called it “throwing good money after bad.”

Let’s take an everyday example we can all relate to: a new car. Once you buy a new car, whether you pay for it outright or make payments on it, no matter when you choose to sell it you won’t get back what you paid for it. That cost is sunk.

Two years ago, I had to decide whether or not to get a new car. And despite my normal impetuousness, it’s a good example of rational decision making. Mine was paid off years ago and the warranty was long gone. So long as the annual maintenance to keep it running was what I considered reasonable, it made sense to keep it. I liked not having a monthly car payment.

Eventually, it needed a significant servicing, the cost of which was nearly half the annual payments for a new car. Knowing that, going forward, maintenance costs were likely to increase, it was a compelling justification. At that point, what I had paid up to that point, the price of the vehicle and the total maintenance costs over its lifetime, were all sunk costs. They have no bearing on whether or not to buy a new car. Holding on to my old one because of what I had spent on it would be sentimental, but not cost-effective. Really, the only variable then was how much I can sell my old one for, and how good of a price can I haggle the car dealership down on my new one.

Now that I’ve gotten all that out of the way, in the next installment we’ll discuss in-depth examples that are more specific to the AV business.

First, this IS a problem. It isn’t, perhaps, the biggest problem in the industry. It isn’t even the biggest problem in the realm of diversity. Fellow AV blogger Hope Roth said this better than I could in a Twitter discussion on the matter: “An all-male panel is a symptom, not just its own problem. Get more women into decision making roles and the panels will take care of themselves. 😉”

Roth is absolutely correct about this, and it dovetails with something I’ve said about my AV journey – that no amount of hard work, talent and knowledge will bring you to your career destination unless the right people take notice and give you a chance when you’re ready for it. When I see backlash to the backlash over all-male panels the focus is always on two myths we tell about the tech industry: the myth of the perfect meritocracy and the myth of the self-made man. Yes, I used gendered language here intentionally — the myth is overwhelmingly applied to men. To take a brief aside into politics (don’t worry, I’m not making a partisan point here), there has been criticism of New York’s junior Senator Kirsten Gillibrand for being “too ambitious.” In a man, ambition is not only expected but often lauded. Too see a female politician — regardless of party — attacked for “ambition” is to attack her for the very trait that brings success in politics.

The myth of the perfect meritocracy says that technology is a field in which cream rises, that if you see someone in a prominent position that they earned that, through insight and intelligence, gumption and hard work. That they’re on top because they belong there. The corallary, of course, is that the person who isn’t on top also belongs where they are. If cream rises, that which isn’t cream sinks. Everyone is at their natural level. If you believe this, then the AV industry is overwhelmingly white and male because white males just happen to be better at it. That’s a dangerous way to think, and it’s self-perpetuating.

Again on Twitter, I remarked that my profile in System Contractor News opened with a paraphrase of something I said: that I’m fascinated by the role happenstance takes in shaping our careers and our lives. I won’t rehash my AV journey here, but I’ll note one thing: I began as an outsider who had a perceived skillset that fit what a major integrator needed at the time, having won a major job and needing a full-time site coordinator. Is there a subconscious bias that made me more look the part as a white male? That’s something I’ll never know. What I DO know is that I not only got the job but, down the road, whenever I’ve asked for an opportunity to move up, to take advanced technical training, or to try new roles, it was given to me. I also know that the people who gave me these opportunities looked like me.

Applying the “perfect meritocracy” myth to the selection of a keynote speaker is something that, quite honestly, makes my head hurt. The counterargument I hear to the fact that CES has a problem in not choosing women is that “they pick the best people.” When pressed, nobody can explain what “best person to give a keynote address” means. There is always a choice. Selecting a keynote speaker is a subjective choice, and one made based on any number of conscious or subconscious biases. I’m saying we should look at those.

We like the myth of the meritocracy because it’s the way we want the world to work. Those of us in good positions like it because it means that we’ve earned what we have, that we are beholden to nobody. Those struggling find appeal in that they identify with the ones on the top and believe that, with effort and gumption and talent they, too, can reach the top.

It’s a set of myths that lets us look at the world, see an all-male panel and conclude that men are just better. Because they’re succeeding. Whether we explicitly say it or not, whether we say it out loud or not, that is the message. It echoes.

Some will ask if this is the right battle. They’ll ask why representation even matters, and to whom.

First, the obvious. It matters to girls and women in the industry. Representation matters. Seeing someone from your demographic standing on the stage sends a message that they belong there, that you belong there. That someday, should your path take you in that direction, it could be you on the stage.

Second, a woman is on the stage for all the people who gave me a chance. To have a reminder — even a subconscious one — that a successful AV professional doesn’t always look like a middle-aged white man. That we come in different packages. And the next time they have a role to fill, maybe they’ll gravitate towards someone different, without even knowing why.

Finally and, selfishly, I want a woman on stage for me. This is for the same reason I’d rather read Nnedi Okorofor than, say, Ernest Cline. In addition to Cline being not a terribly good writer, he’s a white man obsessed with the popular culture of the era in which I grew up. I already KNOW that stuff and know how a white, male child of the 1980s thinks. Okorofor is a Nigerian-American with influences, culture and a background which are not mine: I can learn from her.

I’ll learn more from diverse panels of speakers than I ever would from the parade of white men currently holding the stage. We all will.

As an industry, let’s make it happen.

My Twitter feed is rife with discussion about this year’s slate of keynote speakers at CES: six captains of industry and not one of them a woman (and only one of them not white). Even mainstream news outlets are talking about this. I mean, there was an article in USA Today. Can you get any more mainstream than the paper of choice for mid-range hotel chains that like to leave things on their guests’ doorsteps?

The AV industry as a whole does not come across well when the only folks we can send out to talk in high-profile situations are a bunch of older, white men. We want the young women (and young people of color) in our industry to say: “Hey, that could be me someday!” It’s kind of hard to do that when everyone up on the stage looks nothing like you.

And here’s where we get into a chicken and egg problem. Our industry is notoriously lopsided when it comes to demographics. It’s hard to find female heavy hitters if you haven’t built up your bench. But we need to lift up new voices and new ideas. Not just for the young technician who is trying to decide if she should stick it out with us. But because technology is growing and changing faster than you can say “game-changing, disruptive unicorn,” and it’s going to take those new ways of thinking to make our industry succeed. We need to grow our bench.

So, here’s a novel idea: Let’s pick off the low hanging fruit. Get rid of booth babes. Write a damn code of conduct. Stop using the Victoria’s Secret fashion show to demonstrate your fancy new display.

Opening up our industry is going to take a lot of hard work. But there’s no need to hamstring ourselves out of the gate. There are a lot of people doing some amazing work (e.g., the various women’s councils). We need to listen to them. We need to support them. We need to not make their jobs any harder than they already are.

One of my primary goals with my podcast (The Floating Point) is to speak with people who you wouldn’t normally hear from. I’ve done my damndest to find women to interview. One of the things I’ve discovered, though, is that many of the super-smart, amazing women out there have a wee touch of imposter’s syndrome. They don’t think that their voices are important. They don’t think anyone wants to hear what they have to say.

It’s pretty easy to get yourself a “manel.” It’s a lot of work to find those different voices. I applaud everyone who reaches outside their immediate circle and invites diverse voices up to the microphone.

So, no, getting rid of booth babes won’t magically solve all our problems. But it will encourage more women to stick around. And then we can all work together. The AV industry will be stronger for it.Image via Thomas Hawk

So rather than make any specific predictions for the year, I am thinking about the areas in which I believe there will be significant change.

I have written extensively in this publication about what I think the future of augmented reality and virtual reality are for both our industry and for the higher education market. I do expect to see advances in this area this year. Many higher ed institutions are already working in this area and I fully expect to see gear start to be priced in a way that makes it more common place.

Voice recognition is another area that has seen explosive growth in the past several years. In 2011 when Apple first introduced Siri, most of us saw it as a cute and fun feature. You could ask it silly questions and it would give you funny responses. Since then Google Home and Amazon Echo have come out and the voice recognition world has suddenly taken off full throttle. We have seen companies like Crestron begin to integrate with Echo and use voice recognition as control systems. Voice recognition is an answer to the problem of confusing control systems. As much as we have worked to make our touchpanels easy to control, they still have a lot of buttons on them. Being able to use natural language to control a space makes a lot of sense. More importantly, it is something that people have at home and have used, so they will be comfortable using it.

Another area that is bound to change is lecturing, training and conferencing. With the change of pace that has occured in wireless connectivity, the cost of such connectivity and the ubiquitous nature of a “viewing device” (laptop, phone, tablet, etc.) continues to drive the idea that no one needs to sit in a room and look up at the front to see a presentation. These participants can and should easily be able to view this directly on their device, along with interacting with the ongoing presentation. I think we will see this in education a bit, but I expect to see it more and more at conferences and trade shows, as companies want to demonstrate the capabilities of their equipment.

One of the things for integrators and designers to think about when considering the pace of change is not only what will change this year, but how fast that technology will mature and what that will mean for five years down the road. A quick example. I mentioned Amazon Alexa earlier in this column. That small device has slowly begun to change how we live our life, and some things we have taken for granted for fifty years or longer. In my house we have several Echo’s. We have also switched over many of our bulbs to the Phillips Hue bulbs. In several of our rooms we don’t use the light switches anymore. At what point will houses be built and light switches not installed? We use Echo to talk with each other through the house and with friends and family who also have an Echo. This in addition to the use of cell phones make us question when houses will be built without any wiring for telephones? Finally, there is the television. With modern cable companies allowing you to stream to various devices (game consoles, Roku, etc.), the need for coax in a house no longer exists. Today, houses are being built in which coax is not run through the house. What does a conference space or classroom look like at the end of this year, or mid way through next without touchpanels? What does a conference room in a hotel (something that has not changed for 40 years) when the room no longer needs a “front of the room.”

With the current pace of change in technology, it seems that as much change can happen in a single year that used to take ten to 15 years. I am looking forward to all of it! Happy 2018!

Savant IP Video products deliver 4K video over IP switching platform (including 4K/60 4:4:4 HDR) video distribution over IP with zero frame latency. As with all SDVoE products, it uses a 10GbE switch but the Savant solution allows for installations of from 2 to 128 zones. New products in the lineup include the Savant IP Video 4 and 8 input video transmitters as well as Savant IP Video output receivers available with either fiber or copper as an option.

Versions of the Savant product even include on-board DSP processing to manage conversion of Dolby and DTS formats to stereo down-mixes, enabling a full range of residential applications – from home theaters to kitchen TVs – to be supported on a single integrated hardware/software platform.

All AV distribution and processing applications that demand zero-latency, uncompromised video can benefit from SDVoE technology, which provides an end-to-end hardware and software platform for AV extension, switching, processing and control through advanced chipset technology, common control APIs and interoperability. SDVoE network architectures are based on off-the-shelf Ethernet switches thus offering substantial cost savings and greater system flexibility and scalability over traditional approaches such as point-to-point extension and circuit-based AV matrix switching.

Savant is here and the SDVoE Alliance is here.

There were two open appointed positions for the 2018-2019 term – one to be filled from the EMEA region, and the other from the entire global membership. John Buchanan from Meridian Audio Limited was voted in by the board to fill the EMEA position and David Weinstein from Lutron Electronics Co., Inc. was voted in for the other position representing the entire global membership.

“CEDIA is in a fantastic position to hit the ground running for 2018,” said David Humphries, CEDIA Board Chairman. “Our directors have a wonderful and diverse set of skills and expertise which sets us up for a very successful year.”

The members of the 2018 CEDIA Executive Committee are:

David Humphries, Chairman
Atlantic Integrated
Rockleigh, NJ, USA

Dennis Erskine, Immediate Past Chairman
Erskine Group, Inc.
Draper, UT, USA
Ex-officio, non-voting member

Giles Sutton, Chairman-Elect
JAMES + GILES
London, England

David Weinstein, Secretary
Lutron Electronics Co., Inc.
Coopersburg, PA, USA

Rob Sutherland, Treasurer
Inspired Dwellings, Ltd.
London, England

The 2018 board directors are:

John Buchanan
Meridian Audio Limited
Huntingdon, UK

Henry Clifford
Livewire LLC
Richmond, Virginia, USA

Ken Erdmann
Erdmann Electric, Inc.
Springville, UT, USA

Omar Hikal
Archimedia
Dubai, United Arab Emirates

Hamish Neale
Crestron EMEA
Cobham, UK

Matt Scott
OMEGA Audio Video
London, Ontario, Canada

Heather Sidorowicz
Southtown Audio Video
Hamburg, NY, USA

Joe Whitaker
The Thoughtful Home
Wentzville, MO, USA

In addition, Tabatha O’Connor serves as an ex-officio, voting member of the CEDIA Board by virtue of her position as Acting President and CEO of CEDIA.

CEDIA is here.

This was the impetus for Extron using Python as its core language platform for their fully-programmable AV control system products. Called Global Scripter, Extron’s Integrated Development Environment harnesses the dynamic and intuitive nature of the Python programming language — an object-oriented language that enables programmers to reuse code and save development time. Since Python is the most popular programming language being taught to both high school and college kids, Extron believes there’s a path for both entry into AV as well as one that allows AV-based Python programmers to expand value outside of just programming AV products.

Global Scripter works with its ControlScript Python library and uses familiar AV terms, which Extron says makes it easier for integrator-programmers to program AV control system projects. When combined with Extron Pro Series control hardware, Global Scripter and ControlScript make a system fully custom programmable.

We learned today that the new Atlanta Braves stadium, SunTrust Park, is integrated with Extron’s new custom control system running everything AV — and since it’s Python, which is the same language all the other services in the park use too, it’s connected to the system running nearly everything in the stadium.

Access to Global Scripter and ControlScript is available to certified Extron Authorized Programmers. Additional programming support is available with our well-established EQIP program, which provides resources to customers deploying Pro Series control systems. Extron Qualified Independent Programming companies are carefully screened and selected to provide expert support for Extron control system projects.

Here’s a video that explains Extron’s philosophy in using Python as well as how it works.

Here’s a site that explains Extron’s Global Scripter.

The third generation of RTI’s XP-8 advanced control processor, the XP-8v, combines the advanced control options of its predecessors with a new i.MX53 processor for increased processing power and expanded two-way driver support. Its RAM memory and internal non-volatile Flash memory have been upgraded to 1GB and 512MB, respectively. The addition of an HDMI output enables on-screen display, providing users with the convenience of a custom control-interface on their TVs.

Designed for large-scale and complex projects, the XP-8v combines a real-time, multi-tasking operating system with tremendous expandability. Control interface options include two-way RS232, routable IR, Ethernet and relay control. For expanded integration capabilities, eight multi-purpose I/O ports support optional modules for voltage sensing and RS232 control. The XP-8v also features eight programmable relay input/outputs and eight sense inputs (voltage or contact closure). The processor’s Ethernet port provides IP control in addition to support for RTI’s RTiPanel app for smartphones, tablets, and PCs. Additionally, the XP-8v incorporates an astronomical clock, allowing for time-based events and timers to trigger commands and macros.

The XP-8v is programmed with RTI’s new Integration Designer APEX 10.2 programming platform, which combines time-saving automation with the complete freedom to design custom control-experiences — setting dealers apart from the competition. The new software features automatic generation of the graphical user interface and programming, a new IR library, advanced graphic resizing and more. A new global controller feature gives integrators the ability to easily create a multi-room control experience for a client. Additionally, APEX’s room proxy feature allows installers to create interfaces that are even more powerful.

Here are the details.

The BenQ CineHome HT2050A is a 1080p 3D-capable projector comes equipped with two 10W CinemaMaster Audio+ speakers with 16.67ms input lag and a special Game Mode make the HT2050A. Including two digital HDMI connectivity ports (HDMIx1, HDMI/MHLx1) for a Google Chromecast, Roku or Amazon FireTV, the HT2050A makes an easy single-cable solution for video and audio streaming. And with the HDMI/MHL port, users can also stream full HD content from any MHL-enabled smartphone or tablet.

BenQ CineHome HT2050A users will appreciate all that has gone into eliminating the frustrations of projector placement, even in tight spaces. With shorter throw projection capabilities, the HT2050A can maximize big-screen thrills in a minimum space, requiring as little as eight feet to project stunning 100″ pictures. The projector features vertical lens shift, allowing images to be moved up and down without sacrificing image quality for easy tabletop setup or mounting installation, and horizontal and vertical keystone correction to eliminate trapezoid effects when projecting from a corner or a side table.

The BenQ CineHome HT2050A is available now at $749. All the details are here.

Available in three models, the new Gain Series of ENERGY STAR qualified power amplifiers include three models – the Gain 60 (AT-GAIN-60), Gain 120 (AT-GAIN-120) and Gain 120NET (AT-GAIN-120NET) – all have low- and high-impedance outputs, RS-232 and Ethernet control, front panel metering and convection cooling. The availability of dual-impedance operation is significant as integrators and designers can manage a simplified inventory or quickly specify the proper amplifier optimized for either program speakers or distributed speaker systems.

Based upon the application, each amplifier offers specialized functions.  The Gain 120 Net features an AES67 and Dante dual-channel audio bridge for accepting two channels over a network from a Dante or AES67-equipped DSP, as well as Atlona OmniStream AV encoders. The Gain 60 is ideal for certain municipal jurisdictions where high-impedance systems are limited to 24 volts. The compact Gain 60 is also UL 2043-rated for placement into plenum spaces.

Each amplifier offers both low- and high-impedance operation. The Gain 60 offers two channels of 30 watts into 4 or 8 ohms, as well as 60 watts (mono) at 24, 70, or 100 volts. Both Gain 120 models offer 60 watts into 4 or 8 ohms and 120 watts (mono) at 70 or 100 volts. Output modes are easily selected via back panel switch.

Here are the specs.

The company has incorporated the latest technologies into its speakers so listeners can access, enjoy, and control their music and movies in one room or throughout the home. Any of the Klipsch DTS Play-Fi equipped speakers in the Klipsch Stream wireless multi-room audio system: Reference RSB-14 and RSB-8 sound bars, Heritage Wireless speaker The Three, RW-1 wireless speaker and Gate and PowerGate amplifiers.

Klipsch Stream distributes music from a variety of sources throughout the home using the Wi-Fi network. Expand the system to add additional rooms of great sound with other Klipsch Stream wireless multi-room audio products. The free Klipsch Stream App for smartphones or tablets allows complete control over the entire system.

Current owners of any products in the Klipsch Stream series will require a free firmware update through the Klipsch Stream app to enable functionality of Alexa voice control. The firmware update will be available early 2018. More details are here.

The Bryston Active system features both loudspeakers and electronic components. At the heart of every Bryston Active system is the BAX-1 crossover. The Bryston BAX-1 is a digital crossover containing proprietary software for each active loudspeaker model. The BAX-1 receives a full-range analog audio signal from the preamplifier and performs the three-way crossover functionality and driver correction for each channel, also applying any user-selected filters for tailoring the bass response of the loudspeakers. The signal is then sent to each amplifier channel. Like all Bryston digital components, the BAX-1 is backed by a five-year warranty.

Two 21B3 amplifiers are required to drive a pair of Bryston Active Loudspeakers. The Bryston 24B3 is a single chassis solution offering six channels of amplification. Delivering less total system power than two 21B3s but ample power for many listeners, the 24B3 is designed for the Middle T Active and Mini T Active systems. Both amplifiers are easily connected using color-coded wiring, and both models are available with silver or black faceplate, 17-inch (without handles) or 19-inch (with handles). In addition to the 21B3 and 24B3, Bryston Active systems can be built around any combination of amplifiers from the Bryston lineup.

Here are all the specs.

Featuring the Alcons pro-ribbon driver technology, the CRMSC-SRHV system consists of one RBN202 pro-ribbon driver for HF and a vented 6.5″ mid-bass for LF reproduction. The CRMSC-SRHV HF section has a 500-watt peak power input, enabling a 1:16 dynamic range with up to 90 percent less distortion from 1 kHz to beyond 20 kHz. The patented (90-degrees) horizontal and patent-pending (60-degrees) vertical dispersion offers a wide and consistent coverage to a larger number of seats in the auditorium; due to the “compression-less” principle of the pro-ribbon transducer, the system has a linear response at any SPL.

For full system performance, the CRMSC-SRHV needs to be driven by an ALC controller-amplifier, delivering maximum sound quality with increased headroom and utmost operation reliability. The Signal Integrity Sensing pre-wiring ensures complete cable/connector compensation between the CRMSC-SRHOR and ALC, significantly increasing response accuracy, regardless of cable length and system impedance, with tight and accurate mid and bass response as result.

Typical applications include (height layer) surround sound system for premium Home Cinemas, high-end mix/screening rooms, quality-conscious post-production facilities and dubbing stages. As a result of Alcons’ tight manufacturing standards, all system cabinets are within “matched pair” tolerance.

The official introduction will take place at ISE in Amsterdam. Here are the specs.

ELAN’s Auto Zone Detection simplifies installation; once the panel has been configured, all zones and zone names will be automatically added to the system. Through the “Arm-Disarm” feature, the viewer interface shows current panel security status and provides controls to arm and disarm the GC3 system, while “Auto Arm” enables arming the panel without entering a PIN code. “Event Based Arming” automates the arming as a system command – such as “away mode” or “good night mode” using the ELAN Event Mapper. The “History View” provides access to the GC3 history page to view zone fault and system status history, “Zone Status” enables viewing the main security page displays of all currently faulted zones, while the “Zone Bypass” feature allows installers to automatically bypass all faulted zones when arming from ELAN.

Here are the details.

TrueConf integration turns NVIDIA SHIELD TV into an Android-based 4K video conferencing endpoint for living rooms or offices. Just connect a USB camera and TV to your console to call your friends and colleagues and enjoy high-definition video on a large TV screen. TrueConf for Android TV users have access to all the features of TrueConf for Android, while the application interface is fully adapted for gamepad or remote control. The app is already available on Google Play Market.

TrueConf will demonstrate 4K video conferencing on smart TVs based on NVIDIA SHIELD TV console at Integrated Systems Europe in Amsterdam. Here are the details.

Up to five different tiled windows can be displayed simultaneously, allowing multiple users to share content, compare videos and images, or to bring up websites alongside presentations. The TILE system offers five HDMI inputs including an HDMI 2.0a 4K pass through, two USB inputs and two HDMI mirrored outputs. Aimed at collaborative environments, TILE users manage their inputs and output configuration via the TILE App, which is available for iOS and Android mobile devices, as well as for Mac and Windows PC systems.

A Moderator mode can help approve and queue the casted content before it is shown on screen, offering an amazing feature for educational environments such as universities.

The DVDO TILE is $1,199. Here are the detailed specs.

Metra Home Theater Group’s Install Bay Active Fiber Cables are capable of sending 18 Gbps, 4K/60, 4:4:4, Deep Color and HDR (at HDMI 2.0 specifications) up to 15 feet. The Install Ball Active Fiber Cables features a built-in Rx/Tx chipset that’s powered from the signal, removing the need for any additional external power. Available in sizes ranging from 3 feet to 15 feet, the Install Bay Active Fiber Cables include Ethernet over HDMI support and LC3 or CMH Plenum Rating.

Designed specifically for HomeAV integrators, the cables are here.

Designed as an affordable alternative to the company’s fully-customized and professionally-installed StarField Ceiling Panels, the new tile format was created to allow anyone to install the beauty of the night sky in any room with a drop-in ceiling grid. Additionally, the tiles improve the quality of sound in the space by reducing reverberation and absorbing ambient noise. StarField Ceiling Tiles are available in small (2’x2′) and large (2’x4′) sizes for standard 15/16″ black ceiling grids.

Installations of custom sized and shaped panels are available upon request. In addition to the stock StarField Ceiling Tiles, Acoustic Geometry offers several optional add-ons including a shooting star, and a moon or planet insert for an even more dramatic night sky look. All designs simulate “twinkling” dim, medium and bright stars for a natural “starry sky” appearance.

Here are the details.