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Volume 6, Issue 8 — August 14, 2012
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Heroes of the AV Industry
By Joel Rollins
rAVe Columnist Any of you who have been reading my column for a while (thanks, by the way) know that I'm addicted to news. Television, the Internet, magazines, newspapers — it doesn't matter. I'm fascinated by what goes on in the world because it's usually stranger and more interesting than fiction.
Two really significant things have gone on this past week, in my humble opinion, and I'm rather bewildered by the contrast between them. The two events I speak of are the Olympic competition in London, and the landing of the Curiosity rover on the planet Mars.
The Olympics have been the lead story since they opened, as they often are. American heroes in their Chinese-made “Swiss Miss” uniforms, battling for the gold.
Inspiring indeed.
On the other hand, while it got a fair amount of attention, the landing of the rover was treated as the "B" story, with a great deal of tongue-in-cheek commenting about it being a great moment for geeks.
And I think the two stories should have been reversed. America has never fallen behind the world in athletics (even if there is a lot of debate about our general fitness). But we HAVE been told we were falling behind in science and math. And for all of us, NASA just told the rest of the world that America can still pull off technology advances that will make heads spin. They shouted, for all of us, “Oh, yeah, critics? Take a Mars rover up your…”
So, this week, I've been doing a lot of thinking about heroes… both the kind we consciously elevate to that status, and the kind we neglect to. And the kind we have to thank for the AV/staging industry we enjoy. So, without further ado, here are just a few of the people I think should be heroes of OUR industry:
Thomas Alva Edison: The Wizard of Menlo Park has always held a special place in my heart (his portrait has always been on the wall in my office, wherever I happen to be). The incandescent electric light, audio recording, the motion picture… the list goes on and on. Edison fathered many of the technologies that spawned our industry. He had a couple of famous quotes that I felt defined us, too. He said “Genius is 1 percent inspiration and 99 percent perspiration,” which is true, but most people don’t know he went on to say “Often, a genius is merely a talented person who has done their homework” — which I think defines the AV business. More of Edison’s wisdom can be found here: http://www.thomasedison.com/quotes.html
George Eastman: A great and self-made American inventor and entrepreneur, George invented the first flexible roll film, which made movies practical, and founded the company “Kodak.” Ever hear of it? The Great Yellow Father, as a corporation, did more to create the modern AV industry than any other organization. Now dying an unfortunate death, they, and their founder, deserve our respect for what they have left to us.
Rube Goldberg: Rube was the Pulitzer-winning cartoonist whose fantastically complicated inventions amused the world for decades. His drawings of the pitfalls of modern technology, I feel, illustrate what we do for a living. In the staging (and general AV) worlds, as we work to bring multiple products together into a working whole, we often feel like we’re trying to get the squirrel to pull the string and free the chicken from the cage to eat the corn to unbalance the… whatever. More about Rube and his work here: http://www.rubegoldberg.com/?page=bio
PC Guy: Actor John Hodgman played the ultimate AV geek in the commercials where he was up against the Red Bull-drinking, grungy, “cool” kid who was “Mac.” I mean, I’m a Mac user, but I have to admit identifying more with PC Guy, who was much more realistic about working with technology than the annoyingly smug kid who tormented him. Plus, didn’t he remind you of Gary? 😉
Apple pulled the ads, mostly because those of us who buy and implement technology seemed to sympathize with PC Guy. More of my friend here: http://www.youtube.com/watch?v=ntZ14BAFMyo
So that’s it, just a few of the people who I think should be heroes to our industry. Not a complete list, but we have to start somewhere. Send me your nominations, and we’ll post a list on the blog.
rAVe Rental [and Staging] contributor Joel R. Rollins, CTS, is general manager of Everett Hall Associates, Inc. and is well known throughout the professional AV industry for his contributions to industry training and his extensive background in AV rental, staging and installation. Joel can be reached at joelrollins@mac.com
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InfoComm: Networked Audio for Live Events
By Dan Daley This column was reprinted with permission from InfoComm International and originally appeared here.
Networked digital audio has become a goal for many live-event producers, with the Holy Grail being an analog-to-digital conversion that takes place at the stage box, with the audio signal staying digital until it hits an amplifier on the way to a speaker. And with more audio network choices available today, achieving digital nirvana is more possible — and affordable — than ever before.
It’s been a long time coming. CobraNet, the first successful digital audio networking protocol, developed by Peak Audio in the mid-1990s, had a shot at becoming the industry standard. But although its uptake by the professional audio industry was relatively rapid, it wasn’t fast enough to outpace a host of other companies that thought they had an equally good chance at developing a widely-accepted digital audio networking solution themselves. By the turn of the century, there were nearly a dozen proprietary networking protocols on the market, each vying for broad acceptance by various sectors of audio. And they were increasingly targeting live sound.
A Fractured Landscape
Digital audio networking is a fast-changing landscape, but a consensus among several live-sound specialists suggests that Audinate’s Dante and EtherSound have become the leading formats for live events in the U.S., particularly for music shows and concerts. Dante benefits from its technical advances, including the ability to pass through network switches and routers, native gigabit support, high channel count (up to 1,024 per link), and automatic configurability, as well as an assertive marketing effort that has over 50 licensees that have integrated Dante into their products, including Yamaha, Allen & Heath, Bosch, Electro-Voice and Peavey.
Activity is coming along other avenues, as well. For instance, German audio systems maker Stagetec is positioning its Nexus router and digital consoles, which are used in a networking mode for broadcast and theatrical applications, for more live-sound events with the addition of interfaces for Dante and other formats.
French-owned EtherSound enjoys widespread acceptance in part because of its relatively high channel count and because it has had an extended relationship with Yamaha, which has maintained a consistently large market share in the live sound market, particularly in the digital console sector. EtherSound’s design is compliant with the IEEE 802.3 Ethernet standard (both ES-100 and ES-Giga, though not simultaneously) and its low and predictable latency is a plus. What’s not a plus, some say, is its somewhat limited topology: It is only able to distribute audio and control data one way. It supports two-way communications only when wired in a daisy-chain topology, but that’s usually good enough for most of the point-to-point music applications for which it's used.
None of this is to say live events pros will choose between Dante and EtherSound for network audio. The market has grown crowded in the last several years with more new entries. Major ones include:
- Optocore, based in Germany and capable of 512 audio channels at 48 kHz and 24 nodes in a ring topology with low latency.
- RockNet, from Riedel, offers up to 160 channels (on RockNet 300; the RockNet 100 version has up to 80 channels) and 48 kHz or 96 kHz (RockNet 300) sample-rate operation. Up to 99 devices can ride on one network and audio can use a redundant CAT-5 network interface.
- Aviom’s Pro64 audio network, running the A-Net protocol, now includes a modular and field-configurable AllFrame system, which uses a single CAT-5e or fiber connection between locations to send both power and audio.
- Another German company, ALC NetworkX, is promoting Ravenna, an advanced audio-over-IP Layer-3 network technology. German mixer and router manufacturer Lawo, which is supporting Ravenna — as is Telos’ Livewire network — reports that its clients have been successful using basic MADI and digital routers to create digital audio networks for live events.
More of the Same, but Differentiation Exists
As digital audio networks have proliferated, their basic capabilities — such as 96-kHz sampling rates, ubiquitous RJ-45 connectors, and CAT-5 as the main cabling — have become more common across brands. Most systems have also implemented more intuitive automation of system setup, which, along with dropping prices, has helped the digital audio network category broaden its user base.
Usable distances have also increased, from up to 500 feet over CAT-5e cable, to nearly a mile on multimode fiber, to several kilometers over single-mode fiber.
“All of the systems on the market today are pretty robust,” says Steve Seable, networking manager for Yamaha, citing parameters such as latency, where there is increasingly less differentiation among systems and which has more to do with the amount of A-to-D conversion than any inherent limits in a system. “Each network has a few specific features that make it more suitable to particular applications.”
The same goes for audio networking solutions. For example, Lab.gruppen’s integration of a 4-in/8-out Dante interface on its LM-44 Lake processing system is designed specifically to high-end music systems users. Moreover, roadworthiness is quickly becoming a key differentiator of digital audio networks, as the concert-touring market becomes an larger source of revenue for the music industry.
“Sound reinforcement companies are making more of an effort these days when it comes to choosing the most reliable and roadworthy network products,” says Seable. “CAT-5 cable is cheap and good for installation projects, but for touring shows, you need a better cable that can be constantly rolled up and rolled out for use in touring. Several cable manufacturers have increased the number of available ruggedized — or armored — Ethernet choices, making Ethernet a reliable format for the road.”
Topology also remains a differentiator. Most systems run as rings that can be daisy-chained together. Their chief advantage is simplicity of set up and operation, which has found favor among music producers. Dante, however, uses a switch-based star-type configuration, which offers a higher degree of redundancy and appeals to live projects that need a high degree of control data, along with audio.
Industry observers expect more brands and systems to join the fray in the near future. However, proprietary protocols, which are common when new technologies enter a market, will need to give way to more interoperability for adoption to move forward. Jack Kelly, president of Group One, which distributes the Digico line of digital audio mixers, says systems user are going to demand more commonality of operation in the future.
“The Holy Grail is that all devices from all manufacturers talk the same language so that everything works together, like the Internet,” he explains. “Today you have to build a digital control surface mixer [i.e., audio mixer] that has all the processing that connects via a protocol such as MADI over copper or optical cabling, to a rack with actual XLR I/O, as well as every other format, such as ADAT, AES, Dante, Aviom and so on.”
Audio Video Bridging (AVB) is regarded by many as an open-source solution for just what Kelly describes. An AVB network implements a set of protocols based on the IEEE 802.1 standard and offers functionality including precise synchronization and shaping of streaming data traffic and automatic device identification.
However, AVB’s roll-out has been measured and there are still interface issues to resolve. Plus, AVB still requires investment in hardware, such as AVB-compliant switches, which presents significant cost for large systems providers, including Clair Global, the biggest live-sound systems provider in the U.S.
Shaun Clair, engineering coordinator for Clair Global explains, “All of our amp racks are fitted with a pair of gigabit switches, which allows each rack to be a node on our Dante networks. The transition path to AVB compliance will require all of these switches to be replaced. Capital-intensive decisions like this make the migration to new technologies tricky.”
A Leader Emerging?
Dante’s quick rise in the market was evident at the InfoComm 2012 Show in June, when several companies, including Shure and Lectrosonics announced Dante interfaces. Even Harman Professional, which was one AVB’s early champions, announced support for Dante.
Michael MacDonald, executive vice president of marketing and sales at Harman Professional, says that while AVB remains a strong protocol, defined by an IT heritage that guarantees audio signal delivery, the uptake hasn’t been as quick as other audio networking technologies’.
“Dante got in early and did a good job making Layer 3 workable for audio and gaining market acceptance for its products,” he says. MacDonald also points out that Dante’s acceptance by enterprise players such as Cisco Systems gives it a leg up as event audio becomes more of an IT proposition. “It’s also become accepted by some of the leading consultants in the AV integration world,” MacDonald says, “Which counts for a lot.”
Like other relatively new digital audio products, audio networks will probably follow the now-familiar pattern of product proliferation: continued jousting among proprietary solutions, followed by the emergence (albeit slow) of some industry-wide standardization, leading to an eventual hierarchy of systems, many of which will fit into market niches.
What’s less predictable is how the overall live-event sector will fare over the next few years. Music, especially, continues to rely on live events for revenue; trade shows are experiencing growth again; and advertising and marketing have fully embraced events and staging, often in the form the transient “pop-up” events. All would benefit from putting their audio on an easy, reliable network. So however digital audio networking solutions play out, chances are it will take place on a big stage.
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Earthworks Ships Wireless Mic Capsule Earthworks' long-awaited (introduced in October 2011) WL40V Wireless Vocal Microphone Capsule is now shipping. The WL40V is a wireless microphone capsule "head" designed for live sound applications. The capsule head has a three ring bulls-eye connector and is interchangeable with any of the screw-on-type handheld transmitters that receive a 31.3 mm / pitch 1.0 mm.
Earthworks claims that the WL40V requires "little to no EQ" and also says it has a "textbook perfect" hypercardioid polar pattern and extended flat frequency response translate to a natural on- and off-axis performance. It lists for $899.
Full specs on the WL40V are here: http://www.earthworksaudio.com/
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Christie Ships 4K 25,000-Lumen D4K25 Projector Although it just debuted at InfoComm, Christie's new D4K25 — a 4096×2160 three-chip DLP spec'd at 25,000 ANSI lumens of brightness — is already shipping. Carrying a contrast ratio of 2000:1, the D4K25 includes four 3G HD-SDI inputs and two HDMI inputs. It offers a Xenon bubble lamp, is controllable via RS232 or IP (ChristieNET) and has seven optional lenses ranging from 1.13:1 to 7.69:1.
You can see all the specs here: http://www.christiedigital.com/en-us/business/products/projectors/3-chip-dlp/Pages/Christie-D4K25-3-chip-DLP-4K-projector.aspx
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Share Article Back to Top InfoComm Sets Dates for U.S. Shows Through 2019 InfoComm International has announced its future rotation plans for its annual InfoComm exposition and conference.
InfoComm 2013 will be held at Orlando's Orange County Convention Center's West Building, June 12 to 14. InfoComm 2014 will be held at Las Vegas Convention Center's North and Central Halls, June 18 to 20. The show will rotate between the two cities in the same halls in mid-June thereafter through 2019. InfoComm has signed lease agreements with both facilities.
"InfoComm exhibitors and attendees have been well accommodated in both Orlando and Las Vegas, and we are pleased to continue our rotation between these great convention cities," said Jason McGraw, CTS, CAE, senior vice president of expositions, InfoComm International. "Our show has experienced phenomenal growth over the past several years based in large part to the well-run convention centers, large hotel selection and premium entertainment options offered by both of these destinations."
A schedule of future dates appears below:
- 2013 – Show 6/12-6/14, Conference 6/8-6/14, Orlando
- 2014 – Show 6/18-6/20, Conference 6/14-6/20, Las Vegas
- 2015 – Show 6/17-6/19, Conference 6/13-6/19, Orlando
- 2016 – Show 6/8-6/10, Conference 6/4-6/10, Las Vegas
- 2017 – Show 6/14-6/16, Conference 6/10-6/16, Orlando
- 2018 – Show 6/6-6/8, Conference 6/2-6/8, Las Vegas
- 2019 – Show 6/12-6/14, Conference 6/8-6/14, Orlando
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DPI Announces New 6000-Lumen Projector For $3,995 Digital Projection International announced today the new E-Vision WXGA 6000, the newest member of DPI's aggressively-priced E-Vision projector series. The WXGA (1280×800) projector offers up to 6,000 lumens in brightness and a specified contrast ratio of 2400:1, plus an array of lens options, a dual lamp set-up and advanced color controls.
Distinct to the new E-Vision WXGA 6000 is a new, lightweight and streamlined cabinet. It also offers two swappable color wheels, which allows integrators to install the color wheel that provides the best balance of lumens and color depth to complement their application. Additionally, a variety of fixed and zoom lens options give the E-Vision WXGA 6000 a flexible throw ratio range of .76:1 – 8.26:1. It also has six user-selectable inputs, including HDCP-compliant DVI.
The E-Vision WXGA 6000 will ship in October and has a list price of $3,995 (not including the lens).
For more information on this new projector, click here.
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Share Article Back to Top | Extron Intros Tiny DVI to Fiber Extender Extron's new DDX 102 Dual Link DVI Fiber Optic Extender is a tiny (only 1.5" x 2.8" x 0.6") transmitter and receiver set for long haul delivery of DVI signals over fiber optic cabling. Extron says it uses all-digital technology to deliver pixel-for-pixel transmission of video images up to 2560×1600 resolutions, including HDTV 1080p/60. The extender delivers dual link DVI-D signals up to 500 meters (1,640 feet) over two multimode cables or single link DVI signals over one fiber optic cable.
The DDX 102 transmitter and receiver feature industry standard LC-type connectors, and can be used for point-to-point fiber optic applications with dual link DVI requirements. The units connect directly to the DVI source and display devices, eliminating the need for additional mounting hardware. EDID Minder automatically manages EDID by maintaining continuous communication with the source, ensuring that it powers up properly and reliably outputs content for display. The transmitter also provides an EDID capture mode to store display EDID.
More specs are here: http://www.extron.com/product/product.aspx?id=ddx102&s=0
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Share Article Back to Top Almo's Fall E4 Tour Hits Dallas and NY — Kayye to Bring Back Krystal Ball Almo Professional A/V, in partnership with InfoComm International, has now opened registration for the Fall 2012 portion of its E4 AV training and networking event. Almo will stop in Dallas on Sept. 13 and New York on Oct. 3, bringing more than 30 manufacturing partners displaying hundreds of new products. Almo will also offer a newly updated set of 13 educational sessions, many of which are worth CTS Renewal Units (RUs).
An overview of the Almo Pro A/V E4 AV Tour can be viewed: http://www.youtube.com/watch?v=yKp02YBhstI
The Dallas E4 educational schedule will be broken down into the following three educational tracks to help attendees navigate their way through the day:
Emerging Technology:
- Gary Kayye, rAVe [Publications]: Predicting A/V Futures with Kayye’s Krystal Ball LIVE (1 CTS RU)
- Alan and Jonathon Brawn, Brawn Consulting: The Art of “Techorating” with Displays for Commercial Applications (1 CTS RU)
- Alan and Jonathon Brawn, Brawn Consulting: Best Practices for Installing Large Format Displays (1 CTS RU)
- Don Hickey, Samsung Electronics: Interactive Display Tables with Natural Interfaces – The Future is Here
Technical Knowledge:
- Brian Menchew, C2G: Introduction to Master Antenna TV and RF Distribution (1 CTS RU)
- Tom Kehr, Infocomm International: Power Grounding Best Practices (1 CTS RU)
- Tom Kehr, InfoComm International: Designing and Specifying Displays Systems (1 CTS RU)
- Dave Gentile, NEC Display Solutions of America, Inc.: Video Walls: A Start to Finish Guide for Success
Business Savvy:
- Alan and Jonathon Brawn, Brawn Consulting: How to Play in the IT Sandbox with A/V Installations (1 CTS RU)
- Tom Kehr, InfoComm International: On the Go Apps (1 CTS RU)
- Jay Jenkins, AMX: How Selling Configurable Room Control Solutions Can Increase Your Revenue & Margins
- Brian Rhatigan, Almo Professional A/V: Digital Signage Content Delivery Methods
- Jennifer H. Willard, CTS, Women in AV (WAVE): What is Mentoring and Why It's Important to You
Attendees will have the opportunity to explore multi-touch interactive displays and lampless LED projectors. They can learn the ins-and-outs of media players, see examples of signal distribution over long distances and coax, and learn first-hand how to create video wall configurations with control systems. They can also win prizes from sponsors worth a total of over $5,000.
The E4 Dallas event will take place on Sept. 13 at the Hyatt Regency Dallas while the E4 New York event is on Oct. 3 at the Meadowlands Expo Center. Both events run from 8:00 a.m. to 4:30 p.m. and are entirely free, including parking, to Almo Pro A/V’s reseller, integrator and consultant partners. To register, go to http://www.e4avtour.com/
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Share Article Back to Top Panasonic Debuts Brighter LCD Monitors The new LF5 Series of LCD monitors from Panasonic are available in 42” and 47”. They carry a brightness spec of 500 cd/m2 as well as a number of GreenAV features including auto-off and ambient light detection called an Eco-Mode. When in Eco-Mode, the light sensor detects the ambient light level and controls the brightness of the backlight accordingly. This helps save energy by reducing the backlight power consumption. They are also specified to last for 50,000 hours.
Both are 1080p LED back-lit LCDs (18 millimeters thick) and can be mounted in landscape or portrait modes, using commercial-grade LCDs for 24/7/365 operation.
You can see all the specs here: http://www.panasonic.com/business-solutions/digital-signage.asp
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Share Article Back to Top Peerless Ships Portable Large LCD Stand At InfoComm, Peerless debuted its SC590, a floor-stand on which a giant LCD TV to (up to 90") can be mounted and made portable — basically, portable digital signage. With an incremental tilt of -2°, 0° and +5°, internal cable management, 4" casters, the black powder coated SC590 is capable of holding any monitor up to 220 pounds (from 32" – 90"), includes security hardware and uses a VESA standard 600×400 mounting pattern.
All the details are here: http://www.peerless-av.com/en-us/professional/products/SC590
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Share Article Back to Top Sharp Debuts Commercial Grade LED HDTVs Nearly a year after most MCD manufacturers debuted LED-backlit LCDs, Sharp has finally launched a commercial-grade (meaning it can be on 24/7/365), LED edge-lit LCD display in 42" and 46" sizes. Dubbed the LB-T422U and LB-T462U, these displays are 1920×1080 LCDs that offer a 6000:1 contrast ratio and include HDMI, VGA and video ports, as well as a built-in TV tuner. Control is either RS232 or network-based.
The LB-T422U and LB-T462U list for $1,250 and $1,495, respectively.
Complete specs are here: http://www.sharpusa.com/ForBusiness/PresentationProducts/ProfessionalLCDMonitors.aspx
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Share Article Back to Top PLASA Goes for Olympic Gold You can find out how technical teams turned Danny Boyle’s vision into the London 2012 Opening Ceremonies as part of The Olympics Uncovered program at the PLASA Show, at London’s Earls Court Sept. 9-12.
More than 120,000 people saw some of Boyle’s £27-million production, called Isles of Wonder, during two dress rehearsals this week and more than 1.2 billion may have watched the broadcast so far.
During PLASA, Technical Director Piers Shepperd will chair a session where the full tech team present an overview of the mega special effects in stage, lighting, audio and AV behind the London 2012 Olympic Ceremonies.
The Backstage at the London 2012 Ceremonies panel line-up includes:
- Piers Shepperd – Technical Director
- Jeremy Lloyd – Technical Manager – Technical Design and Staging
- James Lee – Technical Manager – Aerial & Closing Ceremonies
- Nick Jones – Technical Manager – Lighting AV and Power
- Scott Buchanan – Technical Manager – Services and Special Projects
- Chris Ekers – Senior Production Manager – Audio & Comms
PLASA CEO Matthew Griffiths told rAVe Europe that the "Summer 2012 has provided PLASA Members, London and the UK with a unique platform on which to showcase their credentials as one of — if not the — leading creative industries in the world. The Olympics Uncovered program has been created to celebrate our industry's contribution to this monumental occasion with a series of fascinating educational sessions."
You can register for PLASA here: http://www.plasashow.com/
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Share Article Back to Top 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 GreenAV 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 To read more about my background, our team and what we do, go to https://www.ravepubs.com Back to Top Copyright 2012 – rAVe [Publications] – All rights reserved – 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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