An example of LED-type destination signs on an AC Transit bus. On the front sign, the bottom line of text changes every few seconds to list multiple destinations along the route.
Luminator Sign Manual. 6/25/2017 0 Comments Destination sign - Wikipedia, the free encyclopedia. ODK4 Sign from Luminator Technology Group. Luminator destination signs manual keyword after analyzing the system lists the list of keywords related and the list of websites with related content. A destination sign (North American English) or destination indicator (British English) is a sign mounted on the front or side of a public transport vehicle, such as a bus, tram/streetcar or light rail vehicle, that displays the vehicle's route number and destination, or the route's number and name on transit systems using route names. These versatile and highly adaptable signs offer full integration into Destination, Route, and Next Stop announcement services, always keeping your customers pointed towards their next destination. Transign’s line of LED products are ADA Compliant, Certified “Buy America”, and always warrantied for life. Features: Automatic announcement management Manual announcement Passenger intercom Crew intercom Destination signs content management Infotainment display man External Side Destination Sign Specifications Mechanical Dimensions 36 W x 5.9 H x 2.1” D Weight 11.9 kg Shock and vibration IEC IP rating IP54 Mat. Luminator Destination Sign; Luminator Destination Sign Software; Luminator destination signs manual keyword after analyzing the system lists the list of keywords related and the list of websites with related content, in addition you can see which keywords most interested customers on the this website. Keyword Suggestions Most Searched Keywords.
A SF MuniT Third Street light rail train with a Mylar roll headsign
A destination sign (North American English), or destination indicator (British English) is a sign mounted on the front, side or rear of a public transport vehicle, such as a bus, tram/streetcar or light rail vehicle, that displays the vehicle's route number and destination, or the route's number and name on transit systems using route names. The main such sign, mounted on the front of the vehicle, usually located above (or at the top of) the windshield, is often called the headsign, most likely from the fact that these signs are located on the front, or head, end of the vehicle. Depending on the type of the sign, it might also display intermediate points on the current route, especially if the route is particularly long and its final terminus by itself is not very helpful in determining where the vehicle is going.
- 1Technology types
Technology types
Several different types of technology have been used for destination signs, from simple rigid placards held in place by a frame or clips, to rollsigns, to various types of computerized, electronically controlled signs, such as flip-dot, LCD or LED displays. All of these can still be found in use today, but most transit-vehicle destination signs now in use in North America and Europe are electronic signs. In the USA, the Americans with Disabilities Act of 1990 specifies certain design criteria for transit-vehicle destination signs, such as maximum and minimum character height-to-width ratio and contrast level, to ensure the signs are sufficiently readable to visually impaired persons.[1][2] In the 2010s, LED signs have replaced flip-dot signs as the most common type of destination sign in new buses and rail transit vehicles.[3]
Rollsign
A rollsign on the MBTA Red Line in Boston. This sign has a hand crank to change the destinations displayed, but many rollsigns are motorized.
For many decades, the most common type of multiple-option destination sign was the rollsign (or bus blind, curtain sign, destination blind, or tram scroll): a roll of flexible material with pre-printed route number/letter and destinations (or route name), which is turned by the vehicle operator at the end of the route when reversing direction, either by a hand crank or by holding a switch if the sign mechanism is motorized. These Rollsigns were usually made of linen until Mylar (a type of PET film) became the most common material used for them, in the 1960s/70s. They can also be made of other material, such as Tyvek.
In the 1990s, rollsigns were still commonly seen in older public transport vehicles, but sometimes still used in modern vehicles. Since the 1980s, they have largely been supplanted by electronic signs.[1] A digital display may be somewhat less readable but has the advantage of being easier to change between routes/destinations and to update for changes to a transit system's route network. However, the long life of public transit vehicles and of the sign rolls, if well made, means that some transit systems continue to use these devices.
The roll is attached to metal tubes at the top and bottom, and flanges at the ends of the tubes are inserted into a mechanism which controls the rolling of the sign or blind. The upper and lower rollers are positioned sufficiently far apart to permit a complete 'reading' (a destination or route name) to be displayed, and a strip light is fitted behind the blind, so as to illuminate it at night.
A rollsign-equipped trolleybus in Arnhem, Netherlands
When the display needs to be changed, the driver/operator/conductor simply turns a handle/crank—or holds a switch if the sign mechanism is motorized—which engages one roller to gather up the blind and disengages the other, until the desired blind display is found. A small viewing window in the back of the signbox (the compartment housing the sign mechanism) permits the driver to see an indication of what display is being shown on the vehicle's exterior.
Two types of light rail car on the MAX system in Portland, Oregon, both fitted with rollsigns, in 2009. This photo illustrates how rolls/blinds allow use of color and of symbols, such as the airplane icon shown here.
Automatic changing of rollsign/blind displays, through electronic control, has been possible since at least the 1970s, but is an option that primarily has been used on rail systems—where a metro train or articulated tram can have several separate signboxes each—and only infrequently on buses, where it is comparatively easy for the driver to change the display. These signs are controlled by a computer through an interface in the driver's cabin. Barcodes are printed on the reverse of the blind, and as the computer rolls the blind an optical sensor reads the barcodes until reaching the code for the requested display. The on-board computer is normally programmed with information on the order of the displays, and can be programmed using the non-volatile memory should the blind/roll be changed. These sign systems are normally accurate; however, over time the blind becomes dirty and the computer may not be able to read the markings well, leading occasionally to incorrect displays. For buses, this disadvantage is outweighed by the need (compared to manual) to change each destination separately; if changing routes, this could be up to seven different blinds. Automatic-setting rollsigns are common on many light rail and subway/metro systems in North America, and in the U.K. such capability is standard on the so-called 'bendy buses' (articulated buses) of Transport for London (TfL) and in Citaro Gs, when equipped with blinds.
Flip-disc display
A flip-disc display on a bus
In the United States, the first electronic destination signs for buses were developed by Luminator in the mid-1970s[1] Cyberpower ups serial number. and became available to transit operators in the late 1970s, but did not become common until the 1980s. These were flip-disc, or 'flip-dot', displays.
Flap display
Another technology that has been employed for destination signs is the split-flap display, or Solari display, but outside Italy, this technology was never common for use in transit vehicles. Such displays were more often used at transit hubs to display arrival and departure information, rather than as destination signs on transit vehicles.
Electronic displays
LED destination sign on a bus in Singapore
Most present-day destination indicator signs consist of liquid crystal display (LCD) or light-emitting diode (LED) panels that can show animated text, colors (in the case of LED signs), and a potentially unlimited number of routes (so long as they are programmed into the vehicle's computer). In many systems, the vehicle has three integrated signs in the system, the front sign over the windshield, the side sign over the passenger entrance, both showing the route number and destination, and a rear sign usually showing the route number. That allows people to know if the vehicle approaching is the route that they want.
Some such signs also have the capability of changing on-the-fly as the vehicle moves along its route, with the help of GPS technology and a vehicle tracking system.[3]
See also
References
- ↑ 1.01.11.2'Sign of the Times: Transit signs have evolved from curtain signs to the first electronic sign introduced by Luminator to the present ADA-regulated visual and audio signs'. Mass Transit magazine, January–February 1993, pp. 30-32. Fort Atkinson, WI (USA): Cygnus Publishing. ISSN 0364-3484.
- ↑Destination and route signs (guidelines for), section 39 within Part 38 (Accessibility Specifications for Transportation Vehicles) of the U.S. Americans with Disabilities Act of 1990.
- ↑ 3.03.1Tucker, Joanne (September 2011). 'The Wireless Age for Digital Destination Signage Arrives'. Metro Magazine. Retrieved 21 November 2014.<templatestyles src='Module:Citation/CS1/styles.css'></templatestyles>
External links
Rollsign Gallery, showing the history of public transit through their destination signs - USA, Canada, overseas: www.rollsigngallery.com
Wikimedia Commons has media related to Displays in public transport. |
Wikimedia Commons has media related to Rollsigns in public transit. |
Retrieved from 'https://infogalactic.com/w/index.php?title=Destination_sign&oldid=717694999'
FAQ
Interview with Peter Hay by Pete Harris for IndieSoundNY
Twin Vision is an independent radio promotion service, sometimes referred to as an 'indy promoter' in industry parlance. We are hired by artists, managers, labels, publishers, or anyone who wants radio exposure for music they have an interest in. Our specialty is triple-A and college radio, what I consider artist development radio. We have been in this business since 1988. Vengeance producer suite bundle torrent.
We developed a specialty working independent artists and independent labels. There are specific approaches to acquiring radio air play for such projects, and many promotion companies geared to major labels or established artists do not effectively mold their approach and priorities to the aspiring artist with minimal label clout.
The core of the service is making the radio programmers aware of the release and artist, but we also always provide consultation. While we are working a promotion campaign I am available to answer any industry-related questions or provide resources and contacts which I draw from my over thirty years in the business.
I try to help clients not only reach their pre-conceived goals but inspire new ones. I provide ideas as to how a radio promotion campaign relates to attracting labels, increasing sales and getting gigs. Whatever the goals are for this effort, I want to make sure the results are viable.
In 1970, I graduated from Seton Hall with a degree in Communication Arts and immediately got a job as an A&R staffer and publicity copy writer at London Records, where I worked for eight years. I was responsible for the emergence and initial success of ZZ Top, Dave Edmunds and Thin Lizzy. I also worked with the Moody Blues, Savoy Brown, John Mayall, Tom Jones and Al Green. I learned every aspect of the business during this time and professionally associated with some of the music businesses' most legendary luminaries, characters with storied pasts from the '30s, '40s, '50s and '60s.
Twin Vision emerged from my experiences running independent labels (including my own, called NEO Records) from 1980 to about 1988. These indy label adventures included working for Genya Raven's Polish Records, a punk/new wave imprint where I dealt with Ronnie Spector and Cheetah Chrome of the Dead Boys, then on to sundry other labels whose tortured histories included promotion and marketing of reissues, imports, all kinds of dance music, adult contemporary artists, Christian, jazz and blues. I took all my acquired indy label wisdom and bulging database and began to farm out my services as a consultant.
One of my clients had a roots rock band that lead me to stations around the country that played such groups (e. g. Los Lobos, Robert Cray). A year or so after I started working these stations I suggested to a major radio tipsheet (The Hard Report) that they should classify them differently than all the AOR Rock stations that were playing the likes of Bon Jovi at that time. Hard eventually ran with the idea and created the first triple-A (Adult Album Alternative) chart. Soon all the radio trades were tracking these stations, and more sprouted up all over the country; A format was born and Twin Vision was born right along side it as I boiled down my consultancy to just working this radio area along with college radio which I had always done.
We work with the only radio formats open to playing and on a mission to develop independent artists, i.e. Triple-A, Americana, and college radio.
With Triple-A, we target about 200 stations nationally that we have found will play, new, independent artists. Most are non-commercial (a/k/a public or 'NPR') stations, but there are many commercial outlets as well. We key off of the major trade publication reporters: FMQB, R&R/BDS, NACC, AMA, Mediabase. The genres we work fall into what these stations play: e. g. artists like Ray Lamontague, Sharon Jones, Vampire Weekend, Lake Street Dive, St. Vincent, Feist, (singer/songwriter, soul, folk, blues, world, alternative). By the way, Triple-A has been the launchpad for the broad success of Norah Jones, Lorde, Mumford & Sons, Lumineers, Adele, Kings of Leon, The Black Keys among others. They all crossed over to mass market exposure after receiving strong support from Triple-A.
For Americana, we target stations reporting to national charts like Americana Music Association, Roots Music, FAR and Euro Americana (which covers stations throughout Europe). The format is typically thought of as being a roots/country leaning sound, but many are more eclectic than that (in fact more than half are also Triple-A stations). The core performers are Jason Isbell, Lucinda Williams and Steve Earle, Amos Lee, but blues and soul artists like Mavis Staples, Sharon Jones, Gary Clarke Jr do well too.
Americana programmers are typically even more open to new, independent artists than Triple-A. One sees more artists with no label affiliation reaching the upper levels of the Americana charts than most any other format. Some we have worked having that kind of success include Bow Thayer, Dan Bern, Charlie Faye, Joe Fletcher, The Kickin' Grass Band #and Jonah Tolchin and The Bastard Sons Of Johnny Cash.
College genres, often lean more alternative than Triple-A with artists like Animal Collective, Deerhoof, M.I.A., Swans (i.e. dissonant, eccentric, lo-fi or very hard-edged). We key off of the 300 most important CMJ reporting stations. Most Triple-A or Americana artists can have success with college radio and we sometime combine these formats in an overall campaign.
Our approach comes from studying station play lists every week and knowing their history (which in most cases goes back many years); it is also governed by knowledge of what key aspects and developments specific programmers are impressed by, what they are looking for, and our idea on how a project fits in a specific time frame. Some of the relationships we have developed with programmers go back over a decade. Besides all the research we do, there are personal touches that come into play.
I recommend a minimum of eight weeks for any radio campaign. A college campaign can more or less be covered in that time, and a triple-A campaign, if it is going well, will probably need another two to four weeks. Tour support can extend any campaign beyond these time frames.
We provide a mailing list to the label, who sends the CDs plus a one-sheet/bio (no press kits anymore). We then call all the stations each week. The first few weeks involve describing the project and having the music or program director track down and listen to their copy. We then start to accumulate feedback. The reactions will range from enthusiastic acceptance to dismissal. Often these early rejections are based upon cursory attention, and the response is to the sound or style being too far away from the stations� approach style. We generally get all those that pass to reconsider at some point later in the campaign.
The stations interested will start to experiment with air play for it. We monitor that play while continuing to get other programmers to consider it in a positive light. We get many of those early rejections to reconsider once they see others playing it. Any project I choose to work with stands a chance to get effective air play. I cannot remember ever being wrong about this.
Every week we provide detailed reports to our clients, which includes air play status (usually rotations such as Light, Medium, Heavy, ) specific comments from the programmers, tracks being played, and short facts about the demeanor of the staff and the impact of the station on it's market.
The immediate goals of the promotion are to develop pockets around the country where the artist will build substantial audiences. Age of empires ii for mac free. The broader goal would be to develop awareness, exposure, and impact for their name and music with major format reporting stations and industry charts. This can be helpful in attracting managers, agents, labels and publisher/ licensors.
We provide weekly reports that show the air play and market significance of each station along with comments and anything else we think is pertinent. We gather specific status details not only from the stations directly, but from various tracking services to which we subscribe.
As the airplay develops, they can use the reports to map out possible regions for gigging. The airplay in most cases will be steady from eight to twenty weeks after it starts. As the campaign develops, we will help arrange interviews and other promotions wherever possible.
Everything we develop airplay-wise can work in tandem and be enhanced by social media promotion and a publicists efforts.
Full service Adult Alternative/Americana/College promotions are around $300 per week (6 weeks is a suggested minimum and 8 weeks the most effective time frame). That rate can be reduced with different plans we offer, mostly based on the numbers and types of stations. We have some promotions as low as $500 (not including expenses). Payments are usually broken up into 3 installments. We will provide a comprehensive quote on charges after we have a conversation so we know there is a clear view on what we would be doing and what kind of results to expect. If we've reached out to an artist we like, we want to make it work for their budget: we will make every effort to modify and customize the plan and rate to make our association happen.
After an initial consultation, we will create a proposal that takes into consideration all the options and maybe even inspire a reach for higher goals.
Luminator Destination Sign Manual Pdf
Many bands and artists who make great albums spend no money exposing it. They will move on after about a year to the next release, spending to record and package what it would cost to do a good promotion. Now they have two great albums that virtually no one hears. If they had put the money for the next release into promotion for the last one, they could be heard by a few hundred thousand well-targeted, pro-active listeners. A percentage of those people will be moved to manifest their attraction to it through sales, response to the radio stations or in direct contact with the artist. This can lead to attention from labels, publishers, managers, licensors worldwide (remember, most of these stations are streaming and have international audiences) and it can create gigging opportunities. If you make music, why would you not want as many people as is possible within your power to hear it?
When an artist or manager thinks of getting exposure, they usually immediately think: 'I need a PR agent'. Their budgets go to publicity before radio promotion, without reviewing the distinctions and current needs.
Ask yourself what creates a more profound impression for new music by an unknown artist, hearing it or reading about it. Press creates ephemeral interest, the exposure/impact comes and goes in a few weeks; radio play creates fans; the exposure can impact multiple times weekly and extend for many months. Press is like advertising; to be effective, it needs to accompany the music's exposure.
This is all not to say that publicist's services are not valuable and eventually needed. The work can be effective in being a megaphone, establishing impact for an artists name and image. But for the kind of music that fits for the radio formats we are discussing, a publicist should be hired as a supplemental enhancement to a radio promotion not as the main supplier of the bulk of exposure.
Despite all the changes in the technical/digital landscape, CDs are still the preferred presentation for new artists at these radio formats. There are Internet delivery systems (both streaming and downloads) that we use to supplement the mailing of the CD. But CD is the requested format by numbers of stations; for a new artist it is particularly helpful presentation because it creates a physical presence. The cover art is effective part of the process of building an image.
The mailing is made up of one CD and a one sheet. We advise on the look and content of the latter. The CD and all materials should look as good as anything on a major label. Presentation is a first and lasting impression. It is also good that the packaging is compatible with the music in terms of image.
A good one sheet replaces the press kit. A radio one sheet has obvious features like bio material and quotes along with references to the artist's web site (which is essential). And it also has a number of bullet points specifically pertinent to radio programmers. A 'Radio Contact' being foremost. When they see it is being 'worked' (as they term the process) by an established promoter, they will prioritize it.
We will help design the radio one sheet and review all the copy so that it resounds positively and illuminates who the artist is and what this release is all about.
We also suggest a SoundCloud page for the release which we send out as part of our communication where the programmer can sample (and even download) the music.
You don't want to do it yourself because you will waste time not knowing who the best stations are for you and more importantly you will not be taken seriously by the significant stations. If they hear from a respected promoter they immediately know the release is being 'worked' to the format and they, along with the other stations (their colleagues), may be in a position to break a new artist. The release will be considered as any major label project. If you do it yourself, you will be relegated to DIY, which will probably mean no airplay. You can easily say something wrong that you won't recover from.
Luminator Destination Sign Manual Free
Our main effort (and the main thing you are paying for along with knowing exactly who the right stations are) is that we call all of the programmers every week and have known many of them for many years. There is a rather sophisticated strategy at play here and one has to know what's going on. We not only get the music listened to, we make them think they are missing something if they are not playing it. To do that you need to know what impresses them (usually specific other stations playing the release).
All this said, probably the main reason you can't do it is that it takes considerable time; effective promotion is not a part time effort. Every hour you spend will cost you in other ways. Ultimately no matter how you balance it, time is indeed money.
Luminator Destination Sign Manual Template
This is the most frequently asked question and because of that I wrote an extensive blog on it, found in the section 'Hiring A Radio Promoter.'