NAB 2015 Highlights: Evolution & Revolution Part 2 of 2

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For Part 1 of our NAB Highlights, Click Here

Lasers & 4K Resolution Projectors at NAB 2015

Projectors have always been a superior choice for ultra large format screens.  This year we saw evolutionary improvements from Christie Digital, Panasonic, Sony, Canon, Epson, and others that increase projector reliability, color accuracy, and projector size with the help of laser light sources, reflective lcd chips (on home theater models) and lighter 3 chip DLP projectors.

Epson Projectors showed strong resolve to enter the higher lumen and digital whiteboard space with an impressive booth.  On the business and professional side, their touch-screen Brightlink Pro technology paired with short throw projectors attracted big crowds while demonstrating the quality of image between 3LCD and DLP projectors.  On the cinema side, Epson showcased their new line of Powerlite laser cinema projectors, like the LS9600e and LS10000 (4k resolution).

Christie Digital was also at the show in full force with a 30,000 lumen 3 chip DLP projector called the Boxer 4k30.  At less than 150 pounds, the Christie Digital Boxer 4k30 positions itself at the forefront of rental and fixed applications including projection mapping like the show at the Air Canada Centre.

Panasonic PTRQ13K Projector Repair

Panasonic’s PTRQ13K is the lightest and brightest laser 4k projector on the market

Traditionally, projector limitations such as low lamp life, noise, heat, and low resolution have given way to LED walls and other flat panel type displays for commercial applications such as digital signage and exhibition showcases.  This year saw the introduction of lightweight, high brightness, and high resolution laser projectors.  Laser optical engines are considered to be more reliable light sources, and up until this year, were only available in low brightness or low resolution modules.

Panasonic’s PT-RQ13K is a 3-chip DLP laser projector with 4k resolution that has the potential to make waves in the projection industry.  At less than 100 pounds, it is the lightest in class and at 12,000 lumens brightness, it is the brightest in class. With an ultra-short throw lens, it is capable of casting a 150 inch image at just 4 feet away from the screen, making the projector a strong candidate for digital signage and advertising, particularly in indoor spaces.  Its twin laser light source is rated for continuous use, up to 20,000 hours, and its liquid cooling system means virtually no noise.

What does this mean for the projector industry?

The introduction of liquid cooling will mean less noise and better circulation for incredibly hot projector components, meaning less breakdown and maintenance.  Laser light sources mean longer projector life with no painful bulb replacements and 4k resolutions mean larger and sharper displays, all at a cheaper price.  Ultimately, the crux of these developments will lead us to high brightness displays that can project onto any surface to create lifelike, 3 dimensional projections in any light conditions.


Nothing at this year’s NAB caught us off guard, but there were a number of pleasant surprises in the industry.  While reliability and affordability of products negatively affects our company’s profitability as a repairs depot, we believe that the industry is making strong steps that will ultimately lower the barriers to entry for broadcast quality production, and we think that this ultimately benefits all of us consumers.  After all, doesn’t your life look cooler in 4k shot from an aerial drone?

NAB 2015 Highlights: Evolution & Revolution Part 1 of 2

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Clear Trends for Pro A/V Equipment at NAB 2015

This year’s National Association of Broadcasters (NAB) conference brought together 1,789 exhibitors and over 100,000 guests at the Las Vegas Convention Center to see the latest and greatest in broadcast hardware and software.  Exhibitors brought their latest and greatest Audio/Visual technology to showcase, some evolutionary and some revolutionary.  While we can’t cover all of the exhibitors, we will do our best to share some of the show highlights that we found relevant to our industry and readers.

Freefly AltaDrone Repair

The Freefly Alta UAV is an industry leader, capable of carrying a 15 pound payload like the RED Dragon

Broadcast Robotics (UAV Drones & PTZ Camera Systems)

By taking a step into this year’s NAB, it should be obvious that automation and robotics are taking over the broadcast industry.  The first five or so booths in central hall were of companies specializing in Unmanned Aerial Vehicle (UAV) type drones.  These companies seemed to specialize in the production and sale of the drones, as well as the specialty gimbals used to create smooth panning shots.  Drones ranged from $1000 with built in GoPro type cameras, to $50,000 plus for drones designed for heavy payloads like the Red box cameras with detachable lenses.  DJI was present with their well-known Phantom drones, and Yuneec Aviation technology was showing off its new Yuneec Tornado designed to support the Panasonic GH4 camera system.  On the higher end of the spectrum, Freefly was showcasing the Alta drone capable of a 15 pound payload, which is enough for a RED Dragon with lens.  At $8,495, the Alta isn’t cheap, but it can rival shots from actual helicopter ride shots.

Panasonic ak-ub300 Repair

Panasonic ak-ub300 at NAB 2015 is a prototype box camera that can be fitted on a standard Panasonic Pan and Tilt head

Replacing camera operators with robotics, isn’t a new trend.  Panasonic has long dominated the robotic camera for broadcast space with its line of Pan Tilt Zoom systems.  The AW and AK series cameras, heads, and controllers have been a favorite among churches, broadcasters, and sports networks due to their reliability, programmable pans and tilts, and ease of use.  This year, Panasonic introduced a new 4k box camera, the AK–UB300 which can be mounted on any of their Pan Tilt heads.  The AK-UB300 is controlled externally and is capable of using 2/3” lenses, recording at 4k resolution at 60 frames per second.  This could mean incredible leaps in the way we stream sporting events.  Combined with media servers like the CANVAS from Immersive Design Studios, we could see real-time streaming events on absolutely massive displays.

In addition to standard all-in-one broadcast PTZ systems like the ones from Vaddio, Sony, and Panasonic, we are seeing 3rd party companies emerge that specialize in just the robotics.  Mark Roberts Motion Control is a British company making its debut in the US with their line of robotic heads and studio automation tracking software. Models like the AFC-100 and the AFC-180 offer super precise tracking for studio and outdoor applications.  Sometimes a production requires tracking too.  For this type of project, there’s BlackcamSystem which offers a movable track with multiple camera mounting options.  These types of solutions can be incredibly appealing over traditional PTZ options as they provide a camera and lens agnostic solution.

AG-DVX200 Repair

The AG-DVX200 is a throwback to Panasonic’s AG-DVX100 that started the Digital Revolution in Camcorders

Camcorders, 4K, & Beyond

4k resolution this year was an absolute minimum for camcorders.  Both Sony and Panasonic had strong additions to their 4k Lineups.  Replacing the PMW series for Sony is the PXW series including the detachable lens PXWFS7 and the prosumer PXWX70 and PXWX180.  For broadcasters, the PMW320 and PMW500 have been upgraded to the PXW320 and PXW500, respectively.  Sony has also added a 4k, ultra high framerate camcorder for sports broadcasters called the HDC4300.  (Note: in order to shoot 4k on the HDC4300, you need to install the optional SZC-4001 software)

For Panasonic, we saw the resurrection of a legend, the Panasonic AG-DVX200 (a throwback to the legendary AG-DVX100 which started the handheld camcorder revolution ten years ago).  This camera is sure to be a crowd pleaser with its ability to record 4k/60p to an SD card and 13x optical zoom with built in Leica lens.


Panasonic Varicam 35 Repair

The Panasonic Varicam 35 simulates the warm feel and lowlight capabilities of film

Panasonic had additional improvements to its varicam lineup, including the varicam 35 which uses a 35mm sensor to replicate the feel of film and users should see massive improvements in low light performance.  In their demo, Panasonic’s Varicam 35 was able to handle a candle-lit scene incredibly well.

Red Digital Cinema also made waves with their new 8k sensor: The Weapon.  This modular box camera just keeps getting better and better, and the ability to upgrade the camera offers some serious upside when comparing the Red to Sony and Panasonic’s competition.

For Part 2 of our NAB Highlights, Click Here

High Precision Projection Mapping at the Air Canada Centre

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High Precision Projection Mapping at the Air Canada Centre

Like something straight out of a 1980s sci-fi movie, high-lumen projectors are helping artists illustrate virtual reality.  The year might be 2015, the year that Marty McFly traveled to in Back to the Future, but the video below (make sure to switch on 1080p) looks like something straight out of Tron:

With the use of twelve 20K lumen Christie Digital projectors and their proprietary CANVAS media server, Immersive Design Studios helped the Maple Leafs put together this impressive on-ice show at the Air Canada Centre in Toronto, Ontario.

What caught us off guard was the incredible pixel precision and alignment with the on-ice graphics, so we reached out to Immersive Design Studios to learn more. (Disclaimer: We were NOT paid by Immersive to write this article and we do NOT have any monetary interest in the success of their products).

The Set-Up

To learn more about the set-up, we spoke with Immersive’s co-founder, Thomas Soetens.  According to Thomas, the Air Canada Center was set up with two rigs of six 20K lumen Christie Digital Projectors, double stacked for luminosity, blending together 12 high resolution images.  While the resolution is impressive and allows for the image clarity seen in the video, what truly impressed us was the fact that all 12 projectors were driven by ONE media server.  Yes, a single media server driving 12 WUXGA (1920 x 1200) resolution projectors.  What kind of media server has that kind of power?  Turns out it’s a neat, compact proprietary design by Immersive Design Studios called the CANVAS.

CANVAS Media Server

The CANVAS Media Server is a technical powerhouse, with the ability to drive up to 16K of output resolution per unit without issue.  But what makes the unit so unique is Immersive’s projection mapping software, which allows for on-the-fly pixel calibration down to 1/10th of a pixel.  It was also designed from the ground up for game-engine inputs, resulting in ultra-realistic, virtual reality experiences.

Precision Projection Mapping using CANVAS and Christie Digital Projectors

The difference between precision projection mapping with CANVAS and without.

On the Fly Projector Calibration

One of the challenges of large scale projection mapping is projector alignment and calibration:

“We hear these stories all the time: Temperature changes in the venue can affect the projector trusses and then there’s an alignment issue.  With our solution, we can make the repair then and there.”

Many large-venue projectors like Barco’s HDX series ship with onboard warping/alignment software, but with additional inputs from multiple media servers, one can imagine the complexity in aligning all of these projectors.  Immersive believes that with their software and media server, they have reduced dark time (the time to set up for a show) down to just minutes.

“For example – to redo the lines on the ice [rink], others would have to re-do the perspective mapping.  Re-doing the lines with our system would be done on the fly with vector mapping.”

Thomas wasn’t willing to share too many specifics on the calibration software due to trade secrets, but he assured me that the interface is ultra-simple.

“As an artistic design company, we understand the technical challenges artists face.  With our simplified media server, we take control away from hardware operators, and put it in the hands of content makers.”

And we think that’s a good thing.

Decreasing Points of Failure in Projection Mapping

More components means more points of failure; centralizing the media server and driving more outputs from one device leads to increased reliability.  By using only two of these media servers, the team can guarantee uptime by powering half of the double-stacked projectors with each device; if one goes down, the brightness only drops to half-luminosity without loss of image.

“Crunching 4k resolutions will be a massive increase in compute requirement, and having a single source to your projector is the most intelligent solution as it reduces latency, points of failure, and forward-compatibility.”

On these large venue projectors, one of the most expensive projector repair issues we find is a conflict from the ancillary onboard PCB’s related to Image Processing.  By offloading this functionality on to the media server which is lighter, easier to work on & ship, and cheaper to fix, we believe that large venues and rental houses can cut costs on projector repairs as they switch to PCB-light projectors.

Realtime Game Content Engine for Projection Mapped Virtual Reality

According to Thomas, the main difference between CANVAS and its competitors is that the CANVAS was designed from the ground up for game content with live inputs.

“We were never interested in building just a better playback server, CANVAS is the first server supporting game engine content and therefore opening the door to an entire new medium.”

How can Projectors Better Accommodate Projection Mapping?

Key challenges for large venue projectors are size, heat, and noise.  Rather than focusing on high tech features and software, Thomas believes that the projector manufacturers should leave that to the media server and focus on making brighter, lighter, smaller, and more reliable projectors.

The Future of Projection Mapping

Seeing this kind of projection mapping in a sports arena makes us wonder about other applications.  Immersive has already worked with two ice hockey rinks, as well as NBA teams like the Raptors.

But what about more immersive applications, like virtual reality games?  Turns out that’s already in the works.  The CANVAS media server has the ability to integrate live data into the projection mapped feed via a proprietary game engine.  We hope this means full-scale, virtual reality experiences in the near future.

How Barco Projectors Made Katy Perry’s Dark Horse a Bright Reality

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Projection Mapping, Barco Projectors, and The Super Bowl Left Shark

Last Sunday, 161.3 Million Americans tuned in to watch the Super Bowl on NBC.  With the big game aside, many tuned in for the spectacular Half-Time performance by Katy Perry and her now sensational Left Shark.  Viewers were delighted by the visual representation of a tropical paradise, 3D fireworks, and a super realistic Chess Set projected on stage using a technique called Projection Mapping.

Projection Mapping At The Super Bowl Half Time Show

Projection Mapping At The Super Bowl Half Time Show – Photo Credit:


What is Projection Mapping?

We first saw Projection Mapping hit the mainstream at Coachella 2012 when performers resurrected Tupac for a surprise performance.  By using multiple high-brightness projectors, uneven surfaces, and intense pre-rendered or-on-the fly rendered graphics, artists are fooling the human brain into the illusion that the 2D projection is actually a 3D object with holographic tendencies.

Barco Projectors Dominate the Market

When it comes to live venue projection, especially in challenging or bright venues, Barco seems to dominate its competition.  In 2012, Barco FLM HD20s supported international events including Roger Waters’ The Wall, the Eurovision Song Contest, and the Bacardi Togetherness worldwide brand campaign.  It is rumored that for the 2015 Super Bowl, 80 Barco HDF-W26’s were chained to produce Katy Perry’s half-time show.  The projectors were set up redundantly in pairs to prevent blackouts in case of failure. The HDF-W26 is a 26,000 lumen DLP projector from Barco that is designed for Projection Mapping applications.  It is out of the box ready for projecting on to warped surfaces, connecting to multiple other projectors in a series, and is ruggedized and weather-sealed.

Who Runs the Show?

In order to understand more on projection mapping, we sat down with Eric from Imaginex to talk about the intricate details of Projection Mapping projects.  His company, Imaginex specializes in displays and shows on the East Coast including Virginia, Maryland, and New York.  According to Eric, Projection Mapping is a foreign concept to many entertainers, and entertainers often hire a firm that offers a Turn-Key solution.

“We offer an end to end solution.  Depending on what the client is looking for, we would provide the system control software, select the media servers and projectors, and set up the rigging.  We would even find animators if that was part of the project.”

Laying Out the Projection Mapping

Laying Out the Projection Mapping – Photo Credit

What are some of the challenges with Projection Mapping?

It seems that every show can be as simple or as complex as the plan calls for.  When working with 2, 50, even 100 projectors, you can imagine how complex the computing power can be.  Owning this type of equipment is prohibitively expensive, and so it is important to find a rental company with reliable equipment.  As we know at Digitron Electronics, poorly maintained projectors can suffer from power issues, blown lamps, and bad power supplies all the time.  We asked Eric from Imaginex about the biggest concerns:

“Things can always come up last minute – power issues, the 3D model doesn’t fit the stage perfectly, or there are issues with the hardware.  We’ve always got to be ready for last minute problems.”

Digitron Electronics is a repair center for high-lumen large venue projectors, and we frequently work with Barco, Christie, Digital Projection, Mitsubishi, Panasonic, and Sony Projectors.  We often work with rental companies that provide Projection Mappers with their equipment, and we work with projection mapping companies who own their equipment.  From our experience, large venue projectors like the Barco FLM-HD20 are in need of constant preventative maintenance, especially since their standard lamp life is less than 1,000 hours, and they rely on a complex liquid cooling system.

Bonus Left Shark:

Katy Perry's Left Shark.  Not a Projection Mapped Shark

Not a Projection Mapped Shark

**Disclaimer: The Left Shark is not projection mapped

Solaris Network – Used Audio Visual Equipment

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Used A/V Sales

We often work with businesses across the US providing services like Reverse Logistics, Repairs, and Warranty Administration.  Sometimes we work with companies that excel in what they do, and Solaris Network is a great example.  Solaris procures high-end A/V assets like Moving Head lights, LED Panels, High Lumen Projectors, Speaker Systems, and Mixing Consoles.  Often times, users of Pro A/V gear can find high quality gear out of their price range.  New Barco LED Walls, Martin Lights, and Christie Digital Projectors can cost a fortune, making these things out of reach for Churches, Schools, and small production companies… Solaris helps bring down the total cost of ownership of these kinds of items.  Solaris goes above and beyond by shipping gear internationally and they sell hard to find items like projector lenses and vintage gear.

Reduce E-Waste

We strongly believe in reducing our e-waste footprint.  At Digitron Electronics, we encourage people to repair their broken pro A/V equipment like projectors, mixing consoles, and moving head lights.  Take it a step further and buy used if you can!

Used Professional Audio Visual Sales

Used Professional Audio Visual Experts

Superbowl Discount for Your A/V Equipment Repairs

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The Superbowl is a national hallmark, it is a day that Americans celebrate, whether at a home, a local bar or restaurant, a Vegas casino, or even a football stadium.  Last year, The Nielsen Company showed that the broadcast of Super Bowl XLVIII on Fox had an average audience of 111.5 million viewers and was said to be the most-watched television program of all time. The game was viewed in roughly 53.7 million households.  Some watch for the Football, some watch for the commercials and the half time shows; either way, there’s no doubt that the Super Bowl is a big deal.

Whether you are hosting friends and family at your house, or a crowd of 500 at your restaurant, if you are hosting a Super Bowl Party this February, make sure that all of your equipment is in good shape to handle the big show.  Projectors, Amplifiers, and other equipment can malfunction at the worst possible time, leaving you empty handed (except for the 100 pounds of wings and disgruntled guests).  In honor of the Super Bowl, we are waiving diagnostic fees from now until February 1st.  Just mention Superbowl14 when shipping your equipment and we will waive the diagnostic fee so that you can rest easy knowing your equipment will be functional when you need it most.


In business since 1992, Digitron Electronics specializes in Projector Repair, Pro Audio Repair, and Broadcast Camcorder Repair


Fix your Projector just in time for the Super Bowl game

Fix your Projector just in time for the Super Bowl game


Should I Replace my Projector Lamp? (The Answer is Usually NO.)

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Should I Replace my Lamp?

People often call us looking for advice on their projectors.  The most common complaint we hear is, “I just changed the lamp on my projector, but it still won’t turn on!”  Projector owners are well aware that projector lamps are consumable and that they need to be periodically replaced.  What is poorly communicated is the fact that the lamp is usually the least important aspect of projector maintenance and ownership. Clogged cooling channels, burnt polarizing plates, broken fans, and overheated components are the most likely culprits of your anguish, but we’ll get to that in a bit.

Projector Lamp Repair

When do I need to replace my projector lamp?

Economics of Modern Projectors

When purchasing projectors for home or small office use, most consumers will purchase the projector which is most accessible in their local Costco and Best Buy, and opt for either the brands that are the least expensive or the brands most recognizable from their high school classrooms.  While neither of these brands are bad in any way, it is important to note that less expensive projectors are NOT built to last.  Certain unnamed projectors have come to our work benches with melted lens assemblies and melted components, that is to say, that the construction of these units were so cheap, that they melted during normal use and warped the lens assembly.  The units were of course out of warranty, and left the owners in a position where repairing the unit cost more than the scrap value of the projector.  And that is to say, these units were expensive to repair not because of our labor rates or margins, but rather the unavailability of parts.  Just like with cheap TV’s, laptops, and consumer electronics, cheap projectors are designed to last until the warranty expires, then fail.  When the manufacturer receives units for repair, they will actually scrap the broken unit and send a new one… that’s how cheap they are.

Are OEM Lamps really Original?

When purchasing lamps, it is important to read the fine print.  More often than not, an OEM lamp simply means that the lamp is manufactured by one of the 6 or so major manufacturers, and is not actually an original lamp.  It is important that you evaluate your needs; if projector uptime is critical, under no circumstances should you use a cheap OEM bulb from an unknown source.  Most critically, these cheap lamps are known to cause power fluctuations, leading to damaged PCB components and blown ballasts.  Last month, a Southern California church saved $300 by installing an ‘OEM’ bulb in their Sanyo PLC-XF46.  The OEM bulb subsequently caused over $1500 worth of damage to the projector, as we needed to replace the ballast (as well as the lamp). Many manufacturers share common components, which means purchasing lamps for your Sanyo projector from Eiki is a totally acceptable practice, as Sanyo is no longer in the projector business.

When Should I replace my Lamp?

Most people who purchase a projector neglect to fully understand the longevity of a projector lamp.  For example, the popular Panasonic PT-AE2000U’s lamp is rated to 2,000 hours on Eco mode.  That means for a business or classroom environment, where the projector is used 3 hours a day, 3 days a week, you could go 222 weeks or about 4.25 years before you would meet the manufacturer’s expected lifespan for the lamp (and we’ll give you a hint, it usually lasts longer than that).  As you can imagine, if you are a church that runs your projector once a week, your lamp might last you 5-10 years.  Some tips: run your projector at a reasonable brightness level, in a clean and dust free environment to maximize the lifespan of the lamp and follow the guidelines posted on Projector Central.  If your lamp has exploded, it should be pretty obvious, and this is the only time that a lamp replacement is the first point of repair.  However, it should be noted that a burst lamp could be caused by other issues.

Why is my Projector Malfunctioning?

There are many causes for a malfunctioning projector, and they depend on the symptom.  Very rarely is the correct answer, “My projector is malfunctioning because of the lamp.”  Is your projector discolored?  This is probably caused by dirty and burnt polarizing plates.  Does your projector power off on its own?  Then it is probably overheating and the fans are blocked and the cooling channels clogged with dust.  No power at all?  Then it’s probably the power supply or ballast module. There are many causes and many symptoms, and none of these are user-serviceable.  You can see a thorough list of issues and causes on our page projector repair, or you can send your projector to us for an estimate.

Need a new lamp? No you need to clean your projector!

The Projector Lamp Light could mean your projector is clogged, not that it needs a new lamp


Is my projector worth servicing?

As we discussed earlier, there are many low-cost, high-resolution options available to you to replace your malfunctioning projector.  But chances are your projector is a high-lumens, long throw projector, or business class projector that cannot be as easily replaced.  If that is the case, help reduce E-waste and repair your projector.  Read our most recent blog post on Pro A/V E-Waste here.

How can I maximize the lifespan of my projector?

Your projector is like a powerful, light-emitting vacuum.  The hot components require a lot of cool air to keep the components in functional shape, and you can help maximize the lifespan of your projector by running it in intervals, keeping it in a cool and dust free environment, and bringing it in for a semi-annual cleaning, calibration, and service.

What qualifies Digitron Electronics to make these statements?

We have been in the projector repair business for nearly 20 years, and we are an authorized serviced partner for Panasonic, Sanyo, and Eiki, as well as for Sony and NEC.  We’ve repaired thousands of projectors in the last year alone including Dell, Epson, Optoma, InFocus, Viewsonic, Christie, Mitsubishi, Barco, Runco, and Digital Projection.

Who Can Repair Sanyo Projectors Now That Sanyo was acquired?

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Who Can Repair Sanyo Projectors Since Sanyo was acquired?

Sanyo PLC Projector Repair


Is Sanyo Out of Business?

For years, Sanyo have been a dominant player in the high-lumens projector category. In 2010, Panasonic finalized its purchase of Sanyo, leaving many Sanyo Projector owners confused regarding warranty, service, and support issues.

We are an Authorized Sanyo Projector Repair Center

As a result of the acquisition, Sanyo Projector service requests are now handled by Panasonic Authorized Service centers. We are authorized to service all Sanyo PLC, Sanyo PDG, and Sanyo PDV Models including the PLC-HF10000L and PLC-XF46 under warranty for preventative maintenance, bulb replacement, color management issues, and more.  Sanyo units last shipped with 3 year warranties, and we service those units that are no longer under warranty.

Why you absolutely should service, maintain, and repair your Sanyo Projector

With low end projector models, it’s easy to say let’s buy a new one, instead of repairing an old one.  But in today’s world, it’s simple, high-lumen high-brightness projectors still cost the big bucks.  The 15,000 lumen PLC-HF15000L cost $22,000 new, the older PLC-XF45 cost nearly $15,000.  While older models might not be HD or might not have the latest HDMI inputs, they still offer the best in class image brightness, which is usually what matters for classrooms, churches, and businesses.

Why choose Digitron Electronics to service your Sanyo Projector?

No one services more Sanyo projectors than we do, plain and simple.  We use authentic Sanyo parts, we offer quick turn-arounds, and our experience with these projectors means more accurate repairs on popular large body Sanyo projectors like the PLC-XF40, PLC-XF45, PLC-XF46, PLC XF-47, PLC XF-70, PLC-HF-10000, and the PLC-HF-15000.

More organizations choose us to refurbish their projector inventories than anyone else.  In 2013, we refurbished 127 Sanyo projectors for the University of Southern California (USC) and in 2014, we did a project for the City of Los Angeles, handling over 30 high-lumen Sanyo projectors.

About Digitron Electronics

Digitron Electronics is a consolidated A/V Repair Services firm. We help consolidate A/V Repairs for Event Production Companies, Corporate Entities, Schools, and Broadcasters.

As an authorized service center for 62 different manufacturers including Panasonic, JBL, and Mackie, our team of engineers is trained to work on Projectors, High-End Video Camcorders, Lighting, and Mixing Boards, among other miscellaneous A/V equipment. We help production companies save time and money by consolidating all repairs in one convenient location with a net 30 account and free pick up/delivery for large orders.

B-52 Authorized Service Center

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We are proud to announce that we are an authorized warranty service center for B-52 Professional Audio products including Prodigy DJ Workstations, US series amplifiers, Guitar amplifiers, and ACTPRO Active Systems.  B-52 Pro Audio systems are built in the US, here in Southern California, and are known for their excellent sound and competitive price points.  As always, we accept warranty service requests that do not fall under the abuse category with proper proof of purchase.

Standard Warranty

LIFETIME Warranty on Cabinet Construction
FIVE-YEAR Warranty on High Frequency devices
FIVE-YEAR Warranty on Loudpeakers
TWO-YEAR Warranty on Digital Amplifiers


This new warranty authorization brings our total count to 70 brands that we are authorized to repair including Soundcraft, JBL, and Panasonic.  Digitron Electronics has been in the business of Professional Audio repair, Professional Camcorder repair, and Projector repair since 1992.  We help event production companies, schools, churches, and other institutions simplify product maintenance by centralizing all warranty and out of warranty repairs in one location, with one purchase order.

Warranty Information:


Press Release – NEC Projector Authorized Service

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In Q3 2014, Digitron Electronics joined the NEC Display Self-Servicer network. Our partnership with NEC display means better pricing and quicker service for our customers who need NEC Projector Repairs and NEC Professional Monitor Repairs.

Digitron Electronics works with institutions like schools, hospitals, and event production companies to consolidate all audio visual repairs in one central location with one purchase order. We reduce administrative headaches, shipping mistakes, and increase convenience in times when broken equipment can seriously disrupt productivity.