Creating Rayva: Paul Stary, Pt .1
An admittedly fuzzy picture of me with some of the key contributors to Rayva (from left): Tim Sinnaeve (Barco),
me, Rayva CEO Vin Bruno, Anthony Grimani (PMI), Paul Stary, and Rayva president George Walter
I recently asked Cineluxe editor-in-chief Michael Gaughn to interview me and my key collaborators at Rayva about our efforts to create turnkey home theater solutions that can be efficiently manufactured and easily installed. The first interview was with engineer Paul Stary, who took my initial concepts for the Rayva theaters and came up with brilliantly practical ways to manufacture the designs without any compromises in quality.
Michael Gaughn Theo, what was the initial issue that led to you needing to engage an engineer in this? Was there a problem with a specific installation or whatever?
Theo Kalomirakis Yes. We created the first two Rayva theaters more or less based on practices I used to use for custom designs, but they were not adequate to provide the kind of product we wanted Rayva to be. But I didn’t know any better and we did it. We met with a variety of challenges in installation, but also in creating predictable parts. Every part, because it wasn’t defined in an engineering fashion in detail, was prone to be misinterpreted by the manufacturer and built differently. This had the potential to create some problems, which we carefully managed.
What brought me to Paul, by serendipity, was his son, Steve, of Brilliant AV, who was the first one to install a Rayva theater. He knew what I was trying to accomplish, and he knew what his dad could do. And he said, “Talk to my dad, because it’s
not just that he’s my dad, I know he is a brilliant engineer and he might be able to give you the right engineering perspective.” So he made the introduction, I called Paul, and the rest is history.
MG Paul, had you ever had any interaction with Theo before this?
Paul Stary No, I had not. We’d never talked. Although I knew his reputation and, through my son’s dealings, had learned about the Rayva theater product.
It has been an interesting relationship because you can obviously tell that Theo is extremely interested in the unique nature and detail of his product and all the design, and rightfully proud of all that. I just wanted to take what he had done and change what’s behind the curtain in a way that makes it reproducible and better in terms of the form, fit, and function but without changing the appearance of it.
If you compare a theater from the first Raya installation to one installed a year from now, you won’t see any difference until you start taking things apart and then you’ll see a radical difference. There’s almost nothing recognizable behind the façade.
Another big part of the engineering is creating a group of people that works together with common goals to evolve the product and the process. We’re trying to take something that is more or less an individual idea and turn it into an organization where the organization has the power rather than one particular individual.
That’s what has to happen when you take a company that changes from an idea into a product. Theo’s great at setting the culture. He’s also been great at adapting to change, which is something a lot of people in his position are not able to do. I would have probably bailed on this project long ago if he wasn’t like that, or hadn’t been so willing to make the necessary changes.
MG What was the first thing you guys took on when you started the engineering?
PS Well that’s a difficult question because there really isn’t any one thing; you have to look at it as a system. My
ABOUT PAUL STARY
Paul Stary is the President and CEO of Virual-E Corporation is Costa Mesa, CA. He is the founder, designer, and developer of the company’s signature product the VirtualGT racing simulator, a $20,000-$50.000 machine sold to affluent motorsports enthusiasts and racers, corporations for marketing and promotion, and commercial racing centers.
The VirtualGT simulator is based on home theater technology, and is widely considered the most realistic and exciting simulated driving experience available, which can be directly attributed to its custom audio and vibration system. (For more on, see Dennis Burger’s “VirtualGT: The Ultimate Racing Simulator.”)
He is also a principal at Audio-Video Engineering in Costa Mesa, which is a consumer electronics consulting, design, and engineering firm that specializes in the developing and manufacturing custom analog and digital electronics, computer control systems, and speaker systems.
The company recently completed the design of the TalkStar talkbox, a radical improvement in the performance, quality, and reliability of this obscure musical effect that was popularized on Peter Frampton’s Frampton Comes Alive in the ‘70s.
Paul is also the president and founder of AudioMobile, which pioneered many advances in high-end car-audio electronics, speaker systems, and installations techniques during the early days of that industry.
approach to anything in life has always been to do a non-linear analysis, which means I start circling at 30,000 feet. You can’t see much down at the ground level at that altitude, but you have the big picture, you can kind of get an idea of the terrain, the scope, the whole package. And then you just keep circling, and as you circle you drop. And eventually you get down to Ground Zero where you’re into the minutiae.
That approach is useful for a project like this because if you take any one thing out of context and start to focus on it you eventually learn about some other aspect that changes the original premise, so it’s counterproductive. Even though this approach is more time consuming, it saves time in the long run because you have a more effective approach to managing all of the problems together as a unit.
So the problems typically are to take all the components and see how they fit together. And even that is difficult because there are multiple levels in terms of the manufacturing process of making it affordable, and maintaining the quality when it’s produced so it has consistent dimensions and finishes, and so forth. And then you might make the system easy to manufacture, but it’s a nightmare to install. So you have to keep all these other disciplines in mind.
The wall panels for the original Rayva designs had to be shipped pre-assembled
in large crates, and were difficult to install.
Then you have to define all the parts and build them, but you’re not done. You still have to kit them for shipment to the customer. We’re going to outsource that, so we have to find resources who can do that. And then the product has to be easy to ship. Right now, the Rayva theaters are shipped pre-assembled in crates, which makes it extremely inflexible.
And then there’s the installation. Even beyond that, there’s the ability to service and support, and to upgrade over time. Our clients are obviously homeowners with some degree of affluence. They often move and in the process may resell the house to someone who may not have the same tastes, so can you make upgrades and alter the designs of the theater after it is installed? Or is it so custom that it’s stuck that one way forever, so you have to rip it out and start over?
Those are the kind of things I looked at as we sought to make a Rayva theater a product that can be manufactured at a reasonable cost, then assembled by outsourced resources of various types, then easily shipped and installed so it can be readily upgraded, serviced, repaired, and supported in the field.
A brief video showing the installation of the Rayva wall panels
before they were engineered by Paul Stary.
We’re on that path right now, and understanding the unique nature of the product was extremely important as I circled down to the ground. I’m pretty much at the point where I understand all of the different elements, and it’s a very complex product because there are so many variations. There are angles and finishes and lighting systems, and things like that, that have to be integrated. I think we’ve moved Rayva from a custom theater to a turnkey product that anybody can buy and install.
MG What impact does the complexity of a Rayva theater have on actually fulfilling an order?
PS If this was a product where you simply took two or three components and put them together as a sub assembly, then put it in a box and shipped it, it wouldn’t be too difficult. But in this case there are hundreds of parts and they have to be assembled in stages and in different places.
So we’re putting together a software system to handle the manufacturing at the most sophisticated level where you can bring orders in random, and assemble those orders into production runs where the software manages the procurement, pricing, shipping, and all of the assembly with subcontractors. It automates the difficulty of bringing all these parts in, knowing what you have to order, when you have to order it—even more importantly, knowing what parts you have in stock, the lead times of all the parts you don’t have in stock, and then you can predict the delivery date with reasonable accuracy the moment you accept an order.
In Part 2, Paul and I discuss the significant challenges we encountered early on taking the existing Rayva designs and engineering them for production.
Theo Kalomirakis is widely considered the father of home theater, with scores of luxury theater
designs to his credit. He is also an avid movie fan, with a collection of over 15,000 discs. Theo
is the Executive Director of Rayva.