ares lcd panel made in china

Ares International Corp. officially signed a contract for introducing its ciMes (Computer Integrated Manufacturing and Manufacturing Execution System) with Transcend Optronics (Yangzhou) Co., LTD, a 100%-owned China-based subsidiary of Prime View International (PVI), the largest Taiwan-based small- to medium-size panel maker, at the beginning of 2008 to realize product precision manufacturing and effective quality control at Transcend Optronics (Yangzhou).

Therefore, Transcend Optronics (Yangzhou) has spent more than one year to collect its system needs, search for service providers, make schedules for project direction, etc. After comparing the software functions, technical stability and the professional ability of project teams, Transcend Optronics (Yangzhou) has chosen Ares ciMes solution.

Established in 2002 with a total capital of US$183.5 million, Transcend Optronics (Yangzhou) houses an LCD module (LCM) and electronic paper (e-paper) manufacturing base. The base started first-phase test run in November 2002, with its second fab and third fab entering production in June 2004 and May 2005, respectively, at a respective monthly capacity of one million units. Its fourth-phase production started in June 2006 at a 1.6 million-unit monthly capacity. Besides mainly producing small- to medium-size (smaller than 10.4 inches) LCD modules, the company also started volume producing e-paper products in 2006, passing verification from Sony and Amazon and becoming the sole supplier of e-books globally.

Meanwhile, the capital of Transcend Optronics (Yangzhou) jumped from 820 million Yuan in 2004 to 2.8 billion Yuan to 2006, with major clients including major international companies such as Sony, Foxconn, HannStar Display. Matushita Electronic Industrial, Truly Semiconductors and LG.Philips LCD.

Note: Ares International Corp. has been established for nearly 30 years, providing professional manufacturing management information system software and specializes in developing product technologies and system integration. Ares has earned a strong foothold in the Computer Integrated Manufacturing (MIS) and MES areas for ten years, offers high-quality information service and has passed the CMMI L3 certification. Ares has strong project integration management ability, quality assurance ability, development and maintenance ability as well as the most complete consultant team. Ares ciMes solution has complete functions and modules while featuring advantages such as “flexible structure”, “reasonable pricing” and “nearby service”. Existing clients include AU Optronics (AUO), Taiwan Semiconductor Manufacturing Company, King Yuan Electronics (KYEC), Grace Semiconductor Manufacturing Corporation (GSMC), Powerchip Semiconductor Corp. (PSC), Vanguard International Semiconductor Corporation (VIS), APTOS Corporation, HeJian Technology, Topsun Optronics Inc., Chi Mei Materials Technology Corp. (CMMT), Luxxon, Optodisc Technology Corporation, Sintek Photronic, Allied Integrated Patterning Corp. (AIPC), ChipMOS TECHNOLOGIES (Bermuda) LTD. (ChipMOS), Princeton Technology Corp., Micro Silicon Elecs. Corp. (MSEC), United Microdisplay Optronics (UMO), STATS ChipPAC Taiwan Semiconductor Corporation, Truly Semiconductors, Radiant Opto-Electronics Corporation, etc. Ares has earned abundant factory experiences when serving its clients. In addition, with strengths in areas such as ERP, eHR and BI, Ares fully considers the integration of each information system when introducing ciMes for its clients and has won great trust from them.

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V-Ares is a new third generation of outdoor rental series with strong frame design, module design of cabinets, modules and power box. It adopts color and brightness calibration pixel to pixel. While ensuring the same brightness and color consistency, it keeps perfect picture images, ensures correct self-reading and dual backup function.

ACME professional solutions and innovative products ARES Moving Beam are tailor-made for stage design and rental companies. The extremely effective Philips MSD Platinum 19R 4,000 Hours Long Lifespan(*Test lab conditions) discharge lamp with a great intensity of 882,000 lux at 10 meters offers extremely high output and fascinating prism/gobo combination effects.

The attractive design of the compact housing with foldable clamps (Optional for Omega Bracket Base) for better handling in everyday use. 16-bit resolution enables smooth, uniform dimming and fast-moving pan/tilt speed. Designed to fulfill all scale stage applications, the new ACME ARES is a perfect beam light for all functional purposes.

In recent time, China domestic companies like BOE have overtaken LCD manufacturers from Korea and Japan. For the first three quarters of 2020, China LCD companies shipped 97.01 million square meters TFT LCD. And China"s LCD display manufacturers expect to grab 70% global LCD panel shipments very soon.

BOE started LCD manufacturing in 1994, and has grown into the largest LCD manufacturers in the world. Who has the 1st generation 10.5 TFT LCD production line. BOE"s LCD products are widely used in areas like TV, monitor, mobile phone, laptop computer etc.

TianMa Microelectronics is a professional LCD and LCM manufacturer. The company owns generation 4.5 TFT LCD production lines, mainly focuses on making medium to small size LCD product. TianMa works on consult, design and manufacturing of LCD display. Its LCDs are used in medical, instrument, telecommunication and auto industries.

TCL CSOT (TCL China Star Optoelectronics Technology Co., Ltd), established in November, 2009. TCL has six LCD panel production lines commissioned, providing panels and modules for TV and mobile products. The products range from large, small & medium display panel and touch modules.

Established in 1996, Topway is a high-tech enterprise specializing in the design and manufacturing of industrial LCD module. Topway"s TFT LCD displays are known worldwide for their flexible use, reliable quality and reliable support. More than 20 years expertise coupled with longevity of LCD modules make Topway a trustworthy partner for decades. CMRC (market research institution belonged to Statistics China before) named Topway one of the top 10 LCD manufactures in China.

The Company engages in the R&D, manufacturing, and sale of LCD panels. It offers LCD panels for notebook computers, desktop computer monitors, LCD TV sets, vehicle-mounted IPC, consumer electronics products, mobile devices, tablet PCs, desktop PCs, and industrial displays.

The front of the unit is far more pedestrian, with a line of slim black buttons to control inputs, as well as muting and phase. There is no remote included with the Ares II, and the red indicator lights are slightly difficult to view from many angles, leading to a lot of getting up and hunching over to see what exactly the front of the unit was indicating. Also displayed on the front are indications for bit rate and audio codec. The Ares II is capable of PCM1536 with native DSD decoding up to DSD1024.

In keeping with its analogue ethos, it does not decode MQA, which depending on your digital allegiances may be a good thing or a dealbreaker. The Denafrips also has customizable sampling settings, with three unique settings of OS (oversampling) Fast, OS Slow, and NOS (no oversampling). OS Fast is the default setting, and this can be changed following a mildly complicated sequence of buttons on the front face. There is no simple button to control OS/NOS on the front of the Ares II, a feature which I wish they would add as I had to follow a video tutorial to figure out how to control this setting.

Setting up the Ares II was a simple affair. I ran a DH Labs Silver Sonic Coaxial cable from my Oppo 105D to be used as a transport. I also connected my Roku TV to the unit via Toslink for the purposes of Tidal streaming. The Ares II was then connected via unbalanced RCA to my McIntosh C712 preamplifier. I also kept my Oppo 105D connected to the McIntosh via RCA so that I could go back and reference the Oppo’s onboard ESS Sabre DAC in my listening. The control of utilizing the same disc transport and file server with both DACs allowed me to directly compare the differences in presentation between the two units. To begin I left the DAC in its default OS-Fast mode. Before I got to critical listening, I wanted to spend some nonjudgmental time with the Denafrips.

Rather than start with audiophile reference tracks in the beginning, I started with some harsh sounding, but musically enjoyable recordings to see if the Ares II was tolerable on lower budget studio efforts. I played a number of compressed rock recordings from artists like The Fall of Troy, Horse the Band, Our Lady Peace, and Siouxsie and the Banshees.

One should never expect a DAC to be a miracle worker, a good DAC is not going to scrub your harsh recordings into sparkling china, and some outstanding high end DACs can even make your less than perfect recordings sound much worse. What I did notice after a few hours of listening, however, is the Ares II turned what was there into an enjoyable experience. The soundstage did not magically open up, and brickwalled, overly loud mastering jobs did not suddenly display orchestral levels of dynamic range, but the Denafrips had a sweetness and instrumental separation that let me appreciate the musicianship I was hearing. An impressive feat.

I then listened to another high resolution PCM recording, this time of Lee Morgan’s Search for the New Land.The Ares II brought out a very rich, round character in the trumpet and sax on the title track. Transient attacks were very good, but what really was pleasing to me was the natural decay that followed. On ‘Morgan the Pirate’, horn attacks sound precise, but they were just the right amount of aggressive and round. Listening to the same track on the Oppo, the same attacks sounded somewhat blatty and the sustained tone was slightly more nasal and thin. I was noticing a theme with the Denafrips—it possessed a very warm character that formed three-dimensional instrumental textures. I also noticed how tuneful the drum hits were compared with my memory. I’m very used to hearing the percussive snap of the snare drum in these ‘60s Blue Note recordings, but what was new to me was the sense of tuneful pitch that accompanied the end of each transient attack.

I played my physical CD of The Pillows Happy Bivouac—this CD certainly isn’t a badly engineered recording, but it does have a bit of that shoegaze shine that can instill a tipped-up and grainy sound. The Denafrips rounded off a lot of the harsh edges around the upper end of this recording without making it too murky as to obscure the hard driving rock rhythms. That said, I did notice on this CD the Oppo managed to maintain a wider soundstage and field of view than the Ares II. I was happy with the tradeoff, though, while the soundstage on the Ares II was a bit narrower, there was more texture and three dimensionality within that stage. On the track ‘Last Dinosaur’, the Denafrips let me experience some tangible grit and gumption to singer Sawao Yamanaka’s voice. The delayed guitar notes on ‘Our Love and Peace’ also had impressive sustain and musical direction. Like on the Lee Morgan recording, I was impressed by how rich the drum hits were, and how much muscle the Ares II was able to get out of the bass guitar.

I spent the remaining time playing around with a few other DACs I had on hand. The $99 Schiit Modi 3 is an impressive budget chip DAC and one of the easiest recommendations to make to new budding audiophiles. But when held up against either the 105D or the Ares II, it crumbles, revealing its shortcomings in timing, upper end glare, and comparatively flat textures.

Just to experiment, I plugged in another DAC I had in for review, the aforementioned monster Metronome Le DAC. Obviously this DAC competes more with the Denafrips Terminator than the little Ares II, but the comparison was not as disappointing as one might think. A lot of the meat that made the Ares II so enjoyable is also present in this overbuilt chipset DAC from France, including the tunefulness and sweetness in the vocals. Where the Ares II shows its limitations is in the upper treble extension in which the Metronome shows much more air and refinement, and also in the soundstage, which suddenly becomes much wider and deeper with the Metronome. Is it unfair to compare a $750 DAC to one retailing for $6900? Probably, but the little Ares II feels much more at home with a serious contender reference piece like Le Dac than the Schiit Modi.

All of this has me thinking about where the Ares II sits in the value scale, and who should be interested in it. For somebody like myself who finds themselves slightly disappointed in digital recordings, the Ares II had just enough analog dynamic meat to let me enjoy my music and stop worrying about the LP vs digital conundrum. It lets the listener focus on very musical things like phrasing, impact, a sense of scale, dense textures that have many dimensions to sink into, in other words, it helps you feel the music rather than think about it. I don’t mean to imply that this DAC is romantic or glosses over details, it doesn’t, but it also doesn’t work to shove them in your face at the expense of a coherent musical experience.

The Denafrips Ares II is a pretty incredible value at $750, it is a no-frills device with tank-like build quality and a natural analog sound signature that will please many digital-skeptics. A lot has been made about this DAC’s ability to punch above its weight, and I do think it sounds better than many competing units in and above its price bracket. I do not think the label ‘giant killer’ is very useful however, as I have yet to hear a piece of gear this term applies to without generous hyperbole. Realistically, I think the Ares II can easily compete with DACs in the $1000-1500 range, and for many audiophiles this should make it very appealing.

For someone with a 2-5K stereo system using a built in DAC or an entry level solution like the Schiit Modi or Audioquest Dragonfly, the jump to the Denafrips Ares II would be a huge game-changer without breaking the bank. If you are looking for a DAC under, let’s say $1,200, and you do not require MQA decoding, I’d have a hard time recommending anything other than the Ares II. Denafrips has managed to engineer and build a stellar piece most people can afford, and given this is the entry level unit, I’m very curious to hear what they can do once one travels further up their line.

Ares Z Line FPV Monitor Enjoy the exciting photo and video opportunities that the Ares Z Line FPV monitor allows and transmit your recordings wirelessly, safely and live over a long distance. Bristling with the latest technology this cutting edge 7” 5.8GHz diversity screen is perfect for both the newcomer and regular FPV flyer.

This product’s design fulfills the protective aims of the European Community relating to the safe operation of this equipment. For a copy of the Declaration of Conformity, please visit www.ares-rc.com/support Disposal Electrical equipment marked with the crossed out wheelie bin symbol must not be disposed of in household waste, but must be taken to a specialist disposal or recycling system.

a line of extreme and ultra-narrow bezel LCD displays that provides a video wall solution for demanding requirements of 24x7 mission-critical applications and high ambient light environments

The world’s top four LCD suppliers for TVs will be mostly from in 2020, while the total shipment from global LCD companies is likely to fall by 8.2% to 265 million units, according to market research firm IHS Markit on Dec. 18.

IHS Markit said this would mark the first time in 10 years to witness a decline in such panel shipments, as unlike Chinese companies that will continue to ship more, South Korean suppliers will be cutting their volume.

As with BOE, CSOT is mass producing Gen-10.5 and Gen-11 LCD panels. CSOT will also be ramping up production from its first Gen-11 LCD production line, the T6, by the end of this year. The T7, which is the firm’s second Gen-11 line, is to begin mass production by 2021.

Meanwhile, Taiwan’s Innolux is expected to maintain its No.3 status, while China’s HKC will rise to the fourth-largest supplier. HKC had earlier been cited as likely to acquire the Gen-8 LCD production lines at Samsung Display’s suspended panel plant, but Samsung has chosen a different Chinese manufacturer that had no display production lines.

In terms of country, China will ship 58% of the total amount of LCD panels for TVs to reflect a jump from this year’s 47%. South Korean firms, on the other hand, are to see their shipment fall to 17% from this year’s 27%. The 17% will be smaller than the share by Taiwanese firms, which are likely to ship around 22% of the total global volume.