Yingmi tüm senaryolar için özelleştirilmiş çözümler sunuyor

There is no single price for a tour guide system, because the same phrase covers a handful of receivers for a weekly factory visit and a fleet of hundreds for a museum with a dozen languages. What you pay depends on six things: how many people you serve at once, what kind of system you choose, how the audio reaches the visitor, how much content you need, what you buy to charge and store the units, and what support comes with them. Suppliers rarely publish price lists for this kind of equipment, and a quote that arrives as a single number tells you very little. A more useful way to approach the question is to understand which decisions move the price and by how much they matter to your own operation. Once you know that, a quote becomes something you can read and compare instead of something you accept or reject. The Number of Receivers Is Not the Number of Visitors Most buyers start by counting visitors, but the figure that sets the price is the largest group you need to serve at the same moment, plus whatever margin you want for faults and losses. A venue that receives sixty people a day in groups of fifteen needs a very different fleet from one that receives sixty people at once. Peak simultaneous demand drives the unit count, and unit count drives the largest part of the bill. It is worth working this number out carefully before asking for a quote, because buying for your busiest day when your typical day is a quarter of it is the most common way to overspend. Where the Sound Comes From Systems differ in how a visitor gets the audio, and that difference shows up in the price. In a guide-led system, a live guide speaks into a transmitter and everyone listens through receivers. In a self-guided system, recorded audio plays on the receiver when the visitor reaches a stop, so each point of interest needs a trigger and each segment needs to be recorded. Two-way systems add the ability for listeners to speak back, which suits training, study groups and interpretation but needs hardware that supports it. Live guiding is cheaper to set up and costs more in staff time. Self-guided costs more at the start, in equipment and content, and less to run once it is working. Content Is a Cost Too For self-guided tours, the equipment is only half of the spend. Someone has to write the scripts, translate them, record them in each language and load them. Each additional language multiplies that work. Many first-time buyers set a hardware budget and discover later that the recordings cost as much as the receivers. If you are planning a multilingual route, ask early what is included, who produces the audio, and what it costs to change a segment later when an exhibit moves. The Things You Charge and Store Them In Chargers, charging cases and storage are easy to treat as accessories and hard to live without. A fleet of fifty units needs somewhere to charge all fifty overnight, and a way to carry them safely to an event. These items appear as separate lines on a quote, or sometimes not at all, so check what is actually included. Some kits bundle them. The YingMi L8, for example, is sold in kits from small groups upward, with charging docks and charging boxes as part of the set, which makes the charging and storage cost visible in the kit price instead of an add-on you discover afterward. What Happens After the Sale Warranty length, repair turnaround, replacement units and spare parts all affect what the system really costs over its life. A cheaper system with a short warranty and slow repairs can cost more than a pricier one that stays in service, because every unit out for repair is a unit you paid for and cannot use. When comparing quotes, ask for the support terms in writing and put them next to the price. Reading Two Quotes Side by Side Cost driver What to ask Number of units Does the count cover my peak group and a reserve? System type Is it guide-led, self-guided or two-way, and is that what I need? Content and languages Who records the audio, and what does a change cost? Charging and storage Are docks and cases included or extra? Support What are the warranty and repair terms? If one quote is a single line and another is itemized, the itemized one is almost always easier to trust, even when the total is higher, because you can see what you are paying for and what is missing. Rent or Buy If your events are rare, renting avoids the whole question of ownership cost: you pay for the days you need. If you run tours every week, owning almost always works out cheaper over time. The break-even point depends on how often you use the equipment and how long it lasts, so work it out from your own calendar rather than from a general rule. Asking for a Useful Quote You will get a better quote if you give the supplier a clear brief: the largest group you serve at once, how many languages you need, whether tours are guide-led or self-guided, how many sites you operate and how long you expect to keep the equipment. Ask for an itemized quote that separates equipment, accessories, content and support, and ask what is not included. The suppliers who answer those questions plainly are usually the ones who will still be answering them after delivery. FAQ Why do quotes for similar systems differ so much? They often cover different things. One may include charging cases, content and support, while another lists only the receivers. Compare the items, not only the totals. Is a self-guided system more expensive than a guide-led one? Usually more at the start, because of trigger points and recorded content, and often less to operate over time because it needs fewer guides. Does adding languages raise the price? For self-guided tours, yes, because each language needs its own translation and recording. For guide-led tours, it depends on whether you need interpreters or extra channels. Can YingMi provide an itemized quote? Send your largest group size, languages, tour type and number of sites, and the team can prepare a quote that separates equipment, accessories and support.

A gallery is a quiet room, and visitors like it that way.   People stand in front of a canvas for a minute or for five. They move on when they feel like it, and many come alone. A guide talking to a group, even softly, breaks that mood. So does a long wall label that makes everyone bend toward the same corner.   That is why more galleries are looking at a self-guided audio guide: a small receiver that plays the right commentary when a visitor stands near a work, with nobody speaking out loud.   Why Group Guiding Fits Galleries Poorly   Gallery rooms are small, and sound carries in them. A guide’s voice reaches the next room, and the visitors there didn’t sign up for a tour. Groups also set the pace. Someone who wants to stay with one painting has to leave when the group moves on, and the person who wants to skip a room has to wait.   A wireless team guide still has a place at private views, patron evenings and school visits, where a live guide is the point. For everyday visitors, though, self-guided listening usually suits the space better.     Letting Visitors Set Their Own Pace   An automatic induction guide works the way the name suggests. The visitor wears a small receiver. A sensor placed near a work tells the receiver where the visitor is, and the matching commentary starts on its own.   There are no numbers to key in and no app to open. Visitors can double back, skip a room or stay with one piece for ten minutes.     Temporary Shows Change the Plan   Galleries rarely hang the same works for years. Temporary exhibitions open and close, and the layout shifts with them.   That affects how you choose equipment. The commentary needs to be pre-recorded and stored on the device before the opening. The sensors need to be small enough to place around a new layout. And someone has to own the content, from writing the script to recording it in each language.   Before you buy, ask the supplier how commentary is loaded and replaced, and how sensors are moved when a show changes.       Small Rooms Need Small Trigger Zones   In a large museum, a wide trigger area is fine. In a small gallery, two works can be a couple of meters apart, and you don’t want the commentary for one to start while the visitor is standing at the other.   Look for a system where the sensor’s reach can be adjusted, then walk each room with a test unit. Check where the audio starts, where it stops, and what happens in the doorway between rooms.   Placement matters as well. Agree with your curator or conservator on where sensors can go, and keep them off and away from the works themselves.   A 17g Receiver With Adjustable Triggers   The YingMi i7 is an automatic induction guide, and its documentation lists art museums and galleries among its applications, including temporary shows and academic exchanges.   The receiver weighs 17g and measures 70 × 24 × 12mm, small enough that most visitors will forget it is there. It stores up to 9,999 pre-recorded segments in 8 languages, so one fleet can serve international visitors without separate devices.   The sensing side is what makes it workable in small rooms. The system supports 9,999 signal points. Each has 16 adjustable signal-strength levels and a sensing coverage of up to 40 meters. A gallery will usually want a much smaller zone than that maximum, so test what each level does in your own rooms. The sensor itself measures 40 × 40 × 20mm, weighs 27g and runs for at least 12 months on its battery.   One practical point. The receiver’s working time is 7 to 8 hours, so if your gallery opens longer than that, plan a charging break or keep spare units on hand. Customization options, including logo, frequency, battery capacity and materials, are listed in the documentation; our OEM and ODM services page has more detail.   Writing the Commentary   Hardware is only half of it. Visitors judge the guide by what they hear.   Keep each segment short enough that nobody feels stuck in front of one work. Write the way a person talks, not the way a catalog reads. And if you offer several languages, record all of them to the same standard, since an uneven voice in one language is the first thing international visitors notice.   FAQ   Does a small gallery really need an audio guide? Not always. It helps when you have many international visitors, when works need more explanation than a label can hold, or when you want visitors to listen without crowding the walls.   Will the audio for one work play over the next? It depends on how far the sensor reaches. The i7 offers 16 adjustable signal-strength levels, so you can narrow the zone. Test each room with a real unit, especially near doorways.   How many languages and recordings can the i7 hold? Up to 8 languages and 9,999 pre-stored segments.   Can it handle temporary exhibitions? Commentary is pre-stored and the sensors are compact, which suits a changing layout. Ask the supplier exactly how content is replaced and how sensors are repositioned before you order.

Twenty minutes in, someone at the back quietly slides the earpiece off and lets it hang around their neck. A few stops later, three more have done the same. The guide turns around and realizes that half the group has stopped listening. Operators invest in a tour guide system to make sure everyone hears. It is frustrating to watch visitors disconnect from it anyway. The instinct is to blame the visitors, but the more useful question is what made switching off the easier choice. The reasons are rarely mysterious, and most of them can be fixed. The points below come from how tours work in practice and from what operators commonly report, not from survey data, so treat them as a diagnostic checklist rather than statistics. Because It Hurts or Slips Comfort is the quietest reason and one of the most common. A receiver that presses behind the ear, feels heavy after half an hour, makes the skin sweaty or keeps slipping out of position gives the wearer a constant small irritation. No one complains, because it is only a small thing, but they take it off. The fix starts at the buying stage: test devices on a range of people for a full session, and prefer designs that stay put without needing to be pressed or adjusted. Offer an alternative fit for guests who find the first one uncomfortable. Because the Sound Keeps Letting Them Down Visitors forgive a lot, but not a voice that fades in and out. Crackles, dropouts when the guide turns away, volume that varies from one stop to the next and static near doors all teach listeners that the system is unreliable. Once they decide that, they stop trusting it and revert to listening to the room. Walk your route before the season and note where the sound weakens. Remind guides to keep the microphone in a consistent position, and give them a quick check routine before each tour. Because the Talking Never Stops A voice in the ear is closer and more insistent than a voice across a room. A guide who keeps talking without pauses becomes tiring quickly, and visitors who cannot look around in peace will switch off to regain some quiet. What works in a loud, open setting can feel overwhelming through a receiver. Guides need to leave silences, especially at points of interest where people want to look. A pause is not wasted time. It is when the visitor takes in what they have just been told. Because It Does Not Match What They See When the audio describes something the visitor cannot find, or arrives after the group has already moved on, the experience falls apart. This happens when the guide talks about the next stop while the group is still at the last one, or when recorded content plays at the wrong place. Visitors lose the thread and decide it is easier to ignore the audio. Keep the commentary tied to what is in front of the group, and check any location-based playback for accuracy. Because They Cannot Follow It If the guide speaks too fast, uses a lot of specialist vocabulary or has an accent the visitor is not used to, understanding takes effort, and effort wears out quickly. For international groups, translation quality matters as much as the equipment. Short sentences, clear terms and a steady pace help every listener, and a native review of each language version catches awkward phrasing before visitors do. Because Nobody Showed Them How A surprising number of visitors do not know how to adjust the volume or what to do if something sounds wrong. They do not like to bother the guide, so they take the receiver off. A thirty-second explanation at the handout desk and a visible member of staff along the route prevent most of these quiet exits. Because It Cuts Them Off From Their Friends Many visitors come in pairs or families, and a receiver in one ear can feel like a barrier to sharing the moment. They remove the device to comment on something with the person beside them. A design that leaves one ear free, or a guide who invites short breaks for people to talk, respects this. Tours are social, and the audio should not undermine that. Reading the Signs What you see Likely reason What to try Receivers off within the first twenty minutes Discomfort or poor fit Test fit on varied wearers, offer alternatives Visitors tapping or adjusting the device Sound dropping or uneven Walk the route, check weak spots Group drifting away from the guide Commentary too continuous or off-topic Add pauses, match talk to the view Blank looks from some language groups Hard-to-follow language Simplify terms, review translations Receivers off after a stop at which people chat Feeling cut off from companions Plan short breaks in the commentary A Receiver Designed to Stay Out of the Way YingMi L7 Two of the reasons above, comfort and sound that gets mixed up with another group's, are things equipment can help with. The YingMi L7 uses an ear-hook design that sits over the ear rather than pressing into it, which suits visitors wearing it for a long tour. It works on UHF with 150 transmit channels and 102 receive channels, so several groups can run at once without overhearing each other. The rest, including pacing, language and a good handout routine, depends on how you run the tour. Ask Before You Guess The best source of answers is the visitor. Add one short question to your feedback form or ask staff at the return desk to note why a receiver came back early or unused. Within a month you will see which of the reasons above apply to your tours, and you can fix the most common one first. FAQ Is it normal for some visitors to switch off the audio? A few will always do so. If many do, or they do so early in the tour, something about the fit, the sound or the pacing needs attention. What is the quickest improvement to try first? Add pauses to the commentary and give visitors a short, friendly explanation of the device at the handout desk. Both cost very little. How can we find out why visitors take off the receivers? Ask them. A short question on a feedback form or at the return desk will show the main reasons within a few weeks. Does equipment alone solve the problem? No. Fit and sound quality depend on equipment, but pacing, content and handout routines depend on how the tour is run.

A demo in the supplier's showroom tells you the system works in the supplier's showroom. Your venue has its own walls, crowds and radio noise, and the only way to know how a tour guide system behaves there is to try it there. Most disappointments with new audio guide equipment come from things that were never tested, not from things that were tested and failed. The range looked fine on the spec sheet, the battery was rated for a full day, the sound was clear in a quiet meeting room. Then the first real event arrives and something nobody checked goes wrong. Ask the supplier for a trial set, or buy a small batch first, and run the seven tests below in the places where your groups will actually be. Each takes less than an hour, and together they will tell you more than any brochure. 1. Walk the Longest Route You Run Put the transmitter with a person acting as the guide, and walk the longest, most awkward route your groups take, with a receiver in your ear. Note every place where the sound crackles, drops or cuts out. Pay special attention to corners, stairwells, lifts and the farthest point from the guide. Stated range is measured in ideal conditions, and your route is not ideal. 2. Test Through Your Thickest Walls Stand the guide in one room and walk the receiver into the next, and then the one after that. Concrete, brick, metal doors and glass partitions all affect radio signal differently. If your tours go through plant rooms, cellars or fire doors, test those exact spots. A system that works across an open hall can still fail one room away. 3. Run It With the Full Crowd Test with as many receivers on as you expect to use, not just two or three. Interference and pairing problems often appear only when many units are active at once. If your venue hosts several groups at the same time, run two guides on different channels together and listen for any bleed between them. If other wireless equipment is in use nearby, such as microphones, Wi-Fi or event radios, switch it on during the test. 4. Listen in the Loudest Room Clarity in a quiet room proves little. Take the system to the noisiest spot on your route, whether that is a machine floor, a busy lobby or an exhibition hall at peak, and have the guide talk at a normal volume. Listen for how well the guide's voice stands out from the background, and ask the guide whether speaking feels natural. If the microphone struggles, it will be obvious here. 5. Wear It for a Full Session Comfort cannot be judged in five minutes. Have several staff members of different heights and hairstyles wear a receiver for as long as a real tour lasts, or longer. Ask about pressure behind the ear, weight, sweat, and whether it slips. Include someone who wears glasses. Whatever annoys your testers after an hour will annoy your visitors too, and they will not be as polite about it. 6. Run the Battery Down Charge a set fully, switch it on at the start of a working day, and note when each unit dies. Rated battery life is useful as a guide, but real use depends on volume, temperature and how often units are switched on and off. Then time the recharge, and check whether the recharge time fits your turnaround between sessions or overnight. 7. Time the Handout and Return Finally, test the process around the equipment. Ask a colleague to hand out thirty receivers to a mock group, collect them, count them and put them on charge. Note how long it takes, where it goes wrong and how obvious it is when a unit is missing or uncharged. A system that sounds perfect but takes twenty minutes to distribute will cost you more every day than a slightly less impressive one that takes five. A Single Sheet to Record the Results Test Where to run it What to record Longest route Your full tour path Dropouts and weak spots Thick walls Rooms with concrete, brick or metal Where the signal fails Full crowd Main hall, all units on Interference, pairing problems Loudest room Noisiest point on the route Voice clarity Full-session wear Staff of varied builds Comfort and fit complaints Battery run-down A normal working day Actual runtime and recharge time Handout and return Your real handout desk Time taken and mistakes A Trial Set Worth Requesting YingMi 008B If your venue has long routes and solid walls, the YingMi 008B is a sensible system to put through tests 1 and 2. It supports two-way communication and is specified at 280m or more in open fields, with the ability to penetrate concrete and brick. Treat those figures as a starting point, as with any system, and confirm them on your own route. FAQ Can we trial a system before buying? Many suppliers will lend or sell a small set for testing. Ask early, and agree in writing how long the trial lasts and what happens if you return the units. How many units do we need for the crowd test? As close as you can get to your real group size. Problems that appear only with many units on at once will not show up with two or three. Who should do the testing? A mix of people: someone technical, someone who guides tours, and a few staff who are not involved in the purchase and will give honest comfort feedback. What if the system fails one of the tests? Share the result with the supplier. Some problems have a simple fix, such as a different channel or placement. If the answer is vague, treat that as information too.

A visitor stops in front of a painting, reads three lines on the wall label, and moves on. The curator knows there is a story behind the brushwork, the sitter and the year it was painted, but a label cannot carry it, and a guide cannot be everywhere at once. Galleries and private collections face an unusual version of the guided-tour problem. The rooms are quiet by design, the groups are small, and visitors want to look at their own pace. A loud guide breaks the atmosphere, and a printed label leaves most of the story untold. A self-guided audio guide system offers a middle path: each artwork can speak when the visitor arrives, in the visitor's ear and at the visitor's own speed, without anyone in the room raising their voice. This article walks through how that works for a gallery or a private collection, and what to plan before the first visitor puts on a device. What a Label Cannot Do Wall labels are short on purpose. They give the artist, the title, the date and the medium, and perhaps a sentence of interpretation. The richer material sits elsewhere: how the work was made, who owned it, why it matters in the collection, what the artist said about it. Audio is the natural home for that material, because it adds depth without adding clutter to the walls. Visitors who want only the basics can skip the audio, and visitors who want more can stay as long as they like. Letting the Artwork Start Talking The most visitor-friendly way to deliver audio in a gallery is to tie it to location. When a visitor walks up to a work, the right segment starts on its own, and when they leave it stops. There is no number to key in, no screen to tap and no map to consult. That matters in a space where people are looking at the art, not at their device. A visitor who has to look down at buttons has stopped looking at the painting. Location-based triggering works with trigger points placed at or near each work. The receiver recognizes the point as the visitor approaches and plays the matching segment. This is the approach used by the YingMi M7, which is built around RFID trigger points rather than GPS, so it behaves the same way indoors as outdoors. Public Gallery or Private Viewing Setting Typical visitors What the audio should do Public gallery Many people, arriving at different times Let each visitor move at their own pace with consistent content Private collection by appointment Small, invited groups Add depth without a staff member on every visit Temporary exhibition Visitors who want context for new work Be easy to update when the show changes Corporate or hotel art collection Guests and employees passing through Be optional and unobtrusive Writing for a Listener Who Is Looking Audio for artworks works differently from a lecture. The visitor is already looking at the work, so the voice should help them see, not describe what is obvious. A few habits help: Guide the eye. Point to what to look at: the light in the corner, the figure on the left, the texture of the surface. Keep it short. A segment that outlasts the visitor's attention is skipped. Aim for what a person will stand still for. Leave silence. A pause after the key idea gives the visitor time to look. Plan every language from the start. International visitors are common, and adding a language later means touching every segment. Trigger Points on a Gallery Wall Placement matters more in a gallery than almost anywhere else. Works are often hung close together, and a trigger that fires too early or too widely can start the wrong segment. Before you decide how many points you need, ask the supplier how the trigger range behaves and how overlap between neighboring points is handled, and test it on a real wall. Also check what is acceptable where the work is displayed: in many collections nothing can be attached to a wall or frame, so freestanding or discreet placement may be the only option. The M7 in a Gallery YingMi M7 The YingMi M7 is a self-guided system that plays audio automatically when the visitor reaches a trigger point. It runs on 2.4GHz and supports up to 9,999 audio segments in 8 languages, enough for a large collection with a full set of translations. The trigger point battery is rated at 15 months or more, which keeps maintenance light across many galleries, and the receiver weighs 50g with an 800mAh battery rated at 16 hours or more, so it can be worn through a long visit without becoming a burden. Handing Over the Device Gracefully The first minute of the experience sets the tone. Give visitors a short, friendly explanation of how the receiver works and where it begins to play, then let them go. A private collection can make the handover a small ritual, with a staff member introducing the device and the collection together. A public gallery needs a clear, quick desk routine so queues do not form, with devices counted and cleaned when they come back. Before Opening Day 1. Walk the route and mark where each work's trigger point will sit. 2. Test closely hung works for overlap and fix the placement. 3. Record and review every language with a native speaker. 4. Decide where devices are stored, charged and cleaned. 5. Plan how new works will be added without redoing the tour. FAQ Does self-guided audio replace a live guide? Not necessarily. Many galleries use audio for everyday visitors and keep live guides for special tours and private viewings. Can we use trigger points where nothing may be attached to the wall? Often there are freestanding or discreet options. Check with your conservation or collections team before choosing locations. How do we handle works that hang close together? Ask the supplier how overlap between neighboring trigger points is managed, and test it on your own wall before you finalize placement. How easy is it to change the content when an exhibition changes? Plan for it from the start by keeping scripts and recordings organized by work, and confirm with the supplier how audio is updated.

Proje Arka Planı Shanxi Fenjiu Sergi Salonu, markanın tarihini, kültürünü ve gelişimini farklı sergi alanları aracılığıyla sunmak üzere tasarlanmıştır. Rehberli ziyaretler için ziyaretçilerin bir bölgeden diğerine geçerken net ve ilgili açıklamalar alması gerekmektedir. Bu tür bir sergi ortamını desteklemek için Shanxi Fenjiu Sergi Salonu, Yingmi MC200 çok kanallı bölge tur rehberi sistemini destekleyebilecek bir çözüme ihtiyaç duyuyordu.     Zorluk Çok bölgeli bir sergi salonu, her biri kendi ses içeriği veya rehberli açıklaması gerektiren farklı sergileme alanları içerebilir. Geleneksel bir ses sistemi, özellikle birden fazla alanın bağımsız olarak çalışması gerektiğinde, farklı bölgeleri yönetmeyi zorlaştırabilir. Bu nedenle sergi salonu, bölge tabanlı ses yönetimi ve farklı sergi alanları arasında sorunsuz geçişleri destekleyebilecek bir çözüme ihtiyaç duyuyordu.     MC200 Çözümü Yingmi, Shanxi Fenjiu Sergi Salonu için MC200 çok kanallı bölge tur rehberi sistemini sağladı. MC200, özellikle sergi salonları ve farklı alanların bağımsız ses rehberliği gerektirdiği diğer mekanlar için tasarlanmıştır. Rehberli bir grup belirlenmiş bir alana girdiğinde, ilgili ses kanalı etkinleştirilebilir. Grup bölgeler arasında hareket ettikçe, sistem farklı alanlar arasında otomatik geçişi destekleyerek sorunsuz bir rehberli tur deneyiminin sürdürülmesine yardımcı olur. Sistem ayrıca önceden kaydedilmiş ses içeriğini de destekleyebilir, bu da sergi bilgilerinin önceden hazırlanmasına ve farklı bölgelerin gereksinimlerine göre çalınmasına olanak tanır.   Sergi Salonunda Uygulama Shanxi Fenjiu Sergi Salonu'nda MC200, farklı sergi alanlarında sesi yönetmek için yapılandırılmış bir yol sağlar. Tüm mekan için tek bir ses kaynağına güvenmek yerine, sistem farklı bölgelerin ayrı ayrı yönetilmesine olanak tanır. Bu, ses içeriğini ziyaret edilen sergiler ve alanlarla eşleştirmeye yardımcı olur. Sergi operatörleri için bu, çok bölgeli rehberli turlar için daha organize bir yaklaşım sağlarken, farklı alanları aynı anda yönetme zorluğunu azaltır.   Anahtar Faydalar Çok Bölgeli Ses: Farklı sergi alanları bağımsız ses kanalları kullanabilir. Otomatik Bölge Değiştirme: Ziyaretçiler sergide ilerledikçe ses alanlar arasında geçiş yapabilir. Azaltılmış Parazit: Ayrı bölgeler gereksiz ses çakışması olmadan çalışabilir. Önceden Kaydedilmiş İçerik: Belirlenmiş alanlarda kayıtlı açıklamalar çalınabilir. Grup Ziyaretleri İçin Uygun: Sergi salonları ve benzeri mekanlarda rehberli resepsiyon için tasarlanmıştır. Sonuç Yingmi MC200'ün tanıtılmasıyla Shanxi Fenjiu Sergi Salonu, birden fazla sergi bölgesinde sesi yönetmek için özel bir çözüm elde etti. Sistem, bölge tabanlı açıklamaların koordine edilmesine yardımcı olur ve rehberli tur boyunca daha sorunsuz bir ziyaretçi deneyimini destekler. Proje, çok kanallı bölge ses teknolojisinin, farklı alanların bağımsız ve koordine edilmiş ses rehberliği gerektirdiği modern sergi salonlarına nasıl uygulanabileceğini

Genel bakış Gansu, Gannan Tibet Özerk Bölgesi'ndeki Langmusi Manzara Bölgesi, manastırları, açık çayırları, dağ manzarası ve Tibet kültürü ile bilinir.Ziyaretçilerin sitede geçirdikleri zamanın en iyi şekilde kullanılmasına yardımcı olmak içinBu sayede ziyaretçiler kendi kendilerine bir rehber cihazı ödünç alabilir, kendi hızlarında ilgi çekici yerleri keşfedebilir ve bittiklerinde iade edebilirler.   Geçmişi Langmusi, özellikle yaz aylarında ve tatillerde düzenli bir ziyaretçi akışını karşılar.Tapınakların arkasındaki hikayelerin yanından geçmek kolaydır., gelenekleri ve manzaraları. Manzara alanı, hizmet tezgahında uzun süre beklemeden ve personelin iş yükünü artırmadan, her ziyaretçiye kaliteli bir tercüme sunmak için basit bir yol istiyordu.   Çözüm YingMi, manzaralı bölgede bir ses rehberi kiralama dolabı sağladı. Aç şunu:Ziyaretçiler kiralama dolabına giderler ve kendi kendilerine bir rehber cihazı alırlar. Keşfet:Araçla manzaralı bölgeyi dolaşırlar, giderken yerler, kültür ve tarih hakkında yorumlar dinlerler. Dönüş:Ziyaret bittiğinde cihazı dolaba geri götürürler. Dolap aynı zamanda cihazları bir yerde saklar, böylece bir sonraki ziyaretçi için düzenli ve hazır olurlar.   Faydaları Ziyaretçiler için:Kendine hizmet erişimi, personel için bekleme ve kendi hızlarında tur yapma özgürlüğü. Manzaralı bölge için:Cihazlar bir yerde depolanır ve yönetilir, tezgahta daha az manuel iş ve daha cilalı bir ziyaretçi deneyimi. Hedef için:Daha zengin bir yorum, Langmusi'nin kültürünü ve mirasını yakın ve uzak ziyaretçilerle paylaşmaya yardımcı olur. Sonuçlar Langmusi'de, kiralama dolabı, her ziyaretçi için ses rehberlerini kolayca erişilebilir kılar.Herkes kendi programına göre.Operasyonları basit tutarak ziyaretçi deneyimini geliştirmek isteyen manzaralı alanlar için pratik bir çözümdür. YingMi hakkında Hefei Humantek Co., Ltd.'nin bir markası olan YingMi, dünya çapında müzeler, manzaralı alanlar, fabrikalar ve diğer mekanlar için tur rehberi sistemleri ve ilgili ekipman sağlar.

Müşteri hakkında Xiangyang Mesleki ve Teknik Üniversitesi, Hubei Eyaleti Xiangyang'da bulunan bir yüksek öğrenim kurumudur.ve kültürel ve tarihsel ilgi alanlarıÜniversite, ziyaretçi ve yönlendirme programlarını genişlettiği için, potansiyel öğrencileri, mezunları, delegasyonları ve halkın üyelerini karşılamak için, tutarlı bir,Sadece personel tarafından yönetilen turlara güvenmeden kampüs boyunca ziyaretçilere rehberlik etmenin serbest el yolu büyüdü.. Zorluk Geleneksel kampüs turları eğitimli rehberlerin veya öğretmenlerin mevcutluğuna büyük ölçüde bağlıdır. Rehberli turlar, açık günler, yönlendirme haftaları veya büyük grup ziyaretleri gibi en yoğun dönemlerde ölçeklendirilmesi zordur. Farklı binalardan veya sergi alanlarından kendi hızlarında hareket eden ziyaretçiler genellikle canlı bir rehberin normalde sağlayacağı bağlamı kaçırırlar. El ile, hoparlör tabanlı anlatım aynı alanlarda hareket eden birden fazla eşzamanlı tur grubu arasında gürültü müdahalesi yaratabilir. Üniversite, ziyaretçilerin kampüs alanlarını bağımsız olarak keşfetmelerine izin verebilecek bir kendi kendine hizmet çözümü arıyordu.Bir ilgi alanından diğerine geçtiğinde otomatik olarak ilgili yorumları tetikler., ve canlı anlatıma bağımlılığı azaltmak ¥ tümüyle ziyaretçilerin işlemlerini karmaşıklaştırmadan. Çözüm: YingMi i7 YingMi, üniversiteyei7 Otomatik İndüksiyon Rehberi Sistemi, giyilebilir, RFID ile çalıştırılan kendi kendine yönlendirilmiş tur cihazı tam olarak bu tür yürüyüş ve dinleme deneyimi için tasarlanmıştır. Nasıl çalışır:Ziyaretçiler kampüste hareket ederken i7 alıcısını takarlar.Cihaz otomatik olarak sinyali algılar ve ilgili ses yorumunu çalmaya başlar.Ziyaretçi bir sonraki noktaya yürümeye devam ederken, cihaz yeni içeriğe sorunsuz bir şekilde geçiyor. I7'yi kampüs ortamına uygun hale getiren ana ürün özellikleri: Otomatik, el serbest tetiklemeRFID algılama aracılığıyla, personelin turun her bölümünü elle başlatma veya açıklama ihtiyacı ortadan kaldırır. Büyük içerik kapasitesi, önceden depolanan 9.999 ses segmentine kadar destek sağlar. Bu da üniversitenin zamanla farklı binalar ve alanlar arasında ayrıntılı, çok duraklı yorumlar oluşturmasına izin verir. Çok dilli destek8 dilde, hem yerli ziyaretçileri hem de uluslararası misafirleri veya değişim delegasyonlarını kabul eden bir üniversite kampüsü için kullanışlı. Istikrarlı, müdahaleye dayanıklı sinyal iletimi, böylece birden fazla ziyaretçi veya grup ses üst üstelemesi veya terk edilmeden aynı anda kampüste hareket edebilir. Kompakt, hafif ve giyilebilir tasarım, cihazı daha uzun yürüyüşler sırasında ziyaretçiler için rahat hale getiriyor.     Uygulama YingMi, üniversite ile birlikte kampüs boyunca ilgili noktalarda RFID tetikleyicisinin yerleştirilmesini planladı ve ilgili anlatım içeriğini i7 ünitelerine yükledi.Standart özelleştirme iş akışı doğrultusunda, kurumsal müşteriler için YingMi, gereksinim onayından örnek testine ve nihai dağıtımına kadar takip eder.Cihazın OEM / ODM esnekliği, üniversitenin içeriği genişletme veya ayarlama, tetikleme noktaları ekleme veya ziyaretçi programlarının gelişimine göre birimleri daha fazla özelleştirme seçeneğini koruduğunu da göstermektedir.     Sonuç Xiangyang Mesleki ve Teknik Üniversitesi, i7 sistemi ile ziyaretçilere kampüsü keşfetmek için kendi kendine yönlendirilmiş bir yol sunabiliyor.Doğru yerde ve zamanda otomatik olarak oynayan yorumlarla rutin turlar için canlı rehberlere bağımlılığı azaltırken ziyaretçi deneyimini bilgilendirici ve tutarlı tutarÇok dilli yetenekler, üniversiteyi daha geniş çaplı ulaşım ve değişim faaliyetlerinin bir parçası olarak uluslararası ziyaretçileri daha iyi karşılamak için konumlandırıyor. Neden Önemli? Bu dağıtım, eğitim kurumları, müzeler ve miras alanları arasında daha geniş bir eğilim yansıtıyor: personele bağımlı anlatımdan otomatik,konumu farkında rehber sistemleri ziyaretçi hacmi ile daha kolay ölçeklenebilirÖzellikle üniversiteler için, i7 gibi kendi kendine yönlendirilmiş bir giriş sistemi, açık günleri, yönlendirme etkinliklerini ve diğer etkinlikleri desteklemek için pratik bir yol sunar.ve günlük kampüs ziyaretleri.

19 Ekim 2020'de Wuhan Sigara Fabrikası ziyaretçi karşılama ekibiniYingMi E8 kablosuz tur rehberi sistemi, tam olarak bu tür ortamlar için tasarlanmış kompakt bir takım rehberlik sistemi:Ziyaret eden heyetlerin çevredeki işleyişi bozmadan bir rehberi net bir şekilde duyması gereken canlı üretim ortamıÇeviri, kablosuz tur rehberi sistemlerinin hükümet denetimlerinin standart bir parçası haline geldiği Çin üretim şirketleri arasında daha geniş bir kalıbı yansıtıyor.Kurumsal delegasyonlar, ve endüstriyel turizm ziyaretleri.       Müşteri Arkaplanı   Wuhan Sigara Fabrikası, düzenli olarak resmi denetimlere, şirket ziyaretlerine ev sahipliği yapan büyük ölçekli bir endüstriyel üretim tesisidir.ve üretim alanları ve kurumsal kültür sergileri ile temsilcilik turlarıBu ölçekte tesisler, rutin olarak küçük ziyaretçi gruplarını aktif atölyeler, sergi koridorları ve şirketin geçmişini, değerlerini,ve operasyonel dönüm noktaları all while production continues around them.       Zorluk   Fabrika katları dinleme konusunda zor bir ortam sunuyor.ve ziyaretçi grupların etkin bir şekilde hareket etmelerine devam etmeleri gerektiği tüm işler bir rehberin sadece sesini yükseltmesine karşıBu ziyaret sırasında, heyet üyeleri de maske takıyorlardı, bu da konuşmayı daha da susturdu ve yüz yüze açıklamaları takip etmeyi daha da zorlaştırdı.Resepsiyon ekibinin bir rehberin açık bir mesaj göndermesi için bir yol bulması gerekiyordu., küçük bir gruba sürekli açıklamalar yaparak sergi panelleri ve üretim hattı manzaraları arasında hareket ediyorlardı, dinlemek için ziyaretçilerin konuşmacının etrafına toplanmaması.         YingMi E8 Çözümü   E8 takım rehberi sistemi bu resepsiyon için seçildi çünkü temel tasarımı tam olarak bu senaryoya uyuyor: rehber bir verici tutuyor, her ziyaretçi bir alıcı giyiyor,ve rehberin açıklaması, çevre gürültüsünden veya menzil içindeki fiziksel mesafeden bağımsız olarak, her dinleyiciye doğrudan ve net bir şekilde sunulur.Delegasyon kurumsal kültür panellerinin yanından ve üretim hattının izleme koridorunun yanından geçerken, rehber grup doğal bir ortamı sürdürürken sürekli anlatıyordu.Duymak için gruplaşmak yerine yayılmış yürüyüş oluşumu.   Kullanılan Anahtar Özellikler   Tek yönlü açıklama:İletişim ve alıcı formatı, rehberin makine gürültüsünün üzerinde anlatmasına izin verirken, her ziyaretçi açıklamayı doğrudan alıcılarından duymuştur. Ultra hafif, rahatsız edici olmayan giyilebilir tasarım:Ziyaretçiler, cihaz dikkat dağıtıcı olmadan tüm yürüyüş turu boyunca alıcıları rahatça giyebilirlerdi. Güvenilir kapalı menzil:200 metreye kadar iletişim mesafesi ile, grup sinyal kaybı olmadan geniş atölyede ve koridor alanlarında doğal olarak yayılabilirdi. Maske uyumlu iletişim:Açıklamalar, gösterilen konuşmaya dayanmak yerine elektronik olarak aktarıldığı için, sistem ziyaret boyunca takılan maskelerin susturucu etkisini yendi.     Sonuç   E8 sistemi, Wuhan Sigara Fabrikası'nın resepsiyon ekibinin ziyaretçi heyetine hem kurumsal kültür sergi alanı hem de canlı üretim katı boyunca tek bir şekilde yol göstermesini sağladı.kesintisiz yürüyüş turuZiyaretçiler hem rehberden hem de makineden rahat bir mesafede bilgilendirilmiş ve meşgul olmuşlardı ve resepsiyon tekrar tekrar durmadan, yeniden gruplandırmadan,ya da fabrika turlarının genellikle gerektirdiği yüksek sesli açıklamaZiyaret, ağırlama ekibinin daha sonraki heyet turları için güvenmeye devam ettiği bir şablon oldu.

GeçmişiJingzhou Müzesi, aynı anda farklı sergi bölgelerinde birden fazla ziyaretçi grubuna rehberlik etmenin bir yolunu arıyordu.Bir grubun anlatımının üst üste gelmesi veya diğerine müdahale etmemesi hala personelin izleyicilere bağlı olarak canlı yorum ve önceden kaydedilmiş ses arasında esnek bir şekilde geçiş yapmasına izin verirken. ÇözümYingMi, çok kanallı bir yayın bölgesi rehberlik sistemi sağladı. Her öğretmen bir kontrol / oynatma makinesine eşleştirilen kablosuz bir mikrofon takar. Öğretmen belirli bir sergi bölgesine girdiğinde,Ev sahibi otomatik olarak o bölgenin oyuncularına bağlanır., bu yüzden anlatım sadece ilgili bölgedeki ziyaretçiler tarafından duyulur.   OperasyonÖğretmenler müzeyi dolaşırken canlı, gerçek zamanlı yorumlarla grup turları yapabilirler.Ya da kendi kendine yönlendirilmiş segmentler için talep üzerine ses oynatmaya geçebilirsiniz. Hem genel ziyaretçi gruplarına hem de VIP delegasyonlarına kolayca uyarlanabilir..     SonuçSistem müzeye çeşitli ziyaretçi türleri için daha esnek bir karşılama süreci sağladı ve aynı zamanda birden fazla eşzamanlı tur yönetimi için ekstra yerleşik personele olan ihtiyacı azalttı.