Permanent LED and LCD video walls designed and installed across Northeast Ohio. Engineered for brick and timber buildings where the structure a wall needs usually has to be added first.
A video wall is the largest display purchase most operators make, and the two ways it goes wrong here are location and structure. The ask is almost always a wall behind the bar, where fourteen seats face it and a hundred and eighty seats do not. Put the best technology where you are driving the most experience. Then comes the building, since these bar districts sit in nineteenth-century brick and timber warehouses with almost nothing overhead capable of carrying a wall, which people tend to discover after the drawings are finished.
So we work the room and the structure together. Where the experience actually happens decides what belongs there, and often that is a cluster of commercial displays, a ribbon, or one large display driven as four panes rather than a wall. Where a wall is right, mounting points get confirmed rather than assumed, and the steel it needs gets priced with your contractor before a panel is ordered. Outdoors the answer is always LED, specified for lake wind and a real freeze-thaw winter. We install permanent systems only, and we do not rent.
From East 4th Street and the Warehouse District to Ohio City taprooms, University Circle institutions, and suburban corporate floors, we design, install, calibrate, and support permanent video walls across Northeast Ohio.
Repeated crossings of freezing drive condensation inside a cabinet, so outdoor construction gets sealed with real moisture management rather than a generic outdoor label.
Sustained shoreline wind gets engineered into the mount at that specific height and exposure rather than covered by a general outdoor rating.
Accumulated snow adds weight and meltwater, so mounting, drainage, and cable entries all get designed with that load in mind.
Processors and controllers need a room held at or below 75 degrees, because a hot rack shortens the life of everything in it.
How we work
Put the best technology where you are driving the most experience, then find out what the building can actually carry. In these buildings the second half is real work.
In a converted warehouse the first question is not what wall you want, it is whether anything up there can hold one. Our first conversation is a consult, not a quote: what the space is, where guests look, what the room has to do, and what you can spend. Then we work the building. A ceiling-hung wall needs a ceiling plate and a structural pole, and on the open ceilings common here that means unistrut and real structural steel added by the general contractor before a panel arrives. Masonry walls have no cavity and often no documented backing, so mounting points get confirmed rather than assumed. Ductwork, lighting runs, and sprinkler positions take up what little room is left.
Older buildings downtown carry historic considerations that limit what can be penetrated or seen, and those get confirmed per address rather than assumed from a neighborhood. We design to the requirements that apply and confirm the review path for that specific building early, since it can change the mount, the concealment, and sometimes the location. Once the structural work is priced, the arithmetic often shows it approaching the cost of the panels, which is the moment a cluster or a single display run as four panes becomes the better answer. Where a wall still wins, one team handles the install, the calibration, the staff training, and the documentation, coordinated with your electrician and low-voltage trades.
Where Cleveland walls earn
Some rooms here justify a wall and plenty do not, and in this city the structural bill is usually what decides it.
East 4th and the Warehouse District are the clearest case for asking the question honestly. The buildings are beautiful and structurally uncooperative, and once the steel, the backing, and the concealment are priced, a full wall can cost close to double the panel budget. So we count the seats that will see it first. Rooms that watch one thing together and seat a real crowd still justify a single large canvas, and sports viewing pulls the pixel pitch tighter than operators expect. Smaller rooms usually do better with a ribbon along the back bar or a cluster of commercial displays, driven by a video processor in the control system so the group behaves as one canvas.
Downtown offices and campus buildings put a wall in for what it tells people, not for the mood it sets. A lobby wall behind glass is a brightness and placement problem before it is a resolution problem, so output and position get settled first and the content gets designed to stay legible. Briefing and operations rooms need several sources readable together, and a canvas carrying eight to twelve inputs with one running large is where direct-view LED earns its cost. University Circle rooms get sized off the furthest seat, so reach outranks fine detail. Retail walls run the operator's own brand and product content at a size that reads across the floor.
Outdoors here fails from cycling rather than from cold. Outdoor means LED, since nothing else survives outside, and this shoreline asks for more than a generic outdoor rating. Crossing freezing repeatedly drives condensation inside a cabinet, and moisture is what takes out electronics, so construction gets sealed with genuine moisture management and cable entries get protected properly. Mounting gets engineered for sustained wind off Lake Erie plus snow and ice load at that height and exposure. Every outdoor wall gets an ambient light sensor so it lifts at midday and dims at night rather than running flat out through the months it sees light use. Outdoor work carries a higher budget and a shorter service life.
Plain answers
Three things decide what a video wall costs in an old building. Here is what each one means for your room.
Mounting is the part that decides whether a wall is possible, and it is the part quotes usually skip. A ceiling-hung wall rides on a ceiling plate and a structural pole, and on an open ceiling that becomes unistrut with structural backing built by the contractor. The variables that move the answer are the ceiling type, the air conditioning ducting, the lighting fixtures, the fire sprinklers, and the sightlines the room has to keep. Masonry has no cavity, so a wall mount needs confirmed anchorage rather than an assumption about what sits behind the brick. We settle all of it in design, when the fix is a drawing revision instead of a compromise with panels already on a truck.
Indoor or outdoor answers most of the technology question, and outdoor is LED. Indoors, an LCD wall is thin-bezel panels with processing built in: lower cost, higher resolution, indoor only, tiles in 55 and 65 inch, and a practical ceiling around a ten by ten grid. LED uses cabinets in many sizes driven by an external processor, so it reads as one screen and runs brighter. Pixel pitch is the distance between pixels in millimetres, roughly 0.9 to 3.9, and viewing distance sets that number rather than the price list. Calibration matches panels so seams disappear, though a bad display cannot be calibrated into a good one. A spare-parts kit from day one and revolving inventory are what keep the wall up.
The buildings are the reason. These bar districts sit in nineteenth-century brick and timber warehouses, and a ceiling-hung wall needs a ceiling plate and a structural pole to carry real weight. In a converted warehouse with an open ceiling there is usually nothing up there capable of that, so unistrut and structural steel have to be added by your contractor before a panel arrives. Masonry brings its own problem: no cavity, and often no record of what is behind it, so mounting points get confirmed instead of assumed. Then there is the historic side. Many downtown buildings limit what can be penetrated or seen, and we confirm that path for the specific address rather than carrying an assumption over from another project. Once all of it is priced, the structural work can approach the cost of the panels, which is a number you want before you settle on a size. So we look at what the building can carry, then talk about the wall.
Worth asking before anything else, and in these buildings it comes up constantly. A wall is a purposeful decision about where experience is actually created rather than a default showpiece, and the test is to count the seats that will see it. If the bar seats fourteen and the rest of the venue seats a hundred and eighty, an LED wall behind the bar is probably a waste of money. Put the best technology where you are driving the most experience. Several alternatives get most of the way there for far less, and they need far less structure. A ribbon or a cluster of commercial displays reads as one feature when placed and driven properly. A video processor in the control system turns a group of screens into a single canvas. One large display can be run as four panes, so a 98-inch panel behaves like four 49-inch quadrants. When the steel for a true wall costs about what the panels cost, that trade is usually the right one.
Cycling does more damage than cold. Crossing freezing repeatedly drives condensation inside a cabinet, and moisture is what actually takes out electronics, so outdoor construction gets sealed with genuine moisture management rather than a generic outdoor label, and cable entries and connections get protected properly. Mounting gets engineered for sustained wind off Lake Erie on top of snow and ice load at that height and exposure, since a shoreline patio and a courtyard three blocks inland are not the same install. Corrosion matters near the water too, where gold-plated leads hold up considerably better than standard solder. Brightness is the other half: every outdoor wall gets an ambient light sensor so it lifts at midday and dims at night instead of running at full output through months when almost nobody is on the patio. Done properly the wall stays up year round rather than coming down every fall.
We do not rent. We design and install permanent video walls, and the service plan is part of the design rather than something added afterward. Manufacturers quote diode life in the tens of thousands of hours, and no outdoor wall in this climate reaches a lab figure, so we plan for parts. We supply a spare-parts kit from day one and run revolving inventory, which means a failed module gets swapped immediately, the dead one goes back to the vendor under warranty, and the repaired unit returns to the pool. The wall keeps working instead of sitting with a dark patch while a replacement ships, which matters in a room where the screen is the reason people picked the table. Warranty terms scale with the tier of wall you buy and we will be straight about that trade-off. Most support issues resolve remotely, with around 47 percent of tickets closing inside an hour.
Client successes drive Crunchy Tech to become better. Below is how our customers feel about us.
The Design Build process was the best thing that could have happened. They showed our ownership three different options on each feature wall — from the bar to the rest of the venue. That’s when it really sold them. They felt involved. They knew what they were putting in, they were making the decisions, and they could see it was going to look right.
Working with Crunchy Tech was a fantastic experience from start to finish. They handled the sale and installation of all our sound and TV equipment at The County Bar in Aviston, IL, and absolutely nailed it. We were on a very tight deadline, and they not only met it—they delivered top-notch quality and service the entire way. Highly professional, responsive, and easy to work with. We couldn't be happier with the results.
Crunchy has done an amazing job on our A/V install. The sound is perfectly balanced throughout our many zones and the entire system is super simple to use.
The Design Build process was the best thing that could have happened. They showed our ownership three different options on each feature wall — from the bar to the rest of the venue. That’s when it really sold them. They felt involved. They knew what they were putting in, they were making the decisions, and they could see it was going to look right.
Working with Crunchy Tech was a fantastic experience from start to finish. They handled the sale and installation of all our sound and TV equipment at The County Bar in Aviston, IL, and absolutely nailed it. We were on a very tight deadline, and they not only met it—they delivered top-notch quality and service the entire way. Highly professional, responsive, and easy to work with. We couldn't be happier with the results.
Crunchy has done an amazing job on our A/V install. The sound is perfectly balanced throughout our many zones and the entire system is super simple to use.
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Read article arrow_forwardTell us about the space: the neighborhood, the age of the building, whether the ceiling is open or finished, whether the mounting surface is masonry, whether the wall is indoors or out, and how far back people will be sitting. The consult starts with whether a wall is the right answer, then we work the structure and come back with one engineered recommendation instead of a panel count.
