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ProSoundWeb stands as the largest online community dedicated to the professional audio sector. This includes everything from live sound and installed sound to recorded audio and trends in the industry. Our community has expanded significantly, attracting over 100,000 unique visitors each month who collectively browse millions of pages.

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Microfiles: The Turner 44D, Derived From A Distinctly Unique Heritage

2 weeks ago | prosoundweb.com | Craig Leerman

One of the jems in my microphone collection is a Turner 44D. I looked everywhere for a clean model and finally lucked upon a mint condition unit complete with the box, cable and paperwork. I’ve always thought Turner made some of the best looking Art Deco-style microphones. While this model is a bit more modern than many of Turner’s more famous vintage mics, it’s still a beauty.
Road Test: Shure Nexadyne Instrument Microphones

1 month ago | prosoundweb.com | Phil Garfinkel |Phil Garfinkel lives

Last year, Shure introduced the Nexadyne series of microphones, one of the first major shifts in a while for the company, which is currently celebrating its 100th anniversary. As someone who worked for a competing mic manufacturer for 15 years, I was very intrigued, and also initially a bit skeptical. After all, the Beta series seemed largely a re-packaging original mic designs (admittedly with different magnets). Was this really a new direction? Or was it just more of the same?
Step By Step: Part 2 On Working Through A System Design & Tuning Process

1 month ago | prosoundweb.com | Michael Lawrence

In the previous installment of this series (here), we looked at the design process for this system; now let’s tune it. I have three microphones: a wired at front of house and two wireless. I will follow my usual color-coding convention: Green, Orange, Pink from top to bottom of the venue. That means the FOH wired mic is orange, and the two wireless are green and pink.
Road Test: Yamaha D-Series Loudspeakers & Subwoofers

1 month ago | prosoundweb.com | Mike Sokol

If I’m going to commit to a loudspeaker, it had better be flexible enough to do a variety of gigs. That is, as a hired sound engineer, I never know what type and size band I’m going to be reinforcing. Of course, it’s different if it’s a band buying a sound system for just themselves. But nowadays, there’s the need to be flexible. Even a formed act needs to provide different styles for the gig at hand. Do so and flourish. Don’t do it and perish.
TASCAM To Showcase Sonicview Digital Consoles & IF-ST2110 Expansion Card At 2025 NAB Show

1 month ago | prosoundweb.com | Keith Clark

TASCAM announced that it will showcase the new IF-ST2110 expansion card and 2.0 firmware for its Sonicview 16/24 digital mixing consoles during the upcoming NAB show at the Las Vegas Convention Center (booth N1038). The new expansion card brings full support for SMPTE ST 2110 AV networks to the Sonicview platform at a lower cost, making it well suited investment for those looking to future-proof their operations for IP-based connectivity.
Road Test: Audio-Technica 3000 Series In-Ear Monitor System

1 month ago | prosoundweb.com | Mike Sokol

Wireless in-ear monitor systems have been one of the greatest live audio inventions of this century. No kidding!A quick bit of perspective. Look at photos/video of any stage from the 1970s through the ‘90s, you’ll likely see a lot of monitor wedges on the floor pointing back at the musicians. Of course, all those floor wedges contribute to extra SPL on stage, which complicates separating the various instruments in the mix, as well as making a small room uncomfortably loud.
Step By Step: Part 1 On Working Through A System Design & Tuning Process

2 months ago | prosoundweb.com | Michael Lawrence

This article is the first in a series that follows an example step-by-step through a representative design and tuning process for a mid-sized arena. On the macro level, I follow pretty much the same steps and workflow as I would always follow on a similar job. However, along the way, we will see how the specifics of the day demand adjustments and changes where necessary. We start with an empty venue (Figure 1). The stage is in place and we have our laser in hand.
Sonance Names Adrián Sepúlveda As Manager, Mexico

2 months ago | prosoundweb.com | Keith Clark

Sonance Professional has announced the appointment of Adrián Sepúlveda as manager, Mexico, where he is working on driving business forward, fostering relationships and more in the Mexican market. Sepúlveda brings 16 years of experience working with audio manufacturers in Mexico to the role, driving technical sales through distributors, integrators, and consultants.
The Space Between: Measuring The Impact Of Flying Subwoofers Behind Main Arrays

2 months ago | prosoundweb.com | Michael Lawrence

Flying subwoofers directly behind a flown full-range array is now a well-established approach in large-scale live sound reinforcement. Some people, when learning of the technique, inquire as to whether any of the output from the subwoofers is blocked by the mains. The typical answer is that the subwoofers emit low frequencies with long wavelengths (50 Hz = 22.5 ft/6.8 m) that can simply bend around the main hang and continue on their way, rather than being occluded.
On The Same Page: Do You Hear What I Hear?

Jan 15, 2025 | prosoundweb.com | Mike Sokol

Many live mixes are not only too loud, but also sonically unbalanced. I got to thinking about this (again) when recently re-reading “How Loud Does It Need To Be?” by Peter Janis of Radial Engineering here on ProSoundWeb. Yes, I’m saying it right here: far too many live mixes are just plain bad. That is, too much bass, too many highs, and dynamics out of control. Add this to SPL in excess of 110 to 115 dB and it’s not only painful, it’s usually a poor version of the intended mix of the song.