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| ProSound News | |
|---|---|
| Name | ProSound News |
| Type | Trade magazine |
| Format | Print and digital |
| Founded | 1976 |
| Country | United States |
| Language | English |
| Headquarters | Nashville, Tennessee |
ProSound News is an American trade publication covering audio engineering, professional sound reinforcement, recording technology, and live event production. The magazine reports on industry trends, equipment reviews, company developments, and installation projects relevant to practitioners in live sound, studio recording, broadcast, and rental markets. Its coverage intersects with manufacturers, venues, production companies, and standards bodies across the global pro audio ecosystem.
Founded in 1976 amid rapid growth in concert touring and studio recording, the magazine emerged contemporaneously with the rise of acts like Led Zeppelin, Pink Floyd, The Rolling Stones, and Elvis Presley's posthumous catalog management, reflecting demand for information on amplification, mixing consoles, and loudspeaker design. Early issues documented innovations from companies such as Shure Incorporated, AKG Acoustics, Neumann (company), Electro-Voice, and JBL Professional and chronicled developments in analog recording popularized by studios like Abbey Road Studios, Sun Studio, and Electric Lady Studios. During the 1980s and 1990s the publication covered transitions to digital technologies driven by firms like AES (Audio Engineering Society), Avid Technology, Yamaha Corporation, Roland Corporation, and Sony Corporation, and tracked standards debates involving organizations such as SMPTE, ITU, and IEC. Coverage in the 2000s followed the proliferation of networked audio protocols championed by Dante (audio), AVB, and standards work by IEEE. The magazine documented touring systems used by acts including U2 (band), Madonna (entertainer), Radiohead, and Beyoncé while reporting on venue projects at locations like Madison Square Garden, Wembley Stadium, and Sydney Opera House.
Editorial focuses include product reviews of microphones from Sennheiser, mixing consoles from Midas (company), digital signal processors from dbx, and loudspeaker arrays from L-Acoustics and Meyer Sound Laboratories; interviews with designers from Bob Moog, Les Paul, George Martin, and modern engineers affiliated with Abbey Road Studios and Capitol Studios; and technical analyses referencing research presented at AES Conventions, NAMM Show, and IBC (annual conference). The magazine features case studies of installations at venues like Carnegie Hall, Royal Albert Hall, and The O2 Arena, and profiles rental/production firms such as PRG (Production Resource Group), Tait Towers, and Live Nation Entertainment. Editorial also covers broadcast audio in contexts involving BBC, NPR, CBS, NBC, and MTV as well as education programs at institutions like Berklee College of Music, Full Sail University, and Musicians Institute.
By chronicling technological shifts—such as the adoption of digital audio workstations from Avid Pro Tools, software instruments from Native Instruments, and control protocols from MIDI—the publication has influenced purchasing decisions at houses of worship, theaters, and arenas operated by organizations like SMG (company), AEG Presents, and Live Nation Entertainment. Articles on acoustical treatments have cited research from Acoustical Society of America and demonstrated applications at performance spaces designed by firms linked to architects like Frank Gehry and Norman Foster. Coverage of trade standards and safety practices has intersected with regulatory developments at agencies including Occupational Safety and Health Administration and Federal Communications Commission, while commentary on business models has referenced mergers and acquisitions among corporations such as Sennheiser, Harman International Industries, and Sony Corporation.
The magazine reports on major industry events including the NAMM Show, Integrated Systems Europe, AES Convention, InfoComm, and IBC. It highlights award programs and recognitions in categories like product innovation, design excellence, and technical achievement, noting recipients from companies such as Genelec, Dangerous Music, Antelope Audio, and Universal Audio. Coverage includes annual roundups of best-in-class microphones, loudspeakers, and consoles, and special features on milestone tours like those by Bruce Springsteen, Paul McCartney, and Taylor Swift.
Over its history the publication has experienced ownership transitions involving private media groups and niche trade publishers with ties to companies in Nashville, New York City, and Los Angeles. Management teams have included executives with backgrounds at other trade titles covering Billboard, Mix (magazine), Rolling Stone, and Sound on Sound, and business strategies often coordinate with advertising partners from manufacturers such as Shure Incorporated, Yamaha Corporation, Sennheiser, and Avid Technology.
Contributors have ranged from technical editors and industry journalists to veteran engineers, including freelance authors who have worked with AES, former studio engineers from Abbey Road Studios and Sun Studio, and live sound professionals touring with artists like The Who, The Eagles, and U2 (band). Regular columnists have backgrounds in acoustics, electronics, and event production, often participating as panelists at conferences such as NAMM Show and InfoComm.
Distributed in print and digital editions, the magazine reaches subscribers among rental houses, recording studios, broadcast facilities, and academic programs at institutions like Berklee College of Music and Full Sail University. The publication maintains an archive of back issues and special reports on digital platforms used by professionals attending events such as AES Convention and NAMM Show.
Category:Audio publications