From Wikipedia, the free encyclopedia
This is a list of pages in the scope of Wikipedia:WikiProject Professional sound production along with pageviews.
To report bugs, please write on the Community tech bot talk page on Meta.
Period: 2024-03-01 to 2024-03-31
Total views: 4,684,847
Updated: 12:46, 8 April 2024 (UTC)
Rank
|
Page title
|
Views
|
Daily average
|
Assessment
|
Importance
|
1
|
Song
|
76,376
|
2,463
|
Start
|
Top
|
2
|
Blu-ray
|
57,956
|
1,869
|
C
|
Mid
|
3
|
Decibel
|
57,818
|
1,865
|
C
|
Top
|
4
|
DVD
|
56,229
|
1,813
|
B
|
Mid
|
5
|
Compact disc
|
54,865
|
1,769
|
B
|
High
|
6
|
Extended play
|
51,927
|
1,675
|
C
|
Mid
|
7
|
Streaming media
|
46,579
|
1,502
|
C
|
Mid
|
8
|
Radio
|
46,415
|
1,497
|
C
|
High
|
9
|
Sound
|
44,329
|
1,429
|
B
|
Top
|
10
|
Phonograph
|
43,195
|
1,393
|
B
|
High
|
11
|
Phonograph record
|
39,941
|
1,288
|
C
|
High
|
12
|
Cassette tape
|
39,511
|
1,274
|
B
|
High
|
13
|
Wilhelm scream
|
39,064
|
1,260
|
C
|
Low
|
14
|
George Martin
|
36,654
|
1,182
|
GA
|
High
|
15
|
Microphone
|
35,665
|
1,150
|
C
|
Top
|
16
|
Alan Parsons
|
35,057
|
1,130
|
Start
|
Mid
|
17
|
Low-pass filter
|
34,919
|
1,126
|
C
|
Mid
|
18
|
JBL
|
33,570
|
1,082
|
C
|
Mid
|
19
|
Noise pollution
|
32,157
|
1,037
|
C
|
Mid
|
20
|
Synthesizer
|
32,154
|
1,037
|
B
|
Mid
|
21
|
Recording Industry Association of America
|
31,234
|
1,007
|
C
|
High
|
22
|
FL Studio
|
30,737
|
991
|
Start
|
Low
|
23
|
Academy Award for Best Sound
|
30,358
|
979
|
List
|
Mid
|
24
|
Yamaha Corporation
|
29,760
|
960
|
C
|
Mid
|
25
|
LP record
|
29,210
|
942
|
C
|
Mid
|
26
|
Bose Corporation
|
29,199
|
941
|
B
|
Mid
|
27
|
Record producer
|
28,986
|
935
|
C
|
Top
|
28
|
Dolby Atmos
|
28,212
|
910
|
B
|
Low
|
29
|
White noise
|
27,342
|
882
|
C
|
Mid
|
30
|
Music recording certification
|
27,284
|
880
|
C
|
Mid
|
31
|
Analog-to-digital converter
|
23,709
|
764
|
C
|
High
|
32
|
Beats Electronics
|
23,594
|
761
|
C
|
Low
|
33
|
40 (record producer)
|
22,683
|
731
|
Start
|
Low
|
34
|
Phone connector (audio)
|
22,530
|
726
|
C
|
High
|
35
|
Auto-Tune
|
22,150
|
714
|
B
|
Mid
|
36
|
Pulse-code modulation
|
21,751
|
701
|
B
|
High
|
37
|
Headphones
|
21,512
|
693
|
C
|
High
|
38
|
Harman International
|
21,122
|
681
|
Start
|
Low
|
39
|
RCA connector
|
19,847
|
640
|
C
|
Mid
|
40
|
Richard Perry
|
19,829
|
639
|
C
|
Mid
|
41
|
Broadcasting
|
19,092
|
615
|
C
|
Top
|
42
|
Loudspeaker
|
18,871
|
608
|
B
|
Top
|
43
|
Audacity (audio editor)
|
18,319
|
590
|
C
|
Mid
|
44
|
Wall of Sound
|
17,969
|
579
|
C
|
Low
|
45
|
Ground (electricity)
|
17,664
|
569
|
C
|
High
|
46
|
S-Video
|
17,608
|
568
|
C
|
Low
|
47
|
Ableton Live
|
17,477
|
563
|
C
|
Mid
|
48
|
Sound recording and reproduction
|
17,301
|
558
|
C
|
Top
|
49
|
Soundtrack
|
17,281
|
557
|
C
|
High
|
50
|
WAV
|
16,926
|
546
|
C
|
Mid
|
51
|
Dither
|
16,908
|
545
|
C
|
Mid
|
52
|
Pink noise
|
16,863
|
543
|
B
|
Mid
|
53
|
Digital audio workstation
|
16,754
|
540
|
C
|
Top
|
54
|
BNC connector
|
16,548
|
533
|
C
|
Mid
|
55
|
Dipole antenna
|
16,234
|
523
|
B
|
Low
|
56
|
Aliasing
|
16,161
|
521
|
B
|
Mid
|
57
|
Sampling (signal processing)
|
16,154
|
521
|
B
|
High
|
58
|
Tony Visconti
|
16,132
|
520
|
C
|
Low
|
59
|
XLR connector
|
16,033
|
517
|
B
|
High
|
60
|
Amar Bose
|
15,588
|
502
|
Start
|
Mid
|
61
|
Foley (filmmaking)
|
15,513
|
500
|
C
|
High
|
62
|
Spectrogram
|
15,457
|
498
|
C
|
Low
|
63
|
Audio engineer
|
15,288
|
493
|
C
|
Top
|
64
|
Brownian noise
|
14,768
|
476
|
Start
|
Low
|
65
|
High-pass filter
|
14,663
|
473
|
C
|
High
|
66
|
GarageBand
|
14,599
|
470
|
C
|
Mid
|
67
|
Digital-to-analog converter
|
14,525
|
468
|
C
|
High
|
68
|
Logic Pro
|
14,471
|
466
|
C
|
High
|
69
|
Harmonic
|
14,405
|
464
|
Start
|
Mid
|
70
|
Quantization (signal processing)
|
13,972
|
450
|
B
|
Mid
|
71
|
Abbey Road Studios
|
13,859
|
447
|
B
|
High
|
72
|
Noise
|
13,640
|
440
|
B
|
Mid
|
73
|
Composer
|
13,590
|
438
|
Start
|
Low
|
74
|
Owsley Stanley
|
13,537
|
436
|
C
|
Low
|
75
|
Marshall Amplification
|
13,535
|
436
|
B
|
Mid
|
76
|
Harman Kardon
|
13,196
|
425
|
Start
|
Low
|
77
|
Compact Disc Digital Audio
|
13,169
|
424
|
C
|
Mid
|
78
|
S/PDIF
|
12,974
|
418
|
C
|
Low
|
79
|
Public address system
|
12,778
|
412
|
C
|
Top
|
80
|
Active noise control
|
12,704
|
409
|
C
|
Low
|
81
|
Sound pressure
|
12,651
|
408
|
C
|
High
|
82
|
Electric Lady Studios
|
12,545
|
404
|
Start
|
Low
|
83
|
Loudness war
|
12,455
|
401
|
B
|
High
|
84
|
Two Steps from Hell
|
12,161
|
392
|
Start
|
Mid
|
85
|
AC power
|
12,092
|
390
|
B
|
Mid
|
86
|
Bode plot
|
11,969
|
386
|
C
|
Mid
|
87
|
D-subminiature
|
11,706
|
377
|
B
|
Low
|
88
|
Distortion (music)
|
11,677
|
376
|
C
|
High
|
89
|
Shepard tone
|
11,491
|
370
|
Start
|
Low
|
90
|
Finite impulse response
|
11,470
|
370
|
Start
|
Mid
|
91
|
MiniDisc
|
11,466
|
369
|
C
|
Low
|
92
|
Mastering (audio)
|
11,460
|
369
|
C
|
Top
|
93
|
Band-pass filter
|
11,407
|
367
|
Start
|
Low
|
94
|
Backmasking
|
11,386
|
367
|
B
|
Mid
|
95
|
Acoustics
|
11,334
|
365
|
C
|
Top
|
96
|
Digital signal processor
|
11,112
|
358
|
C
|
High
|
97
|
Pro Tools
|
11,099
|
358
|
C
|
High
|
98
|
Stereophonic sound
|
11,061
|
356
|
C
|
Top
|
99
|
Full Sail University
|
10,995
|
354
|
C
|
Mid
|
100
|
Bandwidth (signal processing)
|
10,950
|
353
|
C
|
Mid
|
101
|
High fidelity
|
10,942
|
352
|
C
|
Mid
|
102
|
Tape recorder
|
10,531
|
339
|
C
|
High
|
103
|
Concert
|
10,455
|
337
|
C
|
High
|
104
|
National Recording Registry
|
10,412
|
335
|
FL
|
High
|
105
|
Total harmonic distortion
|
10,378
|
334
|
Start
|
Mid
|
106
|
Roland Corporation
|
10,246
|
330
|
Start
|
Mid
|
107
|
Sennheiser
|
10,235
|
330
|
Start
|
Low
|
108
|
Subwoofer
|
10,146
|
327
|
Unknown
|
Top
|
109
|
Impedance matching
|
10,125
|
326
|
C
|
Mid
|
110
|
Human voice
|
9,901
|
319
|
B
|
Mid
|
111
|
In-ear monitor
|
9,873
|
318
|
C
|
High
|
112
|
Super Audio CD
|
9,812
|
316
|
B
|
Low
|
113
|
Composite video
|
9,756
|
314
|
C
|
Mid
|
114
|
Virtual Studio Technology
|
9,416
|
303
|
C
|
Mid
|
115
|
Remaster
|
9,391
|
302
|
C
|
Mid
|
116
|
Remix
|
9,276
|
299
|
Start
|
Low
|
117
|
Flood (music producer)
|
9,164
|
295
|
C
|
Mid
|
118
|
Surround sound
|
8,980
|
289
|
B
|
Top
|
119
|
Laugh track
|
8,894
|
286
|
C
|
Mid
|
120
|
Integrated Services Digital Network
|
8,801
|
283
|
C
|
Mid
|
121
|
Filter (signal processing)
|
8,785
|
283
|
C
|
Mid
|
122
|
Blaupunkt
|
8,700
|
280
|
Start
|
Low
|
123
|
Magnetic tape
|
8,690
|
280
|
C
|
High
|
124
|
Bob Ezrin
|
8,585
|
276
|
C
|
Low
|
125
|
Cutoff frequency
|
8,576
|
276
|
C
|
Mid
|
126
|
Phonograph cylinder
|
8,553
|
275
|
C
|
Mid
|
127
|
Dynamic range compression
|
8,529
|
275
|
B
|
Top
|
128
|
History of sound recording
|
8,509
|
274
|
C
|
High
|
129
|
Reel-to-reel audio tape recording
|
8,262
|
266
|
B
|
High
|
130
|
Record Plant
|
8,127
|
262
|
C
|
Mid
|
131
|
Electromagnetic shielding
|
8,117
|
261
|
C
|
Mid
|
132
|
TOSLINK
|
8,104
|
261
|
Start
|
Unknown
|
133
|
Equal-loudness contour
|
8,046
|
259
|
C
|
Mid
|
134
|
5.1 surround sound
|
7,848
|
253
|
Start
|
High
|
135
|
Ben Burtt
|
7,784
|
251
|
Start
|
Low
|
136
|
Session musician
|
7,778
|
250
|
Start
|
Mid
|
137
|
Audiophile
|
7,771
|
250
|
C
|
Mid
|
138
|
Recording studio
|
7,741
|
249
|
C
|
Top
|
139
|
Spectrum analyzer
|
7,730
|
249
|
Start
|
Mid
|
140
|
Effects unit
|
7,702
|
248
|
B
|
Mid
|
141
|
REAPER
|
7,560
|
243
|
Start
|
Low
|
142
|
General MIDI
|
7,549
|
243
|
C
|
Low
|
143
|
Equalization (audio)
|
7,511
|
242
|
C
|
Top
|
144
|
Noise reduction
|
7,479
|
241
|
C
|
Mid
|
145
|
DIN connector
|
7,454
|
240
|
C
|
Low
|
146
|
Muscle Shoals Sound Studio
|
7,449
|
240
|
C
|
Low
|
147
|
Non-linear editing
|
7,448
|
240
|
C
|
High
|
148
|
Audio bit depth
|
7,437
|
239
|
B
|
High
|
149
|
Direct Stream Digital
|
7,419
|
239
|
C
|
Mid
|
150
|
Downsampling (signal processing)
|
7,350
|
237
|
Start
|
Low
|
151
|
Dynamic range
|
7,343
|
236
|
C
|
Mid
|
152
|
Post-production
|
7,303
|
235
|
Start
|
Top
|
153
|
Robert Moog
|
7,264
|
234
|
B
|
High
|
154
|
Bob Ludwig
|
7,212
|
232
|
C
|
Mid
|
155
|
Line level
|
7,193
|
232
|
C
|
High
|
156
|
Audio frequency
|
7,165
|
231
|
Start
|
Mid
|
157
|
20 Feet from Stardom
|
7,150
|
230
|
Start
|
Low
|
158
|
List of largest recorded music markets
|
7,079
|
228
|
List
|
Low
|
159
|
LDAC (codec)
|
7,060
|
227
|
Start
|
Low
|
160
|
Phil Ramone
|
7,019
|
226
|
C
|
High
|
161
|
AKG (company)
|
6,992
|
225
|
C
|
High
|
162
|
Optical disc packaging
|
6,922
|
223
|
Start
|
Low
|
163
|
Gain (electronics)
|
6,915
|
223
|
C
|
High
|
164
|
Doug Sax
|
6,904
|
222
|
Start
|
Mid
|
165
|
Wall of Sound (Grateful Dead)
|
6,804
|
219
|
C
|
High
|
166
|
Steinberg Cubase
|
6,792
|
219
|
C
|
Mid
|
167
|
Overtone
|
6,773
|
218
|
C
|
Mid
|
168
|
Digital audio
|
6,768
|
218
|
C
|
Top
|
169
|
Multitrack recording
|
6,744
|
217
|
C
|
Top
|
170
|
Paisley Park
|
6,651
|
214
|
Start
|
Unknown
|
171
|
Live television
|
6,603
|
213
|
Start
|
Mid
|
172
|
High-resolution audio
|
6,579
|
212
|
C
|
Mid
|
173
|
Megaphone
|
6,530
|
210
|
Start
|
Unknown
|
174
|
Preamplifier
|
6,497
|
209
|
Start
|
Mid
|
175
|
Audiovisual
|
6,454
|
208
|
Start
|
High
|
176
|
Digital Audio Tape
|
6,308
|
203
|
C
|
Mid
|
177
|
Re-recording (music)
|
6,271
|
202
|
C
|
Low
|
178
|
Behringer
|
6,226
|
200
|
C
|
Mid
|
179
|
A-weighting
|
6,195
|
199
|
B
|
Mid
|
180
|
Ableton
|
6,134
|
197
|
C
|
Low
|
181
|
Bassline
|
6,087
|
196
|
C
|
Mid
|
182
|
Music sequencer
|
5,989
|
193
|
C
|
Mid
|
183
|
Phonautograph
|
5,982
|
192
|
C
|
Low
|
184
|
Phantom power
|
5,935
|
191
|
C
|
Mid
|
185
|
Mixing console
|
5,903
|
190
|
C
|
Top
|
186
|
Record sales
|
5,866
|
189
|
Start
|
Mid
|
187
|
Road crew
|
5,865
|
189
|
Start
|
High
|
188
|
Vinyl revival
|
5,851
|
188
|
C
|
Low
|
189
|
Wah-wah pedal
|
5,847
|
188
|
Start
|
Low
|
190
|
Intercom
|
5,843
|
188
|
Start
|
Mid
|
191
|
Balun
|
5,811
|
187
|
C
|
Low
|
192
|
Demo (music)
|
5,800
|
187
|
Start
|
Low
|
193
|
Rockfield Studios
|
5,767
|
186
|
Start
|
Unknown
|
194
|
Shangri-La (recording studio)
|
5,657
|
182
|
Start
|
Low
|
195
|
Soundproofing
|
5,648
|
182
|
C
|
Mid
|
196
|
Distortion
|
5,644
|
182
|
C
|
High
|
197
|
Jungle City Studios
|
5,592
|
180
|
Stub
|
Low
|
198
|
Frequency modulation synthesis
|
5,577
|
179
|
C
|
Low
|
199
|
Avid Technology
|
5,576
|
179
|
Start
|
Low
|
200
|
Audio power amplifier
|
5,500
|
177
|
C
|
High
|
201
|
Frequency response
|
5,454
|
175
|
C
|
High
|
202
|
Master Quality Authenticated
|
5,451
|
175
|
C
|
Low
|
203
|
Adobe Audition
|
5,415
|
174
|
Start
|
Mid
|
204
|
Associated Independent Recording
|
5,398
|
174
|
Start
|
Mid
|
205
|
Shure
|
5,384
|
173
|
B
|
High
|
206
|
Overdubbing
|
5,372
|
173
|
Start
|
Mid
|
207
|
Reverb effect
|
5,354
|
172
|
C
|
High
|
208
|
Anti-aliasing
|
5,308
|
171
|
NA
|
Mid
|
209
|
Sound City Studios
|
5,266
|
169
|
Start
|
Low
|
210
|
Audio feedback
|
5,259
|
169
|
C
|
High
|
211
|
Eddie Kramer
|
5,247
|
169
|
C
|
High
|
212
|
Programming (music)
|
5,239
|
169
|
Stub
|
Unknown
|
213
|
Synclavier
|
5,179
|
167
|
C
|
Low
|
214
|
Psychoacoustics
|
5,170
|
166
|
C
|
Mid
|
215
|
Klipsch Audio Technologies
|
5,120
|
165
|
C
|
Mid
|
216
|
Anti-aliasing filter
|
5,115
|
165
|
C
|
Low
|
217
|
Band-stop filter
|
5,066
|
163
|
Start
|
Mid
|
218
|
Quadraphonic sound
|
5,048
|
162
|
C
|
Mid
|
219
|
Sweetwater Sound
|
5,017
|
161
|
B
|
High
|
220
|
Røde Microphones
|
5,003
|
161
|
Start
|
High
|
221
|
Loudness
|
4,985
|
160
|
C
|
Mid
|
222
|
Flanging
|
4,968
|
160
|
C
|
Mid
|
223
|
Music tracker
|
4,942
|
159
|
Start
|
Low
|
224
|
Delay (audio effect)
|
4,868
|
157
|
C
|
High
|
225
|
Shielded cable
|
4,857
|
156
|
Start
|
Low
|
226
|
Slew rate
|
4,855
|
156
|
Start
|
Mid
|
227
|
Twelve-inch single
|
4,836
|
156
|
Start
|
Low
|
228
|
Ampex
|
4,827
|
155
|
C
|
Mid
|
229
|
Olympic Studios
|
4,823
|
155
|
C
|
Low
|
230
|
Grammy Award for Best Engineered Album, Non-Classical
|
4,819
|
155
|
List
|
Mid
|
231
|
Sound design
|
4,774
|
154
|
C
|
High
|
232
|
Moog Music
|
4,764
|
153
|
C
|
Mid
|
233
|
Banana connector
|
4,727
|
152
|
Start
|
Mid
|
234
|
Sound level meter
|
4,720
|
152
|
B
|
Mid
|
235
|
Hitsville U.S.A.
|
4,718
|
152
|
C
|
Mid
|
236
|
Sound stage
|
4,714
|
152
|
Start
|
Low
|
237
|
Crosstalk
|
4,688
|
151
|
C
|
Low
|
238
|
Audio mixing (recorded music)
|
4,632
|
149
|
C
|
High
|
239
|
Sound effect
|
4,624
|
149
|
C
|
High
|
240
|
Timeline of audio formats
|
4,624
|
149
|
Start
|
Mid
|
241
|
Audio Interchange File Format
|
4,610
|
148
|
C
|
Mid
|
242
|
Korg
|
4,609
|
148
|
Start
|
Low
|
243
|
Deep Note
|
4,567
|
147
|
Start
|
Low
|
244
|
Compression artifact
|
4,553
|
146
|
Start
|
Mid
|
245
|
Open Sound Control
|
4,534
|
146
|
Start
|
Mid
|
246
|
VU meter
|
4,517
|
145
|
C
|
High
|
247
|
Tweeter
|
4,510
|
145
|
Start
|
Mid
|
248
|
Binaural recording
|
4,498
|
145
|
C
|
Mid
|
249
|
Attenuator (electronics)
|
4,449
|
143
|
Start
|
Mid
|
250
|
Audio-Technica
|
4,448
|
143
|
Start
|
Mid
|
251
|
Tarn Willers
|
4,378
|
141
|
Stub
|
Low
|
252
|
Squelch
|
4,378
|
141
|
Start
|
Unknown
|
253
|
Vehicle audio
|
4,354
|
140
|
Start
|
Low
|
254
|
Peavey Electronics
|
4,342
|
140
|
C
|
Mid
|
255
|
Audio crossover
|
4,340
|
140
|
B
|
Top
|
256
|
Power Station (recording studio)
|
4,318
|
139
|
Start
|
Mid
|
257
|
Ambisonics
|
4,287
|
138
|
B
|
Mid
|
258
|
Chris Lord-Alge
|
4,256
|
137
|
Start
|
Mid
|
259
|
Lavalier microphone
|
4,253
|
137
|
Start
|
Mid
|
260
|
McIntosh Laboratory
|
4,246
|
136
|
Start
|
Mid
|
261
|
7.1 surround sound
|
4,245
|
136
|
Start
|
High
|
262
|
Horn loudspeaker
|
4,217
|
136
|
B
|
High
|
263
|
SMPTE timecode
|
4,212
|
135
|
C
|
High
|
264
|
Directional antenna
|
4,209
|
135
|
Start
|
Low
|
265
|
Audio signal
|
4,191
|
135
|
Start
|
High
|
266
|
Dolby noise-reduction system
|
4,170
|
134
|
B
|
Mid
|
267
|
Intermodulation
|
4,140
|
133
|
Start
|
Mid
|
268
|
DBFS
|
4,140
|
133
|
C
|
Mid
|
269
|
Dante (networking)
|
4,127
|
133
|
Start
|
Mid
|
270
|
Sun Studio
|
4,113
|
132
|
C
|
Mid
|
271
|
Acetate disc
|
4,097
|
132
|
Start
|
Mid
|
272
|
MPEG-1
|
4,091
|
131
|
B
|
Low
|
273
|
The Hit Factory
|
4,049
|
130
|
Start
|
Low
|
274
|
Oversampling
|
4,033
|
130
|
C
|
Low
|
275
|
Tom Dowd
|
4,020
|
129
|
Start
|
High
|
276
|
Digital filter
|
4,004
|
129
|
C
|
Top
|
277
|
Sound transmission class
|
3,995
|
128
|
C
|
Mid
|
278
|
Scratching
|
3,994
|
128
|
C
|
Mid
|
279
|
Digital biquad filter
|
3,955
|
127
|
Start
|
Mid
|
280
|
Clipping (audio)
|
3,932
|
126
|
C
|
Mid
|
281
|
Geoff Emerick
|
3,921
|
126
|
Start
|
Mid
|
282
|
Studio One (software)
|
3,917
|
126
|
B
|
Unknown
|
283
|
Crest factor
|
3,876
|
125
|
C
|
Mid
|
284
|
Cue sheet (computing)
|
3,864
|
124
|
Start
|
Low
|
285
|
The Mansion (recording studio)
|
3,853
|
124
|
Start
|
Low
|
286
|
Log-periodic antenna
|
3,841
|
123
|
Start
|
Low
|
287
|
Altec Lansing
|
3,821
|
123
|
C
|
Mid
|
288
|
SMPTE 2110
|
3,820
|
123
|
Start
|
Low
|
289
|
History of broadcasting
|
3,813
|
123
|
C
|
High
|
290
|
Native Instruments
|
3,811
|
122
|
Start
|
Unknown
|
291
|
AES3
|
3,802
|
122
|
C
|
High
|
292
|
Trident Studios
|
3,750
|
120
|
C
|
Mid
|
293
|
Electronic filter
|
3,747
|
120
|
C
|
Mid
|
294
|
Bitcrusher
|
3,698
|
119
|
Stub
|
Low
|
295
|
3D audio effect
|
3,683
|
118
|
Start
|
Low
|
296
|
Astoria (recording studio)
|
3,683
|
118
|
Start
|
Low
|
297
|
ISO base media file format
|
3,661
|
118
|
C
|
Low
|
298
|
Yamaha NS-10
|
3,622
|
116
|
GA
|
Mid
|
299
|
Skywalker Sound
|
3,622
|
116
|
Start
|
Low
|
300
|
Production music
|
3,594
|
115
|
C
|
High
|
301
|
Carbon microphone
|
3,592
|
115
|
C
|
Low
|
302
|
DTS-HD Master Audio
|
3,584
|
115
|
Start
|
Low
|
303
|
Audio signal processing
|
3,578
|
115
|
C
|
High
|
304
|
44,100 Hz
|
3,569
|
115
|
C
|
Mid
|
305
|
Hip hop production
|
3,494
|
112
|
C
|
Mid
|
306
|
Echo chamber
|
3,472
|
112
|
Start
|
Mid
|
307
|
Electret microphone
|
3,471
|
111
|
Start
|
High
|
308
|
All-pass filter
|
3,465
|
111
|
C
|
Mid
|
309
|
Steinberg
|
3,462
|
111
|
B
|
Mid
|
310
|
Audio Stream Input/Output
|
3,451
|
111
|
Start
|
Mid
|
311
|
Front of house
|
3,419
|
110
|
Start
|
Mid
|
312
|
Earplug
|
3,411
|
110
|
C
|
Mid
|
313
|
Woofer
|
3,410
|
110
|
Start
|
Mid
|
314
|
LHDC (codec)
|
3,399
|
109
|
Start
|
Low
|
315
|
Audio Video Bridging
|
3,394
|
109
|
C
|
Mid
|
316
|
Pop filter
|
3,388
|
109
|
Start
|
Mid
|
317
|
Image-Line
|
3,381
|
109
|
Start
|
Low
|
318
|
Phaser (effect)
|
3,380
|
109
|
B
|
Mid
|
319
|
Monster Cable
|
3,374
|
108
|
GA
|
Low
|
320
|
RIAA equalization
|
3,362
|
108
|
C
|
Mid
|
321
|
Edifier
|
3,360
|
108
|
Stub
|
Unknown
|
322
|
Yamaha YM2612
|
3,358
|
108
|
Start
|
Unknown
|
323
|
Comb filter
|
3,337
|
107
|
B
|
Mid
|
324
|
T-Minus (producer)
|
3,324
|
107
|
Start
|
Low
|
325
|
AES67
|
3,312
|
106
|
C
|
Mid
|
326
|
DVD-Audio
|
3,290
|
106
|
C
|
Mid
|
327
|
Stock sound effect
|
3,281
|
105
|
Start
|
Low
|
328
|
Mains hum
|
3,273
|
105
|
Start
|
Mid
|
329
|
Academy Award for Best Sound Editing
|
3,259
|
105
|
NA
|
High
|
330
|
Gated reverb
|
3,252
|
104
|
C
|
Mid
|
331
|
Phon
|
3,252
|
104
|
Start
|
Low
|
332
|
Bruce Fairbairn
|
3,249
|
104
|
C
|
Low
|
333
|
Monaural
|
3,246
|
104
|
Stub
|
Unknown
|
334
|
Upsampling
|
3,229
|
104
|
Start
|
Low
|
335
|
Loudspeakers in mosques
|
3,209
|
103
|
Start
|
Unknown
|
336
|
Analog recording
|
3,202
|
103
|
Stub
|
Mid
|
337
|
Compass Point Studios
|
3,182
|
102
|
Start
|
Mid
|
338
|
LUFS
|
3,154
|
101
|
Start
|
Mid
|
339
|
Click track
|
3,149
|
101
|
C
|
Mid
|
340
|
Audiogram
|
3,119
|
100
|
C
|
Low
|
341
|
Digital recording
|
3,117
|
100
|
C
|
Top
|
342
|
Whip antenna
|
3,116
|
100
|
C
|
Low
|
343
|
BandLab
|
3,116
|
100
|
Unknown
|
Unknown
|
344
|
Comparison of analog and digital recording
|
3,109
|
100
|
B
|
Mid
|
345
|
Unusual types of gramophone records
|
3,102
|
100
|
C
|
Low
|
346
|
Canadian Radio-television and Telecommunications Commission
|
3,098
|
99
|
B
|
Low
|
347
|
Ocean Productions
|
3,097
|
99
|
Start
|
Low
|
348
|
Brian Ahern (producer)
|
3,086
|
99
|
Start
|
Low
|
349
|
Sunset Sound Recorders
|
3,082
|
99
|
C
|
High
|
350
|
Mini CD
|
3,068
|
98
|
Start
|
Low
|
351
|
Echoplex
|
3,050
|
98
|
C
|
Mid
|
352
|
Electronic drum
|
3,044
|
98
|
C
|
Mid
|
353
|
Audio time stretching and pitch scaling
|
3,042
|
98
|
C
|
Low
|
354
|
Ribbon microphone
|
3,041
|
98
|
B
|
High
|
355
|
NoCopyrightSounds
|
3,031
|
97
|
Stub
|
Low
|
356
|
Wire recording
|
3,021
|
97
|
C
|
Mid
|
357
|
SAE Institute
|
3,014
|
97
|
Start
|
Mid
|
358
|
Bass reflex
|
3,007
|
97
|
C
|
Mid
|
359
|
Music visualization
|
2,980
|
96
|
Start
|
Low
|
360
|
Acoustical engineering
|
2,971
|
95
|
C
|
Mid
|
361
|
Noise gate
|
2,964
|
95
|
C
|
High
|
362
|
Walla
|
2,961
|
95
|
Start
|
Low
|
363
|
Audio equipment
|
2,957
|
95
|
Stub
|
Mid
|
364
|
Rolling Stones Mobile Studio
|
2,925
|
94
|
Start
|
Low
|
365
|
Speakon connector
|
2,915
|
94
|
Start
|
High
|
366
|
Tannoy
|
2,900
|
93
|
Start
|
Mid
|
367
|
Blue Microphones
|
2,883
|
93
|
Start
|
Low
|
368
|
FAME Studios
|
2,861
|
92
|
Start
|
Mid
|
369
|
EBU R 128
|
2,846
|
91
|
C
|
Low
|
370
|
MADI
|
2,836
|
91
|
C
|
Mid
|
371
|
Château d'Hérouville
|
2,835
|
91
|
Start
|
Low
|
372
|
Dave Smith (engineer)
|
2,831
|
91
|
Start
|
Low
|
373
|
Thiele/Small parameters
|
2,830
|
91
|
Start
|
Unknown
|
374
|
Sound reinforcement system
|
2,794
|
90
|
B
|
Top
|
375
|
Balanced audio
|
2,790
|
90
|
C
|
Top
|
376
|
Pitch shifting
|
2,790
|
90
|
C
|
Low
|
377
|
Loudspeaker enclosure
|
2,788
|
89
|
C
|
Top
|
378
|
Flexi disc
|
2,774
|
89
|
Start
|
Low
|
379
|
Quantization (music)
|
2,770
|
89
|
Start
|
Low
|
380
|
Le Studio
|
2,763
|
89
|
Start
|
Low
|
381
|
Bruce Swedien
|
2,762
|
89
|
Start
|
Low
|
382
|
Sequential (company)
|
2,762
|
89
|
C
|
Low
|
383
|
Waves Audio
|
2,758
|
88
|
Start
|
Low
|
384
|
Passive radiator (speaker)
|
2,750
|
88
|
Start
|
Low
|
385
|
List of discontinued Bose headphones
|
2,740
|
88
|
List
|
Low
|
386
|
Treble (sound)
|
2,723
|
87
|
Stub
|
Low
|
387
|
Ken Scott
|
2,723
|
87
|
Start
|
Low
|
388
|
DI unit
|
2,711
|
87
|
Start
|
Low
|
389
|
Westlake Recording Studios
|
2,707
|
87
|
Start
|
Mid
|
390
|
Voicemeeter
|
2,692
|
86
|
C
|
Low
|
391
|
Digital Compact Cassette
|
2,684
|
86
|
C
|
Low
|
392
|
MIDI controller
|
2,684
|
86
|
C
|
Mid
|
393
|
International Standard Recording Code
|
2,676
|
86
|
Start
|
Mid
|
394
|
Audio headset
|
2,657
|
85
|
C
|
Mid
|
395
|
InMusic Brands
|
2,648
|
85
|
C
|
Low
|
396
|
AV receiver
|
2,648
|
85
|
C
|
Low
|
397
|
Balanced line
|
2,643
|
85
|
C
|
High
|
398
|
Caribou Ranch
|
2,637
|
85
|
C
|
Mid
|
399
|
Sone
|
2,608
|
84
|
C
|
Low
|
400
|
Cassette deck
|
2,605
|
84
|
C
|
Mid
|
401
|
Chorus (audio effect)
|
2,602
|
83
|
Start
|
Mid
|
402
|
Ardour (software)
|
2,582
|
83
|
Start
|
Low
|
403
|
Fade (audio engineering)
|
2,566
|
82
|
C
|
High
|
404
|
Double tracking
|
2,560
|
82
|
Start
|
Mid
|
405
|
Audio and video interfaces and connectors
|
2,538
|
81
|
C
|
High
|
406
|
1176 Peak Limiter
|
2,537
|
81
|
Start
|
Mid
|
407
|
Parabolic microphone
|
2,535
|
81
|
Start
|
Mid
|
408
|
Virtual Audio Cable
|
2,512
|
81
|
Start
|
Unknown
|
409
|
Sunn
|
2,507
|
80
|
Stub
|
Low
|
410
|
TEAC Corporation
|
2,494
|
80
|
Start
|
Mid
|
411
|
Room acoustics
|
2,489
|
80
|
C
|
High
|
412
|
DJ mix
|
2,486
|
80
|
Start
|
Low
|
413
|
Criteria Studios
|
2,486
|
80
|
B
|
Low
|
414
|
NAMM Show
|
2,485
|
80
|
Start
|
Mid
|
415
|
Stem (audio)
|
2,482
|
80
|
Start
|
Mid
|
416
|
Solid State Logic
|
2,469
|
79
|
B
|
Mid
|
417
|
Beyerdynamic
|
2,453
|
79
|
Start
|
Mid
|
418
|
Boom operator (media)
|
2,452
|
79
|
Start
|
Low
|
419
|
Backing track
|
2,445
|
78
|
C
|
Mid
|
420
|
Shure SM57
|
2,437
|
78
|
Start
|
Mid
|
421
|
TASCAM
|
2,423
|
78
|
Start
|
High
|
422
|
ReplayGain
|
2,413
|
77
|
C
|
Mid
|
423
|
5150 Studios
|
2,402
|
77
|
Start
|
Low
|
424
|
Stage monitor system
|
2,386
|
76
|
C
|
High
|
425
|
Orange Music Electronic Company
|
2,385
|
76
|
Start
|
Low
|
426
|
Line array
|
2,373
|
76
|
C
|
High
|
427
|
Recording studio as an instrument
|
2,368
|
76
|
B
|
High
|
428
|
Grammy Award for Best Immersive Audio Album
|
2,364
|
76
|
List
|
Mid
|
429
|
Audio converter
|
2,354
|
75
|
Start
|
Low
|
430
|
CD single
|
2,340
|
75
|
Start
|
Mid
|
431
|
Conway Recording Studios
|
2,335
|
75
|
Start
|
Low
|
432
|
Maida Vale Studios
|
2,318
|
74
|
Start
|
Low
|
433
|
Al Schmitt
|
2,307
|
74
|
Start
|
Mid
|
434
|
Audio normalization
|
2,299
|
74
|
C
|
Mid
|
435
|
Ocean Way Recording
|
2,294
|
74
|
Start
|
High
|
436
|
JACK Audio Connection Kit
|
2,289
|
73
|
Start
|
Low
|
437
|
Dictation machine
|
2,283
|
73
|
C
|
High
|
438
|
American Sound Studio
|
2,275
|
73
|
C
|
Low
|
439
|
Chris Tsangarides
|
2,271
|
73
|
Start
|
Mid
|
440
|
Roll-off
|
2,259
|
72
|
C
|
Mid
|
441
|
ORTF stereo technique
|
2,254
|
72
|
Start
|
Mid
|
442
|
List of sound chips
|
2,249
|
72
|
List
|
Low
|
443
|
Race record
|
2,248
|
72
|
C
|
Mid
|
444
|
Terry Brown (record producer)
|
2,239
|
72
|
Stub
|
Unknown
|
445
|
Glossary of broadcasting terms
|
2,227
|
71
|
List
|
Mid
|
446
|
PreSonus
|
2,206
|
71
|
Start
|
Low
|
447
|
Justin Varghese
|
2,197
|
70
|
Start
|
Low
|
448
|
Patch panel
|
2,193
|
70
|
Start
|
High
|
449
|
Low-frequency oscillation
|
2,188
|
70
|
Start
|
Mid
|
450
|
Moe Berg (musician)
|
2,186
|
70
|
Start
|
Unknown
|
451
|
George Marino
|
2,186
|
70
|
Start
|
Low
|
452
|
DVD-RAM
|
2,157
|
69
|
C
|
Low
|
453
|
Sound Forge
|
2,156
|
69
|
Start
|
Mid
|
454
|
Wireless microphone
|
2,155
|
69
|
Start
|
Mid
|
455
|
Field recording
|
2,154
|
69
|
Start
|
High
|
456
|
Manhattan Center
|
2,145
|
69
|
Start
|
Low
|
457
|
Motion Picture Sound Editors
|
2,132
|
68
|
Start
|
Low
|
458
|
Passband
|
2,132
|
68
|
Start
|
Mid
|
459
|
DJ mixer
|
2,129
|
68
|
Start
|
Mid
|
460
|
Focusrite
|
2,110
|
68
|
Stub
|
Low
|
461
|
Infinity Systems
|
2,105
|
67
|
Start
|
Low
|
462
|
BBC Radiophonic Workshop
|
2,104
|
67
|
C
|
Low
|
463
|
Bitwig Studio
|
2,103
|
67
|
Start
|
Mid
|
464
|
Van Gelder Studio
|
2,096
|
67
|
Start
|
Low
|
465
|
Sarm Studios
|
2,091
|
67
|
Start
|
Low
|
466
|
Undersampling
|
2,087
|
67
|
Start
|
Low
|
467
|
Dubplate
|
2,078
|
67
|
Stub
|
Unknown
|
468
|
RCA Studio B
|
2,074
|
66
|
C
|
Mid
|
469
|
Subtractive synthesis
|
2,072
|
66
|
Start
|
Mid
|
470
|
Hansa Tonstudio
|
2,068
|
66
|
Start
|
Low
|
471
|
Soundtrap
|
2,057
|
66
|
C
|
Low
|
472
|
Celemony Software
|
2,050
|
66
|
Start
|
Low
|
473
|
Academy Award for Technical Achievement
|
2,045
|
65
|
C
|
Top
|
474
|
Alesis
|
2,030
|
65
|
C
|
Mid
|
475
|
ADAT
|
2,027
|
65
|
Start
|
Mid
|
476
|
United Western Recorders
|
2,026
|
65
|
Start
|
Low
|
477
|
LA-2A Leveling Amplifier
|
2,022
|
65
|
Start
|
Mid
|
478
|
Basing Street Studios
|
2,016
|
65
|
Start
|
Low
|
479
|
Audio mixing
|
2,014
|
64
|
Start
|
Top
|
480
|
Reinhold Mack
|
2,013
|
64
|
Start
|
Low
|
481
|
Rupert Neve
|
2,010
|
64
|
C
|
Mid
|
482
|
Apogee Electronics
|
2,003
|
64
|
Start
|
Low
|
483
|
Impulse Tracker
|
1,999
|
64
|
C
|
Low
|
484
|
Oberheim Electronics
|
1,989
|
64
|
Start
|
Low
|
485
|
Ultimate Ears
|
1,988
|
64
|
Start
|
Low
|
486
|
Dynaudio
|
1,986
|
64
|
Stub
|
Unknown
|
487
|
Picture disc
|
1,983
|
63
|
Start
|
Low
|
488
|
Jay Pritzker Pavilion
|
1,981
|
63
|
FA
|
Mid
|
489
|
Linkwitz–Riley filter
|
1,970
|
63
|
C
|
Mid
|
490
|
Reason (software)
|
1,967
|
63
|
C
|
Mid
|
491
|
Electrostatic loudspeaker
|
1,966
|
63
|
Start
|
Low
|
492
|
Sound recording
|
1,962
|
63
|
NA
|
High
|
493
|
Timecode
|
1,959
|
63
|
Start
|
High
|
494
|
Active filter
|
1,957
|
63
|
Start
|
Low
|
495
|
Universal Audio (company)
|
1,951
|
62
|
Start
|
Mid
|
496
|
Transmission line loudspeaker
|
1,950
|
62
|
C
|
Mid
|
497
|
Georg Neumann
|
1,949
|
62
|
Start
|
High
|
498
|
Real World Studios
|
1,932
|
62
|
Start
|
Low
|
499
|
Nagra
|
1,929
|
62
|
Start
|
Mid
|
500
|
Shure SM58
|
1,924
|
62
|
Start
|
Mid
|