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: 2024-04-01 to 2024-04-30
Total views: 4,594,240
Updated: 15:00, 27 May 2024 (UTC)
| Rank
|
Page title
|
Views
|
Daily average
|
Assessment
|
Importance
|
| 1
|
Spotify
|
191,877
|
6,395
|
B
|
Unknown
|
| 2
|
Song
|
63,087
|
2,102
|
Start
|
Top
|
| 3
|
Blu-ray
|
54,367
|
1,812
|
C
|
Mid
|
| 4
|
Extended play
|
53,077
|
1,769
|
C
|
Mid
|
| 5
|
DVD
|
51,862
|
1,728
|
B
|
Mid
|
| 6
|
Compact disc
|
51,630
|
1,721
|
B
|
High
|
| 7
|
Decibel
|
48,493
|
1,616
|
C
|
Top
|
| 8
|
Streaming media
|
42,722
|
1,424
|
C
|
Mid
|
| 9
|
Radio
|
41,463
|
1,382
|
C
|
High
|
| 10
|
Phonograph
|
40,107
|
1,336
|
B
|
High
|
| 11
|
Phonograph record
|
39,441
|
1,314
|
C
|
High
|
| 12
|
Sound
|
38,872
|
1,295
|
B
|
Top
|
| 13
|
Cassette tape
|
37,206
|
1,240
|
B
|
High
|
| 14
|
Wilhelm scream
|
35,926
|
1,197
|
C
|
Low
|
| 15
|
40 (record producer)
|
35,526
|
1,184
|
Start
|
Low
|
| 16
|
FL Studio
|
35,521
|
1,184
|
Start
|
Low
|
| 17
|
Microphone
|
32,640
|
1,088
|
C
|
Top
|
| 18
|
Low-pass filter
|
31,653
|
1,055
|
C
|
Mid
|
| 19
|
George Martin
|
31,613
|
1,053
|
GA
|
High
|
| 20
|
Alan Parsons
|
31,389
|
1,046
|
Start
|
Mid
|
| 21
|
Recording Industry Association of America
|
31,000
|
1,033
|
C
|
High
|
| 22
|
LP record
|
30,977
|
1,032
|
C
|
Mid
|
| 23
|
Synthesizer
|
30,940
|
1,031
|
B
|
Mid
|
| 24
|
Yamaha Corporation
|
30,055
|
1,001
|
C
|
Mid
|
| 25
|
JBL
|
29,235
|
974
|
C
|
Mid
|
| 26
|
Record producer
|
28,295
|
943
|
C
|
Top
|
| 27
|
White noise
|
27,770
|
925
|
C
|
Mid
|
| 28
|
Dolby Atmos
|
25,472
|
849
|
B
|
Low
|
| 29
|
Bose Corporation
|
25,387
|
846
|
B
|
Mid
|
| 30
|
Noise pollution
|
24,994
|
833
|
C
|
Mid
|
| 31
|
Music recording certification
|
24,847
|
828
|
C
|
Mid
|
| 32
|
Auto-Tune
|
21,809
|
726
|
B
|
Mid
|
| 33
|
Pulse-code modulation
|
20,818
|
693
|
B
|
High
|
| 34
|
Phone connector (audio)
|
20,704
|
690
|
C
|
High
|
| 35
|
Analog-to-digital converter
|
20,636
|
687
|
C
|
High
|
| 36
|
Beats Electronics
|
19,575
|
652
|
C
|
Low
|
| 37
|
Audacity (audio editor)
|
19,151
|
638
|
C
|
Mid
|
| 38
|
RCA connector
|
18,327
|
610
|
C
|
Mid
|
| 39
|
Loudspeaker
|
17,812
|
593
|
B
|
Top
|
| 40
|
Headphones
|
17,756
|
591
|
C
|
High
|
| 41
|
Harman International
|
17,739
|
591
|
Start
|
Low
|
| 42
|
Tony Visconti
|
17,709
|
590
|
C
|
Low
|
| 43
|
Richard Perry
|
17,473
|
582
|
C
|
Mid
|
| 44
|
Wall of Sound
|
17,471
|
582
|
C
|
Low
|
| 45
|
Sound recording and reproduction
|
16,974
|
565
|
C
|
Top
|
| 46
|
S-Video
|
16,948
|
564
|
C
|
Low
|
| 47
|
Broadcasting
|
16,740
|
558
|
C
|
Top
|
| 48
|
Ableton Live
|
16,506
|
550
|
C
|
Mid
|
| 49
|
WAV
|
16,472
|
549
|
C
|
Mid
|
| 50
|
Aliasing
|
16,332
|
544
|
B
|
Mid
|
| 51
|
Ground (electricity)
|
16,323
|
544
|
C
|
High
|
| 52
|
Dipole antenna
|
16,163
|
538
|
B
|
Low
|
| 53
|
Two Steps from Hell
|
16,118
|
537
|
Start
|
Mid
|
| 54
|
GarageBand
|
15,981
|
532
|
C
|
Mid
|
| 55
|
Soundtrack
|
15,870
|
529
|
C
|
High
|
| 56
|
Pink noise
|
15,588
|
519
|
B
|
Mid
|
| 57
|
Digital audio workstation
|
15,550
|
518
|
C
|
Top
|
| 58
|
XLR connector
|
14,989
|
499
|
B
|
High
|
| 59
|
BNC connector
|
14,892
|
496
|
C
|
Mid
|
| 60
|
Audio engineer
|
14,526
|
484
|
C
|
Top
|
| 61
|
Sampling (signal processing)
|
14,414
|
480
|
C
|
High
|
| 62
|
Dither
|
14,307
|
476
|
C
|
Mid
|
| 63
|
THX
|
13,885
|
462
|
C
|
Unknown
|
| 64
|
High-pass filter
|
13,859
|
461
|
C
|
High
|
| 65
|
Owsley Stanley
|
13,760
|
458
|
C
|
Low
|
| 66
|
Mastering (audio)
|
13,728
|
457
|
C
|
Top
|
| 67
|
Harmonic
|
13,319
|
443
|
Start
|
Mid
|
| 68
|
National Recording Registry
|
13,196
|
439
|
FL
|
High
|
| 69
|
Abbey Road Studios
|
13,110
|
437
|
B
|
High
|
| 70
|
Brownian noise
|
13,099
|
436
|
Start
|
Low
|
| 71
|
Marshall Amplification
|
13,097
|
436
|
B
|
Mid
|
| 72
|
Digital-to-analog converter
|
12,856
|
428
|
C
|
High
|
| 73
|
Logic Pro
|
12,770
|
425
|
C
|
High
|
| 74
|
Amar Bose
|
12,746
|
424
|
Start
|
Mid
|
| 75
|
Composer
|
12,727
|
424
|
Start
|
Low
|
| 76
|
Bode plot
|
12,683
|
422
|
C
|
Mid
|
| 77
|
Foley (filmmaking)
|
12,506
|
416
|
C
|
High
|
| 78
|
Compact Disc Digital Audio
|
12,300
|
410
|
C
|
Mid
|
| 79
|
Spectrogram
|
12,173
|
405
|
C
|
Low
|
| 80
|
S/PDIF
|
12,070
|
402
|
C
|
Low
|
| 81
|
Harman Kardon
|
11,931
|
397
|
Start
|
Low
|
| 82
|
Quantization (signal processing)
|
11,707
|
390
|
B
|
Mid
|
| 83
|
AC power
|
11,540
|
384
|
B
|
Mid
|
| 84
|
Band-pass filter
|
11,460
|
382
|
Start
|
Low
|
| 85
|
Sound pressure
|
11,456
|
381
|
C
|
High
|
| 86
|
Public address system
|
11,424
|
380
|
C
|
Top
|
| 87
|
D-subminiature
|
11,385
|
379
|
B
|
Low
|
| 88
|
MiniDisc
|
11,370
|
379
|
C
|
Low
|
| 89
|
Full Sail University
|
11,366
|
378
|
C
|
Mid
|
| 90
|
Finite impulse response
|
11,287
|
376
|
Start
|
Mid
|
| 91
|
Active noise control
|
11,259
|
375
|
C
|
Low
|
| 92
|
Loudness war
|
11,112
|
370
|
B
|
High
|
| 93
|
Academy Award for Best Sound
|
11,106
|
370
|
List
|
Mid
|
| 94
|
Stereophonic sound
|
10,950
|
365
|
C
|
Top
|
| 95
|
Backmasking
|
10,904
|
363
|
B
|
Mid
|
| 96
|
Shepard tone
|
10,897
|
363
|
Start
|
Low
|
| 97
|
Total harmonic distortion
|
10,815
|
360
|
Start
|
Mid
|
| 98
|
High fidelity
|
10,791
|
359
|
C
|
Mid
|
| 99
|
Acoustics
|
10,742
|
358
|
C
|
Top
|
| 100
|
Electric Lady Studios
|
10,724
|
357
|
Start
|
Low
|
| 101
|
In-ear monitor
|
10,645
|
354
|
C
|
High
|
| 102
|
Distortion (music)
|
10,641
|
354
|
C
|
High
|
| 103
|
Bandwidth (signal processing)
|
10,601
|
353
|
C
|
Mid
|
| 104
|
Pro Tools
|
10,368
|
345
|
C
|
High
|
| 105
|
Noise
|
10,145
|
338
|
B
|
Mid
|
| 106
|
Concert
|
10,085
|
336
|
C
|
High
|
| 107
|
Digital signal processor
|
9,784
|
326
|
C
|
High
|
| 108
|
Roland Corporation
|
9,739
|
324
|
Start
|
Mid
|
| 109
|
Impedance matching
|
9,713
|
323
|
C
|
Mid
|
| 110
|
Filter (signal processing)
|
9,377
|
312
|
C
|
Mid
|
| 111
|
Human voice
|
9,234
|
307
|
B
|
Mid
|
| 112
|
Subwoofer
|
9,160
|
305
|
B
|
Top
|
| 113
|
Composite video
|
9,158
|
305
|
C
|
Mid
|
| 114
|
History of sound recording
|
9,120
|
304
|
C
|
High
|
| 115
|
Record Plant
|
9,114
|
303
|
C
|
Mid
|
| 116
|
Phonograph cylinder
|
9,057
|
301
|
C
|
Mid
|
| 117
|
Cutoff frequency
|
8,994
|
299
|
C
|
Mid
|
| 118
|
Sennheiser
|
8,871
|
295
|
Start
|
Low
|
| 119
|
Super Audio CD
|
8,842
|
294
|
B
|
Low
|
| 120
|
Virtual Studio Technology
|
8,730
|
291
|
C
|
Mid
|
| 121
|
Blaupunkt
|
8,494
|
283
|
Start
|
Low
|
| 122
|
Tape recorder
|
8,447
|
281
|
C
|
High
|
| 123
|
Flood (music producer)
|
8,419
|
280
|
C
|
Mid
|
| 124
|
Remaster
|
8,391
|
279
|
C
|
Mid
|
| 125
|
Magnetic tape
|
8,312
|
277
|
C
|
High
|
| 126
|
Bob Ezrin
|
8,184
|
272
|
C
|
Low
|
| 127
|
T-Minus (producer)
|
8,114
|
270
|
Start
|
Low
|
| 128
|
Laugh track
|
7,982
|
266
|
C
|
Mid
|
| 129
|
ISDN
|
7,879
|
262
|
C
|
Mid
|
| 130
|
Reel-to-reel audio tape recording
|
7,838
|
261
|
B
|
High
|
| 131
|
REAPER
|
7,802
|
260
|
Start
|
Low
|
| 132
|
Remix
|
7,650
|
255
|
Start
|
Low
|
| 133
|
Dynamic range compression
|
7,641
|
254
|
B
|
Top
|
| 134
|
Equal-loudness contour
|
7,582
|
252
|
C
|
Mid
|
| 135
|
Doug Sax
|
7,532
|
251
|
Start
|
Mid
|
| 136
|
Surround sound
|
7,511
|
250
|
B
|
Top
|
| 137
|
Phil Ramone
|
7,391
|
246
|
C
|
High
|
| 138
|
Downsampling (signal processing)
|
7,357
|
245
|
Start
|
Low
|
| 139
|
5.1 surround sound
|
7,347
|
244
|
Start
|
High
|
| 140
|
TOSLINK
|
7,330
|
244
|
Start
|
Unknown
|
| 141
|
Audiophile
|
7,299
|
243
|
C
|
Mid
|
| 142
|
LDAC (codec)
|
7,291
|
243
|
Start
|
Low
|
| 143
|
Effects unit
|
7,262
|
242
|
B
|
Mid
|
| 144
|
Non-linear editing
|
7,254
|
241
|
C
|
High
|
| 145
|
Recording studio
|
7,176
|
239
|
C
|
Top
|
| 146
|
Session musician
|
7,113
|
237
|
Start
|
Mid
|
| 147
|
Paisley Park
|
7,111
|
237
|
Start
|
Unknown
|
| 148
|
Muscle Shoals Sound Studio
|
7,059
|
235
|
C
|
Low
|
| 149
|
Audio bit depth
|
7,027
|
234
|
B
|
High
|
| 150
|
General MIDI
|
6,944
|
231
|
C
|
Low
|
| 151
|
Robert Moog
|
6,922
|
230
|
B
|
High
|
| 152
|
Dynamic range
|
6,889
|
229
|
C
|
Mid
|
| 153
|
DIN connector
|
6,833
|
227
|
C
|
Low
|
| 154
|
Audio frequency
|
6,823
|
227
|
Start
|
Mid
|
| 155
|
Shangri-La (recording studio)
|
6,751
|
225
|
Start
|
Low
|
| 156
|
Line level
|
6,737
|
224
|
C
|
High
|
| 157
|
Steinberg Cubase
|
6,691
|
223
|
C
|
Mid
|
| 158
|
20 Feet from Stardom
|
6,674
|
222
|
Start
|
Low
|
| 159
|
Direct Stream Digital
|
6,623
|
220
|
C
|
Mid
|
| 160
|
Phonautograph
|
6,621
|
220
|
C
|
Low
|
| 161
|
Optical disc packaging
|
6,606
|
220
|
Start
|
Low
|
| 162
|
Associated Independent Recording
|
6,596
|
219
|
Start
|
Mid
|
| 163
|
Spectrum analyzer
|
6,582
|
219
|
Start
|
Mid
|
| 164
|
Post-production
|
6,556
|
218
|
Start
|
Top
|
| 165
|
Overtone
|
6,542
|
218
|
C
|
Mid
|
| 166
|
AKG (company)
|
6,517
|
217
|
C
|
High
|
| 167
|
Ben Burtt
|
6,474
|
215
|
Start
|
Low
|
| 168
|
Electromagnetic shielding
|
6,458
|
215
|
C
|
Mid
|
| 169
|
Gain (electronics)
|
6,411
|
213
|
C
|
High
|
| 170
|
Equalization (audio)
|
6,408
|
213
|
C
|
Top
|
| 171
|
Digital audio
|
6,318
|
210
|
C
|
Top
|
| 172
|
Multitrack recording
|
6,225
|
207
|
C
|
Top
|
| 173
|
Live television
|
6,161
|
205
|
Start
|
Mid
|
| 174
|
Megaphone
|
6,146
|
204
|
Start
|
Unknown
|
| 175
|
Digital Audio Tape
|
6,140
|
204
|
C
|
Mid
|
| 176
|
Preamplifier
|
6,094
|
203
|
Start
|
Mid
|
| 177
|
Bob Ludwig
|
6,087
|
202
|
C
|
Mid
|
| 178
|
A-weighting
|
6,079
|
202
|
B
|
Mid
|
| 179
|
Re-recording (music)
|
6,071
|
202
|
C
|
Low
|
| 180
|
Bassline
|
6,015
|
200
|
C
|
Mid
|
| 181
|
Master Quality Authenticated
|
6,002
|
200
|
C
|
Low
|
| 182
|
Audiovisual
|
5,897
|
196
|
Start
|
High
|
| 183
|
List of largest recorded music markets
|
5,875
|
195
|
List
|
Low
|
| 184
|
Wah-wah pedal
|
5,872
|
195
|
Start
|
Low
|
| 185
|
Demo (music)
|
5,851
|
195
|
Start
|
Low
|
| 186
|
Soundproofing
|
5,803
|
193
|
C
|
Mid
|
| 187
|
Ableton
|
5,772
|
192
|
C
|
Low
|
| 188
|
Adobe Audition
|
5,762
|
192
|
Start
|
Mid
|
| 189
|
Vinyl revival
|
5,741
|
191
|
C
|
Low
|
| 190
|
BandLab
|
5,708
|
190
|
Unknown
|
Unknown
|
| 191
|
High-resolution audio
|
5,677
|
189
|
C
|
Mid
|
| 192
|
Behringer
|
5,641
|
188
|
C
|
Mid
|
| 193
|
Road crew
|
5,632
|
187
|
Start
|
High
|
| 194
|
SMPTE 2110
|
5,517
|
183
|
Start
|
Low
|
| 195
|
Music sequencer
|
5,503
|
183
|
C
|
Mid
|
| 196
|
Balun
|
5,456
|
181
|
C
|
Low
|
| 197
|
Noise reduction
|
5,411
|
180
|
C
|
Mid
|
| 198
|
Band-stop filter
|
5,408
|
180
|
Start
|
Mid
|
| 199
|
Psychoacoustics
|
5,405
|
180
|
C
|
Mid
|
| 200
|
Synclavier
|
5,402
|
180
|
C
|
Low
|
| 201
|
Distortion
|
5,386
|
179
|
C
|
High
|
| 202
|
Audio feedback
|
5,362
|
178
|
C
|
High
|
| 203
|
Twelve-inch single
|
5,361
|
178
|
Start
|
Low
|
| 204
|
Phantom power
|
5,347
|
178
|
C
|
Mid
|
| 205
|
Wall of Sound (Grateful Dead)
|
5,320
|
177
|
C
|
High
|
| 206
|
Eddie Kramer
|
5,267
|
175
|
C
|
High
|
| 207
|
Frequency response
|
5,231
|
174
|
C
|
High
|
| 208
|
Sound City Studios
|
5,147
|
171
|
Start
|
Low
|
| 209
|
Mixing console
|
5,119
|
170
|
C
|
Top
|
| 210
|
Power Station (recording studio)
|
5,116
|
170
|
Start
|
Mid
|
| 211
|
Frequency modulation synthesis
|
5,102
|
170
|
C
|
Low
|
| 212
|
Anti-aliasing filter
|
5,080
|
169
|
C
|
Low
|
| 213
|
Programming (music)
|
4,986
|
166
|
Stub
|
Unknown
|
| 214
|
Reverb effect
|
4,971
|
165
|
C
|
High
|
| 215
|
Astoria (recording studio)
|
4,957
|
165
|
Start
|
Low
|
| 216
|
Overdubbing
|
4,951
|
165
|
Start
|
Mid
|
| 217
|
Audio power amplifier
|
4,919
|
163
|
C
|
High
|
| 218
|
Intercom
|
4,897
|
163
|
Start
|
Mid
|
| 219
|
Quadraphonic sound
|
4,880
|
162
|
C
|
Mid
|
| 220
|
Anti-aliasing
|
4,852
|
161
|
NA
|
Mid
|
| 221
|
Flanging
|
4,850
|
161
|
C
|
Mid
|
| 222
|
Timeline of audio formats
|
4,841
|
161
|
Start
|
Mid
|
| 223
|
Røde Microphones
|
4,719
|
157
|
Start
|
High
|
| 224
|
Music tracker
|
4,712
|
157
|
Start
|
Low
|
| 225
|
Attenuator (electronics)
|
4,707
|
156
|
Start
|
Mid
|
| 226
|
Bruce Fairbairn
|
4,644
|
154
|
C
|
Low
|
| 227
|
Sound level meter
|
4,620
|
154
|
B
|
Mid
|
| 228
|
Shure
|
4,594
|
153
|
B
|
High
|
| 229
|
Peavey Electronics
|
4,585
|
152
|
C
|
Mid
|
| 230
|
Shielded cable
|
4,543
|
151
|
Start
|
Low
|
| 231
|
Audio mixing (recorded music)
|
4,530
|
151
|
C
|
High
|
| 232
|
Audio converter
|
4,528
|
150
|
Start
|
Low
|
| 233
|
Binaural recording
|
4,521
|
150
|
C
|
Mid
|
| 234
|
Korg
|
4,441
|
148
|
Start
|
Low
|
| 235
|
Tom Dowd
|
4,435
|
147
|
Start
|
High
|
| 236
|
Slew rate
|
4,406
|
146
|
Start
|
Mid
|
| 237
|
Vehicle audio
|
4,405
|
146
|
Start
|
Low
|
| 238
|
Loudness
|
4,394
|
146
|
C
|
Mid
|
| 239
|
Sun Studio
|
4,371
|
145
|
C
|
Mid
|
| 240
|
Hitsville U.S.A.
|
4,344
|
144
|
C
|
Mid
|
| 241
|
Cue sheet (computing)
|
4,342
|
144
|
Start
|
Low
|
| 242
|
Sound design
|
4,322
|
144
|
C
|
High
|
| 243
|
MPEG-1
|
4,313
|
143
|
B
|
Low
|
| 244
|
Avid Technology
|
4,303
|
143
|
Start
|
Low
|
| 245
|
Directional antenna
|
4,301
|
143
|
Start
|
Low
|
| 246
|
Audio Interchange File Format
|
4,295
|
143
|
C
|
Mid
|
| 247
|
Rockfield Studios
|
4,288
|
142
|
Start
|
Unknown
|
| 248
|
Sweetwater Sound
|
4,286
|
142
|
B
|
High
|
| 249
|
Audio-Technica
|
4,260
|
142
|
Start
|
Mid
|
| 250
|
7.1 surround sound
|
4,259
|
141
|
Start
|
High
|
| 251
|
Chris Lord-Alge
|
4,238
|
141
|
Start
|
Mid
|
| 252
|
Ampex
|
4,232
|
141
|
C
|
Mid
|
| 253
|
Open Sound Control
|
4,211
|
140
|
Start
|
Mid
|
| 254
|
Crosstalk
|
4,191
|
139
|
C
|
Low
|
| 255
|
Sound effect
|
4,190
|
139
|
C
|
High
|
| 256
|
Klipsch Audio Technologies
|
4,179
|
139
|
C
|
Mid
|
| 257
|
Moog Music
|
4,154
|
138
|
C
|
Mid
|
| 258
|
Sound stage
|
4,142
|
138
|
Start
|
Low
|
| 259
|
Deep Note
|
4,131
|
137
|
Start
|
Low
|
| 260
|
Log-periodic antenna
|
4,122
|
137
|
Start
|
Low
|
| 261
|
Digital filter
|
4,120
|
137
|
C
|
Top
|
| 262
|
VU meter
|
4,098
|
136
|
C
|
High
|
| 263
|
Compression artifact
|
4,084
|
136
|
Start
|
Mid
|
| 264
|
Banana connector
|
4,079
|
135
|
Start
|
Mid
|
| 265
|
Intermodulation
|
4,077
|
135
|
Start
|
Mid
|
| 266
|
Lavalier microphone
|
4,073
|
135
|
Start
|
Mid
|
| 267
|
LHDC (codec)
|
4,066
|
135
|
Start
|
Low
|
| 268
|
Squelch
|
4,063
|
135
|
Start
|
Unknown
|
| 269
|
Ambisonics
|
4,023
|
134
|
B
|
Mid
|
| 270
|
Dolby noise-reduction system
|
3,995
|
133
|
B
|
Mid
|
| 271
|
Dante (networking)
|
3,952
|
131
|
Start
|
Mid
|
| 272
|
Scratching
|
3,951
|
131
|
C
|
Mid
|
| 273
|
The Mansion (recording studio)
|
3,936
|
131
|
Start
|
Low
|
| 274
|
Grammy Award for Best Engineered Album, Non-Classical
|
3,916
|
130
|
List
|
Mid
|
| 275
|
Audio crossover
|
3,881
|
129
|
B
|
Top
|
| 276
|
The Hit Factory
|
3,880
|
129
|
Start
|
Low
|
| 277
|
Record sales
|
3,879
|
129
|
Start
|
Mid
|
| 278
|
DBFS
|
3,862
|
128
|
C
|
Mid
|
| 279
|
Olympic Studios
|
3,833
|
127
|
C
|
Low
|
| 280
|
Pop filter
|
3,795
|
126
|
Start
|
Mid
|
| 281
|
Clipping (audio)
|
3,793
|
126
|
C
|
Mid
|
| 282
|
Audio signal
|
3,773
|
125
|
Start
|
High
|
| 283
|
Crest factor
|
3,754
|
125
|
C
|
Mid
|
| 284
|
Tweeter
|
3,749
|
124
|
Start
|
Mid
|
| 285
|
Digital biquad filter
|
3,709
|
123
|
Start
|
Mid
|
| 286
|
Oversampling
|
3,671
|
122
|
C
|
Low
|
| 287
|
Caribou Ranch
|
3,660
|
122
|
C
|
Mid
|
| 288
|
SMPTE timecode
|
3,649
|
121
|
C
|
High
|
| 289
|
McIntosh Laboratory
|
3,585
|
119
|
Start
|
Mid
|
| 290
|
Delay (audio effect)
|
3,583
|
119
|
C
|
High
|
| 291
|
AES3
|
3,549
|
118
|
C
|
High
|
| 292
|
Acetate disc
|
3,542
|
118
|
Start
|
Mid
|
| 293
|
Front of house
|
3,517
|
117
|
Start
|
Mid
|
| 294
|
All-pass filter
|
3,517
|
117
|
C
|
Mid
|
| 295
|
Production music
|
3,514
|
117
|
C
|
High
|
| 296
|
Studio One (software)
|
3,507
|
116
|
B
|
Unknown
|
| 297
|
Altec Lansing
|
3,505
|
116
|
C
|
Mid
|
| 298
|
Electronic filter
|
3,488
|
116
|
C
|
Mid
|
| 299
|
Sound transmission class
|
3,485
|
116
|
C
|
Mid
|
| 300
|
Carbon microphone
|
3,481
|
116
|
C
|
Low
|
| 301
|
44,100 Hz
|
3,472
|
115
|
C
|
Mid
|
| 302
|
Geoff Emerick
|
3,461
|
115
|
Start
|
Mid
|
| 303
|
Electret microphone
|
3,422
|
114
|
Start
|
High
|
| 304
|
Click track
|
3,414
|
113
|
C
|
Mid
|
| 305
|
Skywalker Sound
|
3,385
|
112
|
Start
|
Low
|
| 306
|
Gated reverb
|
3,378
|
112
|
C
|
Mid
|
| 307
|
Image-Line
|
3,358
|
111
|
Start
|
Low
|
| 308
|
Earplug
|
3,348
|
111
|
C
|
Mid
|
| 309
|
RIAA equalization
|
3,323
|
110
|
C
|
Mid
|
| 310
|
Trident Studios
|
3,310
|
110
|
C
|
Mid
|
| 311
|
Walla
|
3,296
|
109
|
Start
|
Low
|
| 312
|
Yamaha YM2612
|
3,274
|
109
|
Start
|
Unknown
|
| 313
|
DVD-Audio
|
3,268
|
108
|
C
|
Mid
|
| 314
|
Mark Korven
|
3,264
|
108
|
Start
|
Unknown
|
| 315
|
Tannoy
|
3,243
|
108
|
Start
|
Mid
|
| 316
|
Phon
|
3,239
|
107
|
Start
|
Low
|
| 317
|
Horn loudspeaker
|
3,239
|
107
|
B
|
High
|
| 318
|
Yamaha NS-10
|
3,232
|
107
|
GA
|
Mid
|
| 319
|
SAE Institute
|
3,228
|
107
|
Start
|
Mid
|
| 320
|
Audio Video Bridging
|
3,210
|
107
|
C
|
Mid
|
| 321
|
DTS-HD Master Audio
|
3,203
|
106
|
Start
|
Low
|
| 322
|
Audio signal processing
|
3,197
|
106
|
C
|
High
|
| 323
|
NoCopyrightSounds
|
3,182
|
106
|
Stub
|
Low
|
| 324
|
Native Instruments
|
3,162
|
105
|
Start
|
Unknown
|
| 325
|
Stock sound effect
|
3,157
|
105
|
Start
|
Low
|
| 326
|
Hip hop production
|
3,156
|
105
|
C
|
Mid
|
| 327
|
3D audio effect
|
3,153
|
105
|
Start
|
Low
|
| 328
|
Steinberg
|
3,120
|
104
|
B
|
Mid
|
| 329
|
Comb filter
|
3,115
|
103
|
B
|
Mid
|
| 330
|
Upsampling
|
3,114
|
103
|
Start
|
Low
|
| 331
|
AES67
|
3,107
|
103
|
C
|
Mid
|
| 332
|
Audiogram
|
3,053
|
101
|
C
|
Low
|
| 333
|
Brian Ahern (producer)
|
3,045
|
101
|
Start
|
Low
|
| 334
|
Mini CD
|
3,040
|
101
|
Start
|
Low
|
| 335
|
Monster Cable
|
3,024
|
100
|
GA
|
Low
|
| 336
|
Whip antenna
|
3,014
|
100
|
C
|
Low
|
| 337
|
Audio Stream Input/Output
|
3,012
|
100
|
Start
|
Mid
|
| 338
|
Woofer
|
2,995
|
99
|
Start
|
Mid
|
| 339
|
Phaser (effect)
|
2,994
|
99
|
B
|
Mid
|
| 340
|
Bitcrusher
|
2,990
|
99
|
Stub
|
Low
|
| 341
|
Acoustical engineering
|
2,989
|
99
|
C
|
Mid
|
| 342
|
Sone
|
2,973
|
99
|
C
|
Low
|
| 343
|
Wire recording
|
2,973
|
99
|
C
|
Mid
|
| 344
|
Pitch shifting
|
2,973
|
99
|
C
|
Low
|
| 345
|
ISO base media file format
|
2,953
|
98
|
C
|
Low
|
| 346
|
Analog recording
|
2,923
|
97
|
Stub
|
Mid
|
| 347
|
Monaural
|
2,912
|
97
|
Stub
|
Unknown
|
| 348
|
Mains hum
|
2,911
|
97
|
Start
|
Mid
|
| 349
|
Digital recording
|
2,893
|
96
|
C
|
Top
|
| 350
|
Bass reflex
|
2,893
|
96
|
C
|
Mid
|
| 351
|
Edifier
|
2,879
|
95
|
Stub
|
Unknown
|
| 352
|
LUFS
|
2,869
|
95
|
Start
|
Mid
|
| 353
|
Blue Microphones
|
2,834
|
94
|
Start
|
Low
|
| 354
|
Château d'Hérouville
|
2,819
|
93
|
Start
|
Low
|
| 355
|
History of broadcasting
|
2,818
|
93
|
C
|
High
|
| 356
|
Audio equipment
|
2,794
|
93
|
Stub
|
Mid
|
| 357
|
Music visualization
|
2,785
|
92
|
Start
|
Low
|
| 358
|
Unusual types of gramophone records
|
2,766
|
92
|
C
|
Low
|
| 359
|
Ken Scott
|
2,757
|
91
|
Start
|
Low
|
| 360
|
Balanced audio
|
2,756
|
91
|
C
|
Top
|
| 361
|
Ardour (software)
|
2,719
|
90
|
Start
|
Low
|
| 362
|
Compass Point Studios
|
2,714
|
90
|
Start
|
Mid
|
| 363
|
MADI
|
2,712
|
90
|
C
|
Mid
|
| 364
|
Ribbon microphone
|
2,710
|
90
|
B
|
High
|
| 365
|
Flexi disc
|
2,705
|
90
|
Start
|
Low
|
| 366
|
Rolling Stones Mobile Studio
|
2,683
|
89
|
Start
|
Low
|
| 367
|
Sound Forge
|
2,683
|
89
|
Start
|
Mid
|
| 368
|
Treble (sound)
|
2,664
|
88
|
Stub
|
Low
|
| 369
|
Audio time stretching and pitch scaling
|
2,659
|
88
|
C
|
Low
|
| 370
|
Noise gate
|
2,653
|
88
|
C
|
High
|
| 371
|
EBU R 128
|
2,644
|
88
|
C
|
Low
|
| 372
|
International Standard Recording Code
|
2,640
|
88
|
Start
|
Mid
|
| 373
|
Thiele/Small parameters
|
2,635
|
87
|
Start
|
Unknown
|
| 374
|
Sunset Sound Recorders
|
2,626
|
87
|
C
|
High
|
| 375
|
Digital Compact Cassette
|
2,618
|
87
|
C
|
Low
|
| 376
|
Solid State Logic
|
2,616
|
87
|
B
|
Mid
|
| 377
|
Comparison of analog and digital recording
|
2,612
|
87
|
B
|
Mid
|
| 378
|
FAME Studios
|
2,611
|
87
|
Start
|
Mid
|
| 379
|
MIDI controller
|
2,590
|
86
|
C
|
Mid
|
| 380
|
Loudspeaker enclosure
|
2,584
|
86
|
C
|
Top
|
| 381
|
Speakon connector
|
2,554
|
85
|
Start
|
High
|
| 382
|
Le Studio
|
2,551
|
85
|
Start
|
Low
|
| 383
|
Stem (audio)
|
2,546
|
84
|
Start
|
Mid
|
| 384
|
Westlake Recording Studios
|
2,528
|
84
|
Start
|
Mid
|
| 385
|
Cassette deck
|
2,525
|
84
|
C
|
Mid
|
| 386
|
Bruce Swedien
|
2,516
|
83
|
Start
|
Low
|
| 387
|
Stage monitor system
|
2,515
|
83
|
C
|
High
|
| 388
|
Echoplex
|
2,514
|
83
|
C
|
Mid
|
| 389
|
Sound reinforcement system
|
2,511
|
83
|
B
|
Top
|
| 390
|
AV receiver
|
2,503
|
83
|
C
|
Low
|
| 391
|
NAMM Show
|
2,502
|
83
|
Start
|
Mid
|
| 392
|
Voicemeeter
|
2,502
|
83
|
C
|
Low
|
| 393
|
Criteria Studios
|
2,496
|
83
|
B
|
Low
|
| 394
|
Quantization (music)
|
2,489
|
82
|
Start
|
Low
|
| 395
|
DJ mix
|
2,487
|
82
|
Start
|
Low
|
| 396
|
FL Studio Mobile
|
2,485
|
82
|
Start
|
Low
|
| 397
|
Virtual Audio Cable
|
2,475
|
82
|
Start
|
Unknown
|
| 398
|
Backing track
|
2,474
|
82
|
C
|
Mid
|
| 399
|
Loudspeakers in mosques
|
2,470
|
82
|
Start
|
Unknown
|
| 400
|
Electronic drum
|
2,460
|
82
|
C
|
Mid
|
| 401
|
Canadian Radio-television and Telecommunications Commission
|
2,448
|
81
|
B
|
Low
|
| 402
|
CD single
|
2,438
|
81
|
Start
|
Mid
|
| 403
|
Shure SM57
|
2,426
|
80
|
Start
|
Mid
|
| 404
|
Sequential (company)
|
2,425
|
80
|
C
|
Low
|
| 405
|
Sunn
|
2,417
|
80
|
Stub
|
Low
|
| 406
|
List of discontinued Bose headphones
|
2,415
|
80
|
List
|
Low
|
| 407
|
Double tracking
|
2,400
|
80
|
Start
|
Mid
|
| 408
|
Parabolic microphone
|
2,386
|
79
|
Start
|
Mid
|
| 409
|
Boom operator (media)
|
2,382
|
79
|
Start
|
Low
|
| 410
|
Passive radiator (speaker)
|
2,377
|
79
|
Start
|
Low
|
| 411
|
Dubplate
|
2,375
|
79
|
Stub
|
Unknown
|
| 412
|
Audio and video interfaces and connectors
|
2,374
|
79
|
C
|
High
|
| 413
|
DI unit
|
2,354
|
78
|
Start
|
Low
|
| 414
|
Field recording
|
2,352
|
78
|
Start
|
High
|
| 415
|
Balanced line
|
2,351
|
78
|
C
|
High
|
| 416
|
Recording studio as an instrument
|
2,334
|
77
|
B
|
High
|
| 417
|
InMusic Brands
|
2,328
|
77
|
C
|
Low
|
| 418
|
Echo chamber
|
2,327
|
77
|
Start
|
Mid
|
| 419
|
Line array
|
2,320
|
77
|
C
|
High
|
| 420
|
Ocean Productions
|
2,303
|
76
|
Start
|
Low
|
| 421
|
Grammy Award for Best Immersive Audio Album
|
2,290
|
76
|
List
|
Mid
|
| 422
|
TEAC Corporation
|
2,283
|
76
|
Start
|
Mid
|
| 423
|
Beyerdynamic
|
2,281
|
76
|
Start
|
Mid
|
| 424
|
TASCAM
|
2,280
|
76
|
Start
|
High
|
| 425
|
Maida Vale Studios
|
2,277
|
75
|
Start
|
Low
|
| 426
|
Audio headset
|
2,273
|
75
|
C
|
Mid
|
| 427
|
Dictation machine
|
2,244
|
74
|
C
|
High
|
| 428
|
Fade (audio engineering)
|
2,225
|
74
|
C
|
High
|
| 429
|
Chorus (audio effect)
|
2,209
|
73
|
Start
|
Mid
|
| 430
|
Waves Audio
|
2,201
|
73
|
Start
|
Low
|
| 431
|
List of sound chips
|
2,185
|
72
|
List
|
Low
|
| 432
|
Timecode
|
2,176
|
72
|
Start
|
High
|
| 433
|
DJ mixer
|
2,158
|
71
|
Start
|
Mid
|
| 434
|
Jay Pritzker Pavilion
|
2,158
|
71
|
FA
|
Mid
|
| 435
|
Conway Recording Studios
|
2,155
|
71
|
Start
|
Low
|
| 436
|
Soundtrap
|
2,154
|
71
|
C
|
Low
|
| 437
|
PreSonus
|
2,126
|
70
|
Start
|
Low
|
| 438
|
Roll-off
|
2,123
|
70
|
C
|
Mid
|
| 439
|
ReplayGain
|
2,118
|
70
|
C
|
Mid
|
| 440
|
Al Schmitt
|
2,113
|
70
|
Start
|
Mid
|
| 441
|
ORTF stereo technique
|
2,110
|
70
|
Start
|
Mid
|
| 442
|
Low-frequency oscillation
|
2,109
|
70
|
Start
|
Mid
|
| 443
|
Bitwig Studio
|
2,109
|
70
|
Start
|
Mid
|
| 444
|
Justin Varghese
|
2,105
|
70
|
Start
|
Low
|
| 445
|
Orange Amps
|
2,101
|
70
|
C
|
Low
|
| 446
|
Nagra
|
2,097
|
69
|
Start
|
Mid
|
| 447
|
George Marino
|
2,078
|
69
|
Start
|
Low
|
| 448
|
Active filter
|
2,074
|
69
|
Start
|
Low
|
| 449
|
Manhattan Center
|
2,069
|
68
|
Start
|
Low
|
| 450
|
Linkwitz–Riley filter
|
2,063
|
68
|
C
|
Mid
|
| 451
|
DVD-RAM
|
2,053
|
68
|
C
|
Low
|
| 452
|
Alesis
|
2,053
|
68
|
C
|
Mid
|
| 453
|
Ocean Way Recording
|
2,045
|
68
|
Start
|
High
|
| 454
|
Impulse Tracker
|
2,040
|
68
|
C
|
Low
|
| 455
|
Audio normalization
|
2,039
|
67
|
C
|
Mid
|
| 456
|
5150 Studios
|
2,038
|
67
|
Start
|
Low
|
| 457
|
Patch panel
|
2,032
|
67
|
Start
|
High
|
| 458
|
1176 Peak Limiter
|
2,027
|
67
|
Start
|
Mid
|
| 459
|
Wireless microphone
|
2,019
|
67
|
Start
|
Mid
|
| 460
|
American Sound Studio
|
2,015
|
67
|
C
|
Low
|
| 461
|
Passband
|
2,011
|
67
|
Start
|
Mid
|
| 462
|
Academy Award for Best Sound Editing
|
2,001
|
66
|
NA
|
High
|
| 463
|
Hansa Tonstudio
|
1,972
|
65
|
Start
|
Low
|
| 464
|
Glossary of broadcasting terms
|
1,954
|
65
|
List
|
Mid
|
| 465
|
Sarm Studios
|
1,954
|
65
|
Start
|
Low
|
| 466
|
Take
|
1,952
|
65
|
Start
|
Mid
|
| 467
|
Race record
|
1,948
|
64
|
C
|
Mid
|
| 468
|
United Western Recorders
|
1,946
|
64
|
Start
|
Low
|
| 469
|
Ultimate Ears
|
1,933
|
64
|
Start
|
Low
|
| 470
|
Voice changer
|
1,933
|
64
|
Start
|
Low
|
| 471
|
The Village (studio)
|
1,931
|
64
|
Stub
|
Unknown
|
| 472
|
QSound
|
1,927
|
64
|
Start
|
Low
|
| 473
|
ADAT
|
1,924
|
64
|
Start
|
Mid
|
| 474
|
LA-2A Leveling Amplifier
|
1,917
|
63
|
Start
|
Mid
|
| 475
|
Focusrite
|
1,917
|
63
|
Stub
|
Low
|
| 476
|
Electrostatic loudspeaker
|
1,910
|
63
|
Start
|
Low
|
| 477
|
Universal Audio (company)
|
1,910
|
63
|
Start
|
Mid
|
| 478
|
Subtractive synthesis
|
1,896
|
63
|
Start
|
Mid
|
| 479
|
Pitch correction
|
1,874
|
62
|
C
|
Mid
|
| 480
|
Audio mixing
|
1,872
|
62
|
Start
|
Top
|
| 481
|
Comparison of digital audio editors
|
1,855
|
61
|
B
|
High
|
| 482
|
Reason (software)
|
1,847
|
61
|
C
|
Mid
|
| 483
|
Van Gelder Studio
|
1,847
|
61
|
Start
|
Low
|
| 484
|
BBC Radiophonic Workshop
|
1,842
|
61
|
C
|
Low
|
| 485
|
Precedence effect
|
1,837
|
61
|
C
|
High
|
| 486
|
Celemony Software
|
1,828
|
60
|
Start
|
Low
|
| 487
|
Reinhold Mack
|
1,819
|
60
|
Start
|
Low
|
| 488
|
Terry Brown (record producer)
|
1,819
|
60
|
Stub
|
Unknown
|
| 489
|
Picture disc
|
1,817
|
60
|
Start
|
Low
|
| 490
|
Chris Tsangarides
|
1,815
|
60
|
Start
|
Mid
|
| 491
|
Infinity Systems
|
1,809
|
60
|
Start
|
Low
|
| 492
|
Shure SM58
|
1,808
|
60
|
Start
|
Mid
|
| 493
|
Dave Smith (engineer)
|
1,807
|
60
|
Start
|
Low
|
| 494
|
Sound recording
|
1,794
|
59
|
NA
|
High
|
| 495
|
Companding
|
1,793
|
59
|
Start
|
Low
|
| 496
|
Basing Street Studios
|
1,790
|
59
|
Start
|
Low
|
| 497
|
Soundbar
|
1,789
|
59
|
Start
|
Unknown
|
| 498
|
Real World Studios
|
1,785
|
59
|
Start
|
Low
|
| 499
|
Undersampling
|
1,785
|
59
|
Start
|
Low
|
| 500
|
Linear filter
|
1,783
|
59
|
C
|
Low
|
