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: 2024-05-01 to 2024-05-31
Total views: 4,587,763
Updated: 16:16, 9 June 2024 (UTC)
| Rank
|
Page title
|
Views
|
Daily average
|
Assessment
|
Importance
|
| 1
|
Spotify
|
180,243
|
5,814
|
B
|
Unknown
|
| 2
|
40 (record producer)
|
100,323
|
3,236
|
Start
|
Low
|
| 3
|
Blu-ray
|
54,181
|
1,747
|
C
|
Mid
|
| 4
|
Extended play
|
52,406
|
1,690
|
C
|
Mid
|
| 5
|
DVD
|
50,061
|
1,614
|
B
|
Mid
|
| 6
|
Song
|
49,481
|
1,596
|
Start
|
Top
|
| 7
|
Compact disc
|
47,778
|
1,541
|
B
|
High
|
| 8
|
Streaming media
|
43,339
|
1,398
|
C
|
Mid
|
| 9
|
Decibel
|
42,554
|
1,372
|
C
|
Top
|
| 10
|
Radio
|
40,648
|
1,311
|
C
|
High
|
| 11
|
Phonograph
|
36,692
|
1,183
|
B
|
High
|
| 12
|
Phonograph record
|
36,542
|
1,178
|
C
|
High
|
| 13
|
Wilhelm scream
|
35,258
|
1,137
|
C
|
Low
|
| 14
|
Cassette tape
|
35,012
|
1,129
|
B
|
High
|
| 15
|
George Martin
|
34,931
|
1,126
|
GA
|
High
|
| 16
|
Sound
|
34,421
|
1,110
|
B
|
Top
|
| 17
|
Recording Industry Association of America
|
32,262
|
1,040
|
C
|
High
|
| 18
|
Microphone
|
31,172
|
1,005
|
C
|
Top
|
| 19
|
LP record
|
31,090
|
1,002
|
C
|
Mid
|
| 20
|
Record producer
|
30,209
|
974
|
C
|
Top
|
| 21
|
Noise pollution
|
30,078
|
970
|
C
|
Mid
|
| 22
|
Low-pass filter
|
29,796
|
961
|
C
|
Mid
|
| 23
|
Alan Parsons
|
29,293
|
944
|
Start
|
Mid
|
| 24
|
Synthesizer
|
29,006
|
935
|
B
|
Mid
|
| 25
|
FL Studio
|
28,607
|
922
|
Start
|
Low
|
| 26
|
Yamaha Corporation
|
27,917
|
900
|
C
|
Mid
|
| 27
|
JBL
|
26,382
|
851
|
C
|
Mid
|
| 28
|
Music recording certification
|
26,251
|
846
|
C
|
Mid
|
| 29
|
White noise
|
25,986
|
838
|
C
|
Mid
|
| 30
|
Bose Corporation
|
25,594
|
825
|
B
|
Mid
|
| 31
|
Beats Electronics
|
23,262
|
750
|
C
|
Low
|
| 32
|
Dolby Atmos
|
22,770
|
734
|
B
|
Low
|
| 33
|
Phone connector (audio)
|
22,436
|
723
|
C
|
High
|
| 34
|
Auto-Tune
|
20,436
|
659
|
B
|
Mid
|
| 35
|
Analog-to-digital converter
|
19,902
|
642
|
C
|
High
|
| 36
|
Pulse-code modulation
|
19,416
|
626
|
B
|
High
|
| 37
|
Wall of Sound
|
19,223
|
620
|
C
|
Low
|
| 38
|
Pink noise
|
18,204
|
587
|
B
|
Mid
|
| 39
|
Headphones
|
18,128
|
584
|
C
|
High
|
| 40
|
Harman International
|
18,081
|
583
|
Start
|
Low
|
| 41
|
Richard Perry
|
17,785
|
573
|
C
|
Mid
|
| 42
|
Tony Visconti
|
17,520
|
565
|
C
|
Low
|
| 43
|
GarageBand
|
17,511
|
564
|
C
|
Mid
|
| 44
|
Abbey Road Studios
|
17,456
|
563
|
B
|
High
|
| 45
|
RCA connector
|
17,107
|
551
|
C
|
Mid
|
| 46
|
Audacity (audio editor)
|
16,871
|
544
|
C
|
Mid
|
| 47
|
S-Video
|
16,862
|
543
|
C
|
Low
|
| 48
|
WAV
|
16,706
|
538
|
C
|
Mid
|
| 49
|
Broadcasting
|
16,415
|
529
|
C
|
Top
|
| 50
|
Dipole antenna
|
16,363
|
527
|
B
|
Low
|
| 51
|
Logic Pro
|
16,282
|
525
|
C
|
High
|
| 52
|
Soundtrack
|
16,129
|
520
|
C
|
High
|
| 53
|
Loudspeaker
|
16,107
|
519
|
B
|
Top
|
| 54
|
Sound recording and reproduction
|
16,069
|
518
|
C
|
Top
|
| 55
|
Ground (electricity)
|
15,991
|
515
|
C
|
High
|
| 56
|
Electrical Audio
|
15,652
|
504
|
Start
|
Mid
|
| 57
|
Amar Bose
|
15,201
|
490
|
Start
|
Mid
|
| 58
|
Digital audio workstation
|
14,959
|
482
|
C
|
Top
|
| 59
|
Audio engineer
|
14,941
|
481
|
C
|
Top
|
| 60
|
THX
|
14,911
|
481
|
C
|
Unknown
|
| 61
|
Sampling (signal processing)
|
14,810
|
477
|
C
|
High
|
| 62
|
Owsley Stanley
|
14,525
|
468
|
C
|
Low
|
| 63
|
Aliasing
|
14,388
|
464
|
B
|
Mid
|
| 64
|
Ableton Live
|
14,048
|
453
|
C
|
Mid
|
| 65
|
High-pass filter
|
14,034
|
452
|
C
|
High
|
| 66
|
Dither
|
13,595
|
438
|
C
|
Mid
|
| 67
|
Active noise control
|
13,513
|
435
|
C
|
Low
|
| 68
|
Marshall Amplification
|
13,419
|
432
|
B
|
Mid
|
| 69
|
Digital-to-analog converter
|
13,239
|
427
|
C
|
High
|
| 70
|
Two Steps from Hell
|
13,194
|
425
|
Start
|
Mid
|
| 71
|
Spectrogram
|
13,115
|
423
|
C
|
Low
|
| 72
|
BNC connector
|
13,097
|
422
|
C
|
Mid
|
| 73
|
Harmonic
|
13,080
|
421
|
Start
|
Mid
|
| 74
|
Brownian noise
|
12,915
|
416
|
Start
|
Low
|
| 75
|
Compact Disc Digital Audio
|
12,493
|
403
|
C
|
Mid
|
| 76
|
Composer
|
12,352
|
398
|
Start
|
Low
|
| 77
|
Loudness war
|
12,270
|
395
|
B
|
High
|
| 78
|
Quantization (signal processing)
|
12,138
|
391
|
B
|
Mid
|
| 79
|
XLR connector
|
11,962
|
385
|
B
|
High
|
| 80
|
Harman Kardon
|
11,935
|
385
|
Start
|
Low
|
| 81
|
Bode plot
|
11,930
|
384
|
C
|
Mid
|
| 82
|
D-subminiature
|
11,850
|
382
|
B
|
Low
|
| 83
|
Backmasking
|
11,780
|
380
|
B
|
Mid
|
| 84
|
S/PDIF
|
11,676
|
376
|
C
|
Low
|
| 85
|
Sound pressure
|
11,520
|
371
|
C
|
High
|
| 86
|
Finite impulse response
|
11,450
|
369
|
Start
|
Mid
|
| 87
|
Mastering (audio)
|
11,378
|
367
|
C
|
Top
|
| 88
|
Band-pass filter
|
11,150
|
359
|
Start
|
Low
|
| 89
|
AC power
|
11,123
|
358
|
B
|
Mid
|
| 90
|
Foley (filmmaking)
|
10,913
|
352
|
C
|
High
|
| 91
|
MiniDisc
|
10,904
|
351
|
C
|
Low
|
| 92
|
Distortion (music)
|
10,862
|
350
|
C
|
High
|
| 93
|
Total harmonic distortion
|
10,812
|
348
|
Start
|
Mid
|
| 94
|
Stereophonic sound
|
10,697
|
345
|
C
|
Top
|
| 95
|
Full Sail University
|
10,661
|
343
|
C
|
Mid
|
| 96
|
Electric Lady Studios
|
10,660
|
343
|
Start
|
Low
|
| 97
|
Pro Tools
|
10,495
|
338
|
C
|
High
|
| 98
|
Digital signal processor
|
10,437
|
336
|
C
|
High
|
| 99
|
Bandwidth (signal processing)
|
10,304
|
332
|
C
|
Mid
|
| 100
|
High fidelity
|
10,292
|
332
|
C
|
Mid
|
| 101
|
In-ear monitor
|
10,292
|
332
|
C
|
High
|
| 102
|
National Recording Registry
|
10,160
|
327
|
FL
|
High
|
| 103
|
Public address system
|
9,994
|
322
|
C
|
Top
|
| 104
|
Academy Award for Best Sound
|
9,934
|
320
|
List
|
Mid
|
| 105
|
Acoustics
|
9,910
|
319
|
C
|
Top
|
| 106
|
Flood (music producer)
|
9,882
|
318
|
C
|
Mid
|
| 107
|
T-Minus (producer)
|
9,855
|
317
|
Start
|
Low
|
| 108
|
Concert
|
9,625
|
310
|
C
|
High
|
| 109
|
Roland Corporation
|
9,443
|
304
|
Start
|
Mid
|
| 110
|
Human voice
|
9,405
|
303
|
B
|
Mid
|
| 111
|
Robert Moog
|
9,298
|
299
|
B
|
High
|
| 112
|
Shepard tone
|
9,106
|
293
|
Start
|
Low
|
| 113
|
Sennheiser
|
9,079
|
292
|
Start
|
Low
|
| 114
|
Phonograph cylinder
|
9,024
|
291
|
C
|
Mid
|
| 115
|
Super Audio CD
|
8,852
|
285
|
B
|
Low
|
| 116
|
History of sound recording
|
8,828
|
284
|
C
|
High
|
| 117
|
Tape recorder
|
8,771
|
282
|
C
|
High
|
| 118
|
Composite video
|
8,769
|
282
|
C
|
Mid
|
| 119
|
Impedance matching
|
8,738
|
281
|
C
|
Mid
|
| 120
|
Bob Ezrin
|
8,546
|
275
|
C
|
Low
|
| 121
|
Cutoff frequency
|
8,438
|
272
|
C
|
Mid
|
| 122
|
Ben Burtt
|
8,433
|
272
|
Start
|
Low
|
| 123
|
Virtual Studio Technology
|
8,349
|
269
|
C
|
Mid
|
| 124
|
Magnetic tape
|
8,309
|
268
|
C
|
High
|
| 125
|
Noise
|
8,292
|
267
|
B
|
Mid
|
| 126
|
Remaster
|
8,248
|
266
|
C
|
Mid
|
| 127
|
Blaupunkt
|
8,231
|
265
|
Start
|
Low
|
| 128
|
Dynamic range compression
|
8,200
|
264
|
B
|
Top
|
| 129
|
Subwoofer
|
8,015
|
258
|
B
|
Top
|
| 130
|
Shangri-La (recording studio)
|
7,930
|
255
|
Start
|
Low
|
| 131
|
Non-linear editing
|
7,910
|
255
|
C
|
High
|
| 132
|
Record Plant
|
7,904
|
254
|
C
|
Mid
|
| 133
|
Surround sound
|
7,900
|
254
|
B
|
Top
|
| 134
|
Laugh track
|
7,853
|
253
|
C
|
Mid
|
| 135
|
Pachyderm Studios
|
7,773
|
250
|
Stub
|
Unknown
|
| 136
|
Reel-to-reel audio tape recording
|
7,745
|
249
|
B
|
High
|
| 137
|
ISDN
|
7,652
|
246
|
C
|
Mid
|
| 138
|
Recording studio
|
7,538
|
243
|
C
|
Top
|
| 139
|
Filter (signal processing)
|
7,382
|
238
|
C
|
Mid
|
| 140
|
Electromagnetic shielding
|
7,357
|
237
|
C
|
Mid
|
| 141
|
Equal-loudness contour
|
7,316
|
236
|
C
|
Mid
|
| 142
|
Session musician
|
7,314
|
235
|
Start
|
Mid
|
| 143
|
Effects unit
|
7,267
|
234
|
B
|
Mid
|
| 144
|
Wall of Sound (Grateful Dead)
|
7,198
|
232
|
C
|
High
|
| 145
|
Paisley Park
|
7,087
|
228
|
Start
|
Unknown
|
| 146
|
Downsampling (signal processing)
|
7,039
|
227
|
Start
|
Low
|
| 147
|
Bob Ludwig
|
7,003
|
225
|
C
|
Mid
|
| 148
|
Audio bit depth
|
6,972
|
224
|
B
|
High
|
| 149
|
REAPER
|
6,939
|
223
|
Start
|
Low
|
| 150
|
Muscle Shoals Sound Studio
|
6,892
|
222
|
C
|
Low
|
| 151
|
5.1 surround sound
|
6,857
|
221
|
Start
|
High
|
| 152
|
Digital audio
|
6,752
|
217
|
C
|
Top
|
| 153
|
Ableton
|
6,748
|
217
|
C
|
Low
|
| 154
|
BandLab
|
6,741
|
217
|
Unknown
|
Unknown
|
| 155
|
Dynamic range
|
6,683
|
215
|
C
|
Mid
|
| 156
|
TOSLINK
|
6,658
|
214
|
Start
|
Unknown
|
| 157
|
Live television
|
6,637
|
214
|
Start
|
Mid
|
| 158
|
Remix
|
6,607
|
213
|
Start
|
Low
|
| 159
|
Optical disc packaging
|
6,590
|
212
|
Start
|
Low
|
| 160
|
Audio frequency
|
6,476
|
208
|
Start
|
Mid
|
| 161
|
General MIDI
|
6,450
|
208
|
C
|
Low
|
| 162
|
Multitrack recording
|
6,429
|
207
|
C
|
Top
|
| 163
|
LDAC (codec)
|
6,394
|
206
|
Start
|
Low
|
| 164
|
Audiophile
|
6,321
|
203
|
C
|
Mid
|
| 165
|
Phil Ramone
|
6,318
|
203
|
C
|
High
|
| 166
|
DIN connector
|
6,291
|
202
|
C
|
Low
|
| 167
|
Overtone
|
6,272
|
202
|
C
|
Mid
|
| 168
|
Steinberg Cubase
|
6,232
|
201
|
C
|
Mid
|
| 169
|
List of largest recorded music markets
|
6,230
|
200
|
List
|
Low
|
| 170
|
Equalization (audio)
|
6,213
|
200
|
C
|
Top
|
| 171
|
Noise reduction
|
6,209
|
200
|
C
|
Mid
|
| 172
|
Direct Stream Digital
|
6,188
|
199
|
C
|
Mid
|
| 173
|
Spectrum analyzer
|
6,147
|
198
|
Start
|
Mid
|
| 174
|
Post-production
|
6,137
|
197
|
Start
|
Top
|
| 175
|
Megaphone
|
6,127
|
197
|
Start
|
Unknown
|
| 176
|
AKG (company)
|
6,065
|
195
|
C
|
High
|
| 177
|
Audiovisual
|
6,061
|
195
|
Start
|
High
|
| 178
|
A-weighting
|
6,049
|
195
|
B
|
Mid
|
| 179
|
Gain (electronics)
|
6,006
|
193
|
C
|
High
|
| 180
|
Line level
|
5,987
|
193
|
C
|
High
|
| 181
|
Demo (music)
|
5,910
|
190
|
Start
|
Low
|
| 182
|
High-resolution audio
|
5,877
|
189
|
C
|
Mid
|
| 183
|
Digital Audio Tape
|
5,851
|
188
|
C
|
Mid
|
| 184
|
20 Feet from Stardom
|
5,807
|
187
|
Start
|
Low
|
| 185
|
Bassline
|
5,803
|
187
|
C
|
Mid
|
| 186
|
Wah-wah pedal
|
5,613
|
181
|
Start
|
Low
|
| 187
|
Phonautograph
|
5,569
|
179
|
C
|
Low
|
| 188
|
Sound Forge
|
5,539
|
178
|
Start
|
Mid
|
| 189
|
Psychoacoustics
|
5,538
|
178
|
C
|
Mid
|
| 190
|
Music sequencer
|
5,528
|
178
|
C
|
Mid
|
| 191
|
Preamplifier
|
5,439
|
175
|
Start
|
Mid
|
| 192
|
Frequency modulation synthesis
|
5,385
|
173
|
C
|
Low
|
| 193
|
Twelve-inch single
|
5,305
|
171
|
Start
|
Low
|
| 194
|
Audio feedback
|
5,278
|
170
|
C
|
High
|
| 195
|
Balun
|
5,274
|
170
|
C
|
Low
|
| 196
|
Adobe Audition
|
5,254
|
169
|
Start
|
Mid
|
| 197
|
Audio mixing (recorded music)
|
5,238
|
168
|
C
|
High
|
| 198
|
Sound City Studios
|
5,213
|
168
|
Start
|
Low
|
| 199
|
Bruce Fairbairn
|
5,189
|
167
|
C
|
Low
|
| 200
|
Road crew
|
5,170
|
166
|
Start
|
High
|
| 201
|
Anti-aliasing filter
|
5,144
|
165
|
C
|
Low
|
| 202
|
Behringer
|
5,136
|
165
|
C
|
Mid
|
| 203
|
Soundproofing
|
5,128
|
165
|
C
|
Mid
|
| 204
|
Frequency response
|
5,110
|
164
|
C
|
High
|
| 205
|
Phantom power
|
5,092
|
164
|
C
|
Mid
|
| 206
|
Synclavier
|
5,083
|
163
|
C
|
Low
|
| 207
|
Band-stop filter
|
5,083
|
163
|
Start
|
Mid
|
| 208
|
Vinyl revival
|
5,079
|
163
|
C
|
Low
|
| 209
|
Overdubbing
|
5,070
|
163
|
Start
|
Mid
|
| 210
|
MPEG-1
|
5,069
|
163
|
B
|
Low
|
| 211
|
Master Quality Authenticated
|
5,008
|
161
|
C
|
Low
|
| 212
|
Distortion
|
4,974
|
160
|
C
|
High
|
| 213
|
Audio-Technica
|
4,953
|
159
|
Start
|
Mid
|
| 214
|
Music tracker
|
4,941
|
159
|
Start
|
Low
|
| 215
|
Flanging
|
4,902
|
158
|
C
|
Mid
|
| 216
|
Mixing console
|
4,868
|
157
|
C
|
Top
|
| 217
|
Associated Independent Recording
|
4,857
|
156
|
Start
|
Mid
|
| 218
|
Intercom
|
4,833
|
155
|
Start
|
Mid
|
| 219
|
Programming (music)
|
4,773
|
153
|
Stub
|
Unknown
|
| 220
|
Rockfield Studios
|
4,756
|
153
|
Start
|
Unknown
|
| 221
|
Binaural recording
|
4,693
|
151
|
C
|
Mid
|
| 222
|
Sound effect
|
4,612
|
148
|
C
|
High
|
| 223
|
Ampex
|
4,580
|
147
|
C
|
Mid
|
| 224
|
Quadraphonic sound
|
4,577
|
147
|
C
|
Mid
|
| 225
|
The Mansion (recording studio)
|
4,563
|
147
|
Start
|
Low
|
| 226
|
Record sales
|
4,561
|
147
|
Start
|
Mid
|
| 227
|
Reverb effect
|
4,539
|
146
|
C
|
High
|
| 228
|
Timeline of audio formats
|
4,530
|
146
|
Start
|
Mid
|
| 229
|
Hip hop production
|
4,527
|
146
|
C
|
Mid
|
| 230
|
Audio power amplifier
|
4,520
|
145
|
C
|
High
|
| 231
|
Hitsville U.S.A.
|
4,506
|
145
|
C
|
Mid
|
| 232
|
Power Station (recording studio)
|
4,501
|
145
|
Start
|
Mid
|
| 233
|
Sound level meter
|
4,483
|
144
|
B
|
Mid
|
| 234
|
Røde Microphones
|
4,478
|
144
|
Start
|
High
|
| 235
|
Re-recording (music)
|
4,425
|
142
|
C
|
Low
|
| 236
|
Astoria (recording studio)
|
4,424
|
142
|
Start
|
Low
|
| 237
|
Tom Dowd
|
4,413
|
142
|
Start
|
High
|
| 238
|
Sweetwater Sound
|
4,403
|
142
|
B
|
High
|
| 239
|
Audio Interchange File Format
|
4,394
|
141
|
C
|
Mid
|
| 240
|
Attenuator (electronics)
|
4,390
|
141
|
Start
|
Mid
|
| 241
|
Loudness
|
4,383
|
141
|
C
|
Mid
|
| 242
|
Crosstalk
|
4,378
|
141
|
C
|
Low
|
| 243
|
Chris Lord-Alge
|
4,345
|
140
|
Start
|
Mid
|
| 244
|
Eddie Kramer
|
4,343
|
140
|
C
|
High
|
| 245
|
Deep Note
|
4,341
|
140
|
Start
|
Low
|
| 246
|
Doug Sax
|
4,323
|
139
|
Start
|
Mid
|
| 247
|
Slew rate
|
4,314
|
139
|
Start
|
Mid
|
| 248
|
Shure
|
4,304
|
138
|
B
|
High
|
| 249
|
Korg
|
4,299
|
138
|
Start
|
Low
|
| 250
|
Sun Studio
|
4,274
|
137
|
C
|
Mid
|
| 251
|
Moog Music
|
4,262
|
137
|
C
|
Mid
|
| 252
|
Directional antenna
|
4,245
|
136
|
Start
|
Low
|
| 253
|
Digital filter
|
4,220
|
136
|
C
|
Top
|
| 254
|
Compression artifact
|
4,188
|
135
|
Start
|
Mid
|
| 255
|
Jeff Thacher
|
4,187
|
135
|
Start
|
Low
|
| 256
|
Dolby noise-reduction system
|
4,181
|
134
|
B
|
Mid
|
| 257
|
Log-periodic antenna
|
4,160
|
134
|
Start
|
Low
|
| 258
|
Open Sound Control
|
4,154
|
134
|
Start
|
Mid
|
| 259
|
Sound design
|
4,152
|
133
|
C
|
High
|
| 260
|
Avid Technology
|
4,151
|
133
|
Start
|
Low
|
| 261
|
Shielded cable
|
4,132
|
133
|
Start
|
Low
|
| 262
|
Peavey Electronics
|
4,110
|
132
|
C
|
Mid
|
| 263
|
SMPTE 2110
|
4,081
|
131
|
Start
|
Low
|
| 264
|
Vehicle audio
|
4,063
|
131
|
Start
|
Low
|
| 265
|
Squelch
|
4,047
|
130
|
Start
|
Unknown
|
| 266
|
Klipsch Audio Technologies
|
4,018
|
129
|
C
|
Mid
|
| 267
|
7.1 surround sound
|
4,013
|
129
|
Start
|
High
|
| 268
|
Studio One (software)
|
3,960
|
127
|
B
|
Unknown
|
| 269
|
Sound stage
|
3,947
|
127
|
Start
|
Low
|
| 270
|
Ambisonics
|
3,929
|
126
|
B
|
Mid
|
| 271
|
Intermodulation
|
3,912
|
126
|
Start
|
Mid
|
| 272
|
Grammy Award for Best Engineered Album, Non-Classical
|
3,901
|
125
|
List
|
Mid
|
| 273
|
Anti-aliasing
|
3,890
|
125
|
NA
|
Mid
|
| 274
|
Lavalier microphone
|
3,878
|
125
|
Start
|
Mid
|
| 275
|
Crest factor
|
3,877
|
125
|
C
|
Mid
|
| 276
|
Stock sound effect
|
3,873
|
124
|
Start
|
Low
|
| 277
|
Skywalker Sound
|
3,856
|
124
|
Start
|
Low
|
| 278
|
Audio converter
|
3,855
|
124
|
Start
|
Low
|
| 279
|
The Hit Factory
|
3,832
|
123
|
Start
|
Low
|
| 280
|
Production music
|
3,770
|
121
|
C
|
High
|
| 281
|
Oversampling
|
3,768
|
121
|
C
|
Low
|
| 282
|
Delay (audio effect)
|
3,761
|
121
|
C
|
High
|
| 283
|
Scratching
|
3,760
|
121
|
C
|
Mid
|
| 284
|
Audio crossover
|
3,753
|
121
|
B
|
Top
|
| 285
|
SMPTE timecode
|
3,743
|
120
|
C
|
High
|
| 286
|
Audio signal
|
3,708
|
119
|
Start
|
High
|
| 287
|
LHDC (codec)
|
3,708
|
119
|
Start
|
Low
|
| 288
|
Dante (networking)
|
3,686
|
118
|
Start
|
Mid
|
| 289
|
AES3
|
3,680
|
118
|
C
|
High
|
| 290
|
Banana connector
|
3,673
|
118
|
Start
|
Mid
|
| 291
|
VU meter
|
3,627
|
117
|
C
|
High
|
| 292
|
Clipping (audio)
|
3,584
|
115
|
C
|
Mid
|
| 293
|
Altec Lansing
|
3,568
|
115
|
C
|
Mid
|
| 294
|
DBFS
|
3,556
|
114
|
C
|
Mid
|
| 295
|
McIntosh Laboratory
|
3,544
|
114
|
Start
|
Mid
|
| 296
|
Cue sheet (computing)
|
3,533
|
113
|
Start
|
Low
|
| 297
|
Shaped compact disc
|
3,513
|
113
|
Start
|
Unknown
|
| 298
|
Audio signal processing
|
3,512
|
113
|
C
|
High
|
| 299
|
Yamaha YM2612
|
3,508
|
113
|
Start
|
Unknown
|
| 300
|
Analog recording
|
3,485
|
112
|
Stub
|
Mid
|
| 301
|
Digital biquad filter
|
3,482
|
112
|
Start
|
Mid
|
| 302
|
Geoff Emerick
|
3,472
|
112
|
Start
|
Mid
|
| 303
|
Horn loudspeaker
|
3,453
|
111
|
B
|
High
|
| 304
|
Tweeter
|
3,450
|
111
|
Start
|
Mid
|
| 305
|
Front of house
|
3,440
|
110
|
Start
|
Mid
|
| 306
|
Olympic Studios
|
3,404
|
109
|
C
|
Low
|
| 307
|
Trident Studios
|
3,377
|
108
|
C
|
Mid
|
| 308
|
NoCopyrightSounds
|
3,356
|
108
|
Stub
|
Low
|
| 309
|
44,100 Hz
|
3,355
|
108
|
C
|
Mid
|
| 310
|
Sound transmission class
|
3,306
|
106
|
C
|
Mid
|
| 311
|
Gated reverb
|
3,282
|
105
|
C
|
Mid
|
| 312
|
Native Instruments
|
3,255
|
105
|
Start
|
Unknown
|
| 313
|
Acetate disc
|
3,246
|
104
|
Start
|
Mid
|
| 314
|
Electret microphone
|
3,241
|
104
|
Start
|
High
|
| 315
|
DVD-Audio
|
3,234
|
104
|
C
|
Mid
|
| 316
|
Electronic filter
|
3,231
|
104
|
C
|
Mid
|
| 317
|
Monster Cable
|
3,230
|
104
|
GA
|
Low
|
| 318
|
3D audio effect
|
3,212
|
103
|
Start
|
Low
|
| 319
|
All-pass filter
|
3,203
|
103
|
C
|
Mid
|
| 320
|
Comb filter
|
3,155
|
101
|
B
|
Mid
|
| 321
|
Yamaha NS-10
|
3,155
|
101
|
GA
|
Mid
|
| 322
|
Recording studio as an instrument
|
3,153
|
101
|
B
|
High
|
| 323
|
Unusual types of gramophone records
|
3,150
|
101
|
C
|
Low
|
| 324
|
ISO base media file format
|
3,146
|
101
|
C
|
Low
|
| 325
|
Audiogram
|
3,107
|
100
|
C
|
Low
|
| 326
|
Earplug
|
3,088
|
99
|
C
|
Mid
|
| 327
|
Whip antenna
|
3,077
|
99
|
C
|
Low
|
| 328
|
Audio Stream Input/Output
|
3,073
|
99
|
Start
|
Mid
|
| 329
|
DTS-HD Master Audio
|
3,072
|
99
|
Start
|
Low
|
| 330
|
Phaser (effect)
|
3,071
|
99
|
B
|
Mid
|
| 331
|
Image-Line
|
3,069
|
99
|
Start
|
Low
|
| 332
|
Mini CD
|
3,066
|
98
|
Start
|
Low
|
| 333
|
Carbon microphone
|
3,061
|
98
|
C
|
Low
|
| 334
|
CD single
|
3,055
|
98
|
Start
|
Mid
|
| 335
|
LUFS
|
3,051
|
98
|
Start
|
Mid
|
| 336
|
History of broadcasting
|
3,043
|
98
|
C
|
High
|
| 337
|
RIAA equalization
|
3,041
|
98
|
C
|
Mid
|
| 338
|
Upsampling
|
3,031
|
97
|
Start
|
Low
|
| 339
|
Acoustical engineering
|
3,030
|
97
|
C
|
Mid
|
| 340
|
Walla
|
2,991
|
96
|
Start
|
Low
|
| 341
|
Thiele/Small parameters
|
2,984
|
96
|
Start
|
Unknown
|
| 342
|
Compass Point Studios
|
2,982
|
96
|
Start
|
Mid
|
| 343
|
Digital recording
|
2,957
|
95
|
C
|
Top
|
| 344
|
Monaural
|
2,923
|
94
|
Stub
|
Unknown
|
| 345
|
Wire recording
|
2,923
|
94
|
C
|
Mid
|
| 346
|
FL Studio Mobile
|
2,912
|
93
|
Start
|
Low
|
| 347
|
AES67
|
2,880
|
92
|
C
|
Mid
|
| 348
|
Audio Video Bridging
|
2,879
|
92
|
C
|
Mid
|
| 349
|
Tannoy
|
2,868
|
92
|
Start
|
Mid
|
| 350
|
Ken Scott
|
2,857
|
92
|
Start
|
Low
|
| 351
|
Audio equipment
|
2,842
|
91
|
Stub
|
Mid
|
| 352
|
Sunset Sound Recorders
|
2,840
|
91
|
C
|
High
|
| 353
|
Caribou Ranch
|
2,828
|
91
|
C
|
Mid
|
| 354
|
SAE Institute
|
2,824
|
91
|
Start
|
Mid
|
| 355
|
Ribbon microphone
|
2,818
|
90
|
B
|
High
|
| 356
|
Audio time stretching and pitch scaling
|
2,801
|
90
|
C
|
Low
|
| 357
|
Music visualization
|
2,794
|
90
|
Start
|
Low
|
| 358
|
FAME Studios
|
2,781
|
89
|
Start
|
Mid
|
| 359
|
Bitcrusher
|
2,780
|
89
|
Stub
|
Low
|
| 360
|
Blue Microphones
|
2,762
|
89
|
Start
|
Low
|
| 361
|
Bass reflex
|
2,745
|
88
|
C
|
Mid
|
| 362
|
Flexi disc
|
2,744
|
88
|
Start
|
Low
|
| 363
|
Click track
|
2,741
|
88
|
C
|
Mid
|
| 364
|
DJ mix
|
2,734
|
88
|
Start
|
Low
|
| 365
|
Edifier
|
2,728
|
88
|
Stub
|
Unknown
|
| 366
|
Loudspeaker enclosure
|
2,727
|
87
|
C
|
Top
|
| 367
|
Ardour (software)
|
2,724
|
87
|
Start
|
Low
|
| 368
|
MIDI controller
|
2,710
|
87
|
C
|
Mid
|
| 369
|
Westlake Recording Studios
|
2,699
|
87
|
Start
|
Mid
|
| 370
|
Le Studio
|
2,683
|
86
|
Start
|
Low
|
| 371
|
Sound reinforcement system
|
2,675
|
86
|
B
|
Top
|
| 372
|
Mains hum
|
2,675
|
86
|
Start
|
Mid
|
| 373
|
Pitch shifting
|
2,674
|
86
|
C
|
Low
|
| 374
|
Château d'Hérouville
|
2,672
|
86
|
Start
|
Low
|
| 375
|
EBU R 128
|
2,660
|
85
|
C
|
Low
|
| 376
|
Rolling Stones Mobile Studio
|
2,656
|
85
|
Start
|
Low
|
| 377
|
Pop filter
|
2,647
|
85
|
Start
|
Mid
|
| 378
|
Steinberg
|
2,646
|
85
|
B
|
Mid
|
| 379
|
Noise gate
|
2,634
|
84
|
C
|
High
|
| 380
|
Comparison of analog and digital recording
|
2,632
|
84
|
B
|
Mid
|
| 381
|
Treble (sound)
|
2,621
|
84
|
Stub
|
Low
|
| 382
|
Voicemeeter
|
2,593
|
83
|
C
|
Low
|
| 383
|
Cassette deck
|
2,591
|
83
|
C
|
Mid
|
| 384
|
Double tracking
|
2,589
|
83
|
Start
|
Mid
|
| 385
|
Ocean Productions
|
2,581
|
83
|
Start
|
Low
|
| 386
|
Woofer
|
2,575
|
83
|
Start
|
Mid
|
| 387
|
Balanced line
|
2,568
|
82
|
C
|
High
|
| 388
|
Canadian Radio-television and Telecommunications Commission
|
2,558
|
82
|
B
|
Low
|
| 389
|
Stage monitor system
|
2,544
|
82
|
C
|
High
|
| 390
|
Balanced audio
|
2,543
|
82
|
C
|
Top
|
| 391
|
Brian Ahern (producer)
|
2,522
|
81
|
Start
|
Low
|
| 392
|
United Western Recorders
|
2,511
|
81
|
Start
|
Low
|
| 393
|
Backing track
|
2,511
|
81
|
C
|
Mid
|
| 394
|
Echoplex
|
2,502
|
80
|
C
|
Mid
|
| 395
|
Sequential (company)
|
2,501
|
80
|
C
|
Low
|
| 396
|
International Standard Recording Code
|
2,489
|
80
|
Start
|
Mid
|
| 397
|
Quantization (music)
|
2,480
|
80
|
Start
|
Low
|
| 398
|
Electronic drum
|
2,479
|
79
|
C
|
Mid
|
| 399
|
Conway Recording Studios
|
2,466
|
79
|
Start
|
Low
|
| 400
|
InMusic Brands
|
2,439
|
78
|
C
|
Low
|
| 401
|
List of discontinued Bose headphones
|
2,431
|
78
|
List
|
Low
|
| 402
|
Criteria Studios
|
2,416
|
77
|
B
|
Low
|
| 403
|
Reason (software)
|
2,415
|
77
|
C
|
Mid
|
| 404
|
Field recording
|
2,405
|
77
|
Start
|
High
|
| 405
|
DI unit
|
2,401
|
77
|
Start
|
Low
|
| 406
|
5150 Studios
|
2,395
|
77
|
Start
|
Low
|
| 407
|
Oberheim Electronics
|
2,389
|
77
|
Start
|
Low
|
| 408
|
Phon
|
2,380
|
76
|
Start
|
Low
|
| 409
|
Digital Compact Cassette
|
2,377
|
76
|
C
|
Low
|
| 410
|
Bitwig Studio
|
2,376
|
76
|
Start
|
Mid
|
| 411
|
NAMM Show
|
2,370
|
76
|
Start
|
Mid
|
| 412
|
Orange Amps
|
2,365
|
76
|
C
|
Low
|
| 413
|
Shure SM57
|
2,346
|
75
|
Start
|
Mid
|
| 414
|
Fade (audio engineering)
|
2,345
|
75
|
C
|
High
|
| 415
|
Parabolic microphone
|
2,339
|
75
|
Start
|
Mid
|
| 416
|
TEAC Corporation
|
2,338
|
75
|
Start
|
Mid
|
| 417
|
Virtual Audio Cable
|
2,336
|
75
|
Start
|
Unknown
|
| 418
|
Echo chamber
|
2,323
|
74
|
Start
|
Mid
|
| 419
|
Audio and video interfaces and connectors
|
2,319
|
74
|
C
|
High
|
| 420
|
Speakon connector
|
2,318
|
74
|
Start
|
High
|
| 421
|
Rancho De La Luna
|
2,314
|
74
|
Start
|
Low
|
| 422
|
DJ mixer
|
2,305
|
74
|
Start
|
Mid
|
| 423
|
Mark Korven
|
2,301
|
74
|
Start
|
Unknown
|
| 424
|
Bruce Swedien
|
2,299
|
74
|
Start
|
Low
|
| 425
|
Audio headset
|
2,299
|
74
|
C
|
Mid
|
| 426
|
Line array
|
2,284
|
73
|
C
|
High
|
| 427
|
Waves Audio
|
2,281
|
73
|
Start
|
Low
|
| 428
|
MADI
|
2,260
|
72
|
C
|
Mid
|
| 429
|
Pregap
|
2,257
|
72
|
Start
|
Low
|
| 430
|
American Sound Studio
|
2,238
|
72
|
C
|
Low
|
| 431
|
AV receiver
|
2,230
|
71
|
C
|
Low
|
| 432
|
Sone
|
2,229
|
71
|
C
|
Low
|
| 433
|
Jay Pritzker Pavilion
|
2,226
|
71
|
FA
|
Mid
|
| 434
|
Dictation machine
|
2,221
|
71
|
C
|
High
|
| 435
|
Sunn
|
2,211
|
71
|
Stub
|
Low
|
| 436
|
Arthur McArthur
|
2,203
|
71
|
Start
|
Unknown
|
| 437
|
Chorus (audio effect)
|
2,193
|
70
|
Start
|
Mid
|
| 438
|
ReplayGain
|
2,187
|
70
|
C
|
Mid
|
| 439
|
List of sound chips
|
2,183
|
70
|
List
|
Low
|
| 440
|
Boom operator (media)
|
2,181
|
70
|
Start
|
Low
|
| 441
|
DVD-RAM
|
2,161
|
69
|
C
|
Low
|
| 442
|
Wireless microphone
|
2,141
|
69
|
Start
|
Mid
|
| 443
|
Loudspeakers in mosques
|
2,130
|
68
|
Start
|
Unknown
|
| 444
|
Passive radiator (speaker)
|
2,122
|
68
|
Start
|
Low
|
| 445
|
Audio normalization
|
2,103
|
67
|
C
|
Mid
|
| 446
|
TASCAM
|
2,097
|
67
|
Start
|
High
|
| 447
|
ORTF stereo technique
|
2,096
|
67
|
Start
|
Mid
|
| 448
|
Dave Smith (engineer)
|
2,084
|
67
|
Start
|
Low
|
| 449
|
Ocean Way Recording
|
2,083
|
67
|
Start
|
High
|
| 450
|
Beyerdynamic
|
2,073
|
66
|
Start
|
Mid
|
| 451
|
Grammy Award for Best Immersive Audio Album
|
2,067
|
66
|
List
|
Mid
|
| 452
|
Precedence effect
|
2,051
|
66
|
C
|
High
|
| 453
|
Home recording
|
2,039
|
65
|
C
|
High
|
| 454
|
Roll-off
|
2,035
|
65
|
C
|
Mid
|
| 455
|
Active filter
|
2,034
|
65
|
Start
|
Low
|
| 456
|
Stem (audio)
|
2,030
|
65
|
Start
|
Mid
|
| 457
|
Sarm Studios
|
2,029
|
65
|
Start
|
Low
|
| 458
|
Reinhold Mack
|
2,014
|
64
|
Start
|
Low
|
| 459
|
Low-frequency oscillation
|
2,006
|
64
|
Start
|
Mid
|
| 460
|
Nagra
|
2,004
|
64
|
Start
|
Mid
|
| 461
|
Linkwitz–Riley filter
|
2,004
|
64
|
C
|
Mid
|
| 462
|
Impulse Tracker
|
1,999
|
64
|
C
|
Low
|
| 463
|
Al Schmitt
|
1,978
|
63
|
Start
|
Mid
|
| 464
|
BBC Radiophonic Workshop
|
1,977
|
63
|
C
|
Low
|
| 465
|
Solid State Logic
|
1,977
|
63
|
B
|
Mid
|
| 466
|
Beach Boys Studio
|
1,974
|
63
|
Start
|
Low
|
| 467
|
45 rpm adapter
|
1,972
|
63
|
Stub
|
Low
|
| 468
|
Smart Studios
|
1,969
|
63
|
Start
|
Low
|
| 469
|
Academy Award for Best Sound Editing
|
1,962
|
63
|
NA
|
High
|
| 470
|
Infinity Systems
|
1,954
|
63
|
Start
|
Low
|
| 471
|
Shure SM58
|
1,941
|
62
|
Start
|
Mid
|
| 472
|
Manhattan Center
|
1,940
|
62
|
Start
|
Low
|
| 473
|
Pitch correction
|
1,937
|
62
|
C
|
Mid
|
| 474
|
Glossary of broadcasting terms
|
1,924
|
62
|
List
|
Mid
|
| 475
|
Voice changer
|
1,924
|
62
|
Start
|
Low
|
| 476
|
1176 Peak Limiter
|
1,924
|
62
|
Start
|
Mid
|
| 477
|
George Marino
|
1,918
|
61
|
Start
|
Low
|
| 478
|
Chung King Studios
|
1,916
|
61
|
Start
|
Low
|
| 479
|
Audio mixing
|
1,910
|
61
|
Start
|
Top
|
| 480
|
ADAT
|
1,910
|
61
|
Start
|
Mid
|
| 481
|
Alesis
|
1,905
|
61
|
C
|
Mid
|
| 482
|
E-mu Systems
|
1,900
|
61
|
C
|
Low
|
| 483
|
Dubplate
|
1,894
|
61
|
Stub
|
Unknown
|
| 484
|
Soundtrap
|
1,888
|
60
|
C
|
Low
|
| 485
|
Hansa Tonstudio
|
1,881
|
60
|
Start
|
Low
|
| 486
|
Justin Varghese
|
1,880
|
60
|
Start
|
Low
|
| 487
|
Audio editing software
|
1,865
|
60
|
C
|
Mid
|
| 488
|
Timecode
|
1,861
|
60
|
Start
|
High
|
| 489
|
Patch panel
|
1,855
|
59
|
Start
|
High
|
| 490
|
Passband
|
1,845
|
59
|
Start
|
Mid
|
| 491
|
L-Acoustics
|
1,841
|
59
|
Start
|
Low
|
| 492
|
PreSonus
|
1,830
|
59
|
Start
|
Low
|
| 493
|
Sound recording
|
1,825
|
58
|
NA
|
High
|
| 494
|
LA-2A Leveling Amplifier
|
1,823
|
58
|
Start
|
Mid
|
| 495
|
Chris Tsangarides
|
1,819
|
58
|
Start
|
Mid
|
| 496
|
Subtractive synthesis
|
1,807
|
58
|
Start
|
Mid
|
| 497
|
JACK Audio Connection Kit
|
1,802
|
58
|
Start
|
Low
|
| 498
|
Van Gelder Studio
|
1,796
|
57
|
Start
|
Low
|
| 499
|
MXM and Wolf Cousins
|
1,795
|
57
|
B
|
Unknown
|
| 500
|
The Village (studio)
|
1,791
|
57
|
Stub
|
Unknown
|
