From Wikipedia, the free encyclopedia
This is a list of pages in the scope of Wikipedia:WikiProject Professional sound production along with pageviews.
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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
|
