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: 2024-09-01 to 2024-09-30
Total views: 3,988,598
Updated: 10:47, 9 October 2024 (UTC)
| Rank
|
Page title
|
Views
|
Daily average
|
Assessment
|
Importance
|
| 1
|
Spotify
|
135,703
|
4,523
|
B
|
Unknown
|
| 2
|
Blu-ray
|
49,090
|
1,636
|
C
|
Mid
|
| 3
|
DVD
|
46,765
|
1,558
|
B
|
Mid
|
| 4
|
Song
|
43,944
|
1,464
|
Start
|
Top
|
| 5
|
Compact disc
|
41,345
|
1,378
|
B
|
High
|
| 6
|
Extended play
|
41,057
|
1,368
|
C
|
Mid
|
| 7
|
Decibel
|
37,903
|
1,263
|
C
|
Top
|
| 8
|
Streaming media
|
36,840
|
1,228
|
C
|
Mid
|
| 9
|
Wilhelm scream
|
35,725
|
1,190
|
C
|
Low
|
| 10
|
Radio
|
34,931
|
1,164
|
C
|
High
|
| 11
|
Alan Parsons
|
33,343
|
1,111
|
Start
|
Mid
|
| 12
|
Sound
|
32,653
|
1,088
|
B
|
Top
|
| 13
|
George Martin
|
32,471
|
1,082
|
GA
|
High
|
| 14
|
Recording Industry Association of America
|
31,954
|
1,065
|
C
|
High
|
| 15
|
Phonograph
|
30,795
|
1,026
|
B
|
High
|
| 16
|
Cassette tape
|
30,538
|
1,017
|
B
|
High
|
| 17
|
Noise pollution
|
30,116
|
1,003
|
C
|
Mid
|
| 18
|
Phonograph record
|
29,992
|
999
|
C
|
High
|
| 19
|
Microphone
|
28,221
|
940
|
C
|
Top
|
| 20
|
JBL
|
27,835
|
927
|
C
|
Mid
|
| 21
|
Yamaha Corporation
|
27,546
|
918
|
C
|
Mid
|
| 22
|
Bose Corporation
|
26,587
|
886
|
B
|
Mid
|
| 23
|
Music recording certification
|
25,211
|
840
|
C
|
Mid
|
| 24
|
LP record
|
25,194
|
839
|
C
|
Mid
|
| 25
|
Synthesizer
|
24,496
|
816
|
B
|
Mid
|
| 26
|
Beats Electronics
|
24,143
|
804
|
C
|
Low
|
| 27
|
Electric Lady Studios
|
23,531
|
784
|
Start
|
Low
|
| 28
|
Record producer
|
23,530
|
784
|
C
|
Top
|
| 29
|
Low-pass filter
|
23,431
|
781
|
C
|
Mid
|
| 30
|
FL Studio
|
22,108
|
736
|
Start
|
Low
|
| 31
|
Richard Perry
|
20,967
|
698
|
C
|
Mid
|
| 32
|
GarageBand
|
20,473
|
682
|
C
|
Mid
|
| 33
|
White noise
|
20,240
|
674
|
C
|
Mid
|
| 34
|
Dolby Atmos
|
19,211
|
640
|
B
|
Low
|
| 35
|
Phone connector (audio)
|
19,150
|
638
|
C
|
High
|
| 36
|
Harman International
|
18,220
|
607
|
Start
|
Low
|
| 37
|
Auto-Tune
|
17,881
|
596
|
B
|
Mid
|
| 38
|
Headphones
|
17,785
|
592
|
C
|
High
|
| 39
|
RCA connector
|
16,697
|
556
|
C
|
Mid
|
| 40
|
Audacity (audio editor)
|
16,120
|
537
|
C
|
Mid
|
| 41
|
S-Video
|
15,924
|
530
|
C
|
Low
|
| 42
|
Tony Visconti
|
15,839
|
527
|
C
|
Low
|
| 43
|
Analog-to-digital converter
|
15,830
|
527
|
C
|
High
|
| 44
|
Soundtrack
|
15,729
|
524
|
C
|
High
|
| 45
|
Wall of Sound
|
15,526
|
517
|
C
|
Low
|
| 46
|
Amar Bose
|
15,522
|
517
|
Start
|
Mid
|
| 47
|
Pulse-code modulation
|
15,125
|
504
|
B
|
High
|
| 48
|
40 (record producer)
|
14,951
|
498
|
Start
|
Low
|
| 49
|
WAV
|
14,190
|
473
|
C
|
Mid
|
| 50
|
Ground (electricity)
|
14,126
|
470
|
C
|
High
|
| 51
|
Sound recording and reproduction
|
13,993
|
466
|
C
|
Top
|
| 52
|
Loudspeaker
|
13,779
|
459
|
B
|
Top
|
| 53
|
Broadcasting
|
13,695
|
456
|
C
|
Top
|
| 54
|
Abbey Road Studios
|
13,395
|
446
|
B
|
High
|
| 55
|
Pink noise
|
13,174
|
439
|
B
|
Mid
|
| 56
|
Marshall Amplification
|
12,947
|
431
|
B
|
Mid
|
| 57
|
Audio engineer
|
12,729
|
424
|
C
|
Top
|
| 58
|
Dither
|
12,620
|
420
|
C
|
Mid
|
| 59
|
Aliasing
|
12,485
|
416
|
B
|
Mid
|
| 60
|
Dipole antenna
|
12,478
|
415
|
B
|
Low
|
| 61
|
Digital audio workstation
|
12,286
|
409
|
C
|
Top
|
| 62
|
In-ear monitor
|
12,053
|
401
|
C
|
High
|
| 63
|
Justin Varghese
|
11,918
|
397
|
Start
|
Low
|
| 64
|
BNC connector
|
11,863
|
395
|
C
|
Mid
|
| 65
|
Harman Kardon
|
11,835
|
394
|
Start
|
Low
|
| 66
|
Two Steps from Hell
|
11,570
|
385
|
Start
|
Mid
|
| 67
|
Composer
|
11,541
|
384
|
Start
|
Low
|
| 68
|
THX
|
11,454
|
381
|
C
|
Unknown
|
| 69
|
S/PDIF
|
11,322
|
377
|
C
|
Low
|
| 70
|
Harmonic
|
11,266
|
375
|
Start
|
Mid
|
| 71
|
List of largest recorded music markets
|
11,222
|
374
|
List
|
Low
|
| 72
|
Ableton Live
|
11,132
|
371
|
C
|
Mid
|
| 73
|
XLR connector
|
11,122
|
370
|
B
|
High
|
| 74
|
Loudness war
|
11,091
|
369
|
B
|
High
|
| 75
|
MiniDisc
|
10,931
|
364
|
C
|
Low
|
| 76
|
Logic Pro
|
10,899
|
363
|
C
|
High
|
| 77
|
Active noise control
|
10,873
|
362
|
C
|
Low
|
| 78
|
Spectrogram
|
10,707
|
356
|
C
|
Low
|
| 79
|
Foley (filmmaking)
|
10,677
|
355
|
C
|
High
|
| 80
|
Owsley Stanley
|
10,499
|
349
|
C
|
Low
|
| 81
|
Compact Disc Digital Audio
|
10,398
|
346
|
C
|
Mid
|
| 82
|
Brownian noise
|
10,393
|
346
|
Start
|
Low
|
| 83
|
Sampling (signal processing)
|
10,236
|
341
|
C
|
High
|
| 84
|
High-pass filter
|
10,111
|
337
|
C
|
High
|
| 85
|
D-subminiature
|
9,879
|
329
|
B
|
Low
|
| 86
|
Roland Corporation
|
9,867
|
328
|
Start
|
Mid
|
| 87
|
Sound pressure
|
9,709
|
323
|
C
|
High
|
| 88
|
Quantization (signal processing)
|
9,461
|
315
|
B
|
Mid
|
| 89
|
Backmasking
|
9,261
|
308
|
B
|
Mid
|
| 90
|
Pro Tools
|
9,249
|
308
|
C
|
High
|
| 91
|
Mastering (audio)
|
9,241
|
308
|
C
|
Top
|
| 92
|
Sennheiser
|
9,231
|
307
|
Start
|
Low
|
| 93
|
AC power
|
9,211
|
307
|
B
|
Mid
|
| 94
|
Stereophonic sound
|
9,194
|
306
|
C
|
Top
|
| 95
|
Human voice
|
9,118
|
303
|
B
|
Mid
|
| 96
|
Acoustics
|
9,114
|
303
|
C
|
Top
|
| 97
|
Phonograph cylinder
|
9,071
|
302
|
C
|
Mid
|
| 98
|
Composite video
|
8,959
|
298
|
C
|
Mid
|
| 99
|
Digital signal processor
|
8,922
|
297
|
C
|
High
|
| 100
|
Total harmonic distortion
|
8,900
|
296
|
Start
|
Mid
|
| 101
|
Finite impulse response
|
8,843
|
294
|
Start
|
Mid
|
| 102
|
Bandwidth (signal processing)
|
8,756
|
291
|
C
|
Mid
|
| 103
|
High fidelity
|
8,755
|
291
|
C
|
Mid
|
| 104
|
Bob Ezrin
|
8,727
|
290
|
C
|
Low
|
| 105
|
Digital-to-analog converter
|
8,708
|
290
|
C
|
High
|
| 106
|
Shepard tone
|
8,629
|
287
|
Start
|
Low
|
| 107
|
National Recording Registry
|
8,498
|
283
|
FL
|
High
|
| 108
|
Full Sail University
|
8,478
|
282
|
C
|
Mid
|
| 109
|
Public address system
|
8,475
|
282
|
C
|
Top
|
| 110
|
Bode plot
|
8,334
|
277
|
C
|
Mid
|
| 111
|
Academy Award for Best Sound
|
8,272
|
275
|
List
|
Mid
|
| 112
|
Blaupunkt
|
8,147
|
271
|
Start
|
Low
|
| 113
|
Concert
|
8,145
|
271
|
C
|
High
|
| 114
|
Remaster
|
8,145
|
271
|
C
|
Mid
|
| 115
|
Distortion (music)
|
8,068
|
268
|
C
|
High
|
| 116
|
Super Audio CD
|
8,065
|
268
|
B
|
Low
|
| 117
|
Paisley Park
|
7,793
|
259
|
Start
|
Unknown
|
| 118
|
Audiophile
|
7,716
|
257
|
C
|
Mid
|
| 119
|
Flood (music producer)
|
7,680
|
256
|
C
|
Mid
|
| 120
|
Laugh track
|
7,628
|
254
|
C
|
Mid
|
| 121
|
Astoria (recording studio)
|
7,622
|
254
|
Start
|
Low
|
| 122
|
History of sound recording
|
7,570
|
252
|
C
|
High
|
| 123
|
Band-pass filter
|
7,521
|
250
|
Start
|
Low
|
| 124
|
Magnetic tape
|
7,506
|
250
|
C
|
High
|
| 125
|
Reel-to-reel audio tape recording
|
7,400
|
246
|
B
|
High
|
| 126
|
Record Plant
|
7,388
|
246
|
C
|
Mid
|
| 127
|
Bob Ludwig
|
7,388
|
246
|
C
|
Mid
|
| 128
|
Session musician
|
7,221
|
240
|
Start
|
Mid
|
| 129
|
Virtual Studio Technology
|
7,138
|
237
|
C
|
Mid
|
| 130
|
Impedance matching
|
7,121
|
237
|
C
|
Mid
|
| 131
|
Tape recorder
|
7,067
|
235
|
C
|
High
|
| 132
|
Dynamic range compression
|
7,065
|
235
|
B
|
Top
|
| 133
|
Megaphone
|
6,769
|
225
|
Start
|
Unknown
|
| 134
|
Robert Moog
|
6,753
|
225
|
B
|
High
|
| 135
|
TOSLINK
|
6,753
|
225
|
Start
|
Unknown
|
| 136
|
Ben Burtt
|
6,679
|
222
|
C
|
Low
|
| 137
|
LDAC (codec)
|
6,610
|
220
|
Start
|
Low
|
| 138
|
Non-linear editing
|
6,564
|
218
|
C
|
High
|
| 139
|
ISDN
|
6,456
|
215
|
C
|
Mid
|
| 140
|
Synclavier
|
6,453
|
215
|
C
|
Low
|
| 141
|
Lavalier microphone
|
6,441
|
214
|
Start
|
Mid
|
| 142
|
Subwoofer
|
6,415
|
213
|
B
|
Top
|
| 143
|
Equal-loudness contour
|
6,353
|
211
|
C
|
Mid
|
| 144
|
Steinberg Cubase
|
6,197
|
206
|
C
|
Mid
|
| 145
|
Surround sound
|
6,070
|
202
|
B
|
Top
|
| 146
|
AKG (company)
|
6,032
|
201
|
C
|
High
|
| 147
|
Post-production
|
6,003
|
200
|
Start
|
Top
|
| 148
|
Muscle Shoals Sound Studio
|
5,953
|
198
|
C
|
Low
|
| 149
|
Recording studio
|
5,938
|
197
|
C
|
Top
|
| 150
|
Rockfield Studios
|
5,923
|
197
|
Start
|
Unknown
|
| 151
|
Cutoff frequency
|
5,919
|
197
|
C
|
Mid
|
| 152
|
Overtone
|
5,893
|
196
|
C
|
Mid
|
| 153
|
Audio frequency
|
5,879
|
195
|
Start
|
Mid
|
| 154
|
Multitrack recording
|
5,878
|
195
|
C
|
Top
|
| 155
|
Equalization (audio)
|
5,878
|
195
|
C
|
Top
|
| 156
|
Phil Ramone
|
5,863
|
195
|
C
|
High
|
| 157
|
DIN connector
|
5,843
|
194
|
C
|
Low
|
| 158
|
Optical disc packaging
|
5,828
|
194
|
Start
|
Low
|
| 159
|
Effects unit
|
5,777
|
192
|
B
|
Mid
|
| 160
|
General MIDI
|
5,715
|
190
|
C
|
Low
|
| 161
|
Remix
|
5,707
|
190
|
Start
|
Low
|
| 162
|
Noise
|
5,675
|
189
|
B
|
Mid
|
| 163
|
Digital audio
|
5,670
|
189
|
C
|
Top
|
| 164
|
5.1 surround sound
|
5,664
|
188
|
Start
|
High
|
| 165
|
20 Feet from Stardom
|
5,657
|
188
|
Start
|
Low
|
| 166
|
Digital Audio Tape
|
5,567
|
185
|
C
|
Mid
|
| 167
|
Balun
|
5,560
|
185
|
C
|
Low
|
| 168
|
Downsampling (signal processing)
|
5,554
|
185
|
Start
|
Low
|
| 169
|
REAPER
|
5,550
|
185
|
Start
|
Low
|
| 170
|
A-weighting
|
5,519
|
183
|
B
|
Mid
|
| 171
|
Electromagnetic shielding
|
5,442
|
181
|
C
|
Mid
|
| 172
|
Line level
|
5,423
|
180
|
C
|
High
|
| 173
|
Demo (music)
|
5,414
|
180
|
Start
|
Low
|
| 174
|
Dynamic range
|
5,407
|
180
|
C
|
Mid
|
| 175
|
Dann Huff
|
5,392
|
179
|
Start
|
Mid
|
| 176
|
Ableton
|
5,332
|
177
|
C
|
Low
|
| 177
|
Shure
|
5,255
|
175
|
B
|
High
|
| 178
|
Road crew
|
5,226
|
174
|
Start
|
High
|
| 179
|
Sound stage
|
5,202
|
173
|
Start
|
Low
|
| 180
|
Audiovisual
|
5,181
|
172
|
Start
|
High
|
| 181
|
Walla
|
5,163
|
172
|
Start
|
Low
|
| 182
|
High-resolution audio
|
5,161
|
172
|
C
|
Mid
|
| 183
|
Direct Stream Digital
|
5,094
|
169
|
C
|
Mid
|
| 184
|
Doug Sax
|
5,081
|
169
|
Start
|
Mid
|
| 185
|
Bassline
|
5,074
|
169
|
C
|
Mid
|
| 186
|
Audio bit depth
|
5,035
|
167
|
B
|
High
|
| 187
|
Frequency modulation synthesis
|
5,013
|
167
|
C
|
Low
|
| 188
|
Overdubbing
|
4,919
|
163
|
Start
|
Mid
|
| 189
|
Soundproofing
|
4,911
|
163
|
C
|
Mid
|
| 190
|
Associated Independent Recording
|
4,897
|
163
|
Start
|
Mid
|
| 191
|
Wah-wah pedal
|
4,886
|
162
|
Start
|
Low
|
| 192
|
Programming (music)
|
4,879
|
162
|
Stub
|
Unknown
|
| 193
|
Gain (electronics)
|
4,867
|
162
|
C
|
High
|
| 194
|
Audio feedback
|
4,796
|
159
|
C
|
High
|
| 195
|
Adobe Audition
|
4,765
|
158
|
Start
|
Mid
|
| 196
|
Music sequencer
|
4,681
|
156
|
C
|
Mid
|
| 197
|
Spectrum analyzer
|
4,678
|
155
|
Start
|
Mid
|
| 198
|
Phantom power
|
4,642
|
154
|
C
|
Mid
|
| 199
|
Phonautograph
|
4,639
|
154
|
C
|
Low
|
| 200
|
Sound City Studios
|
4,633
|
154
|
Start
|
Low
|
| 201
|
Korg
|
4,529
|
150
|
Start
|
Low
|
| 202
|
SAE Institute
|
4,528
|
150
|
Start
|
Mid
|
| 203
|
Music tracker
|
4,482
|
149
|
Start
|
Low
|
| 204
|
Flanging
|
4,453
|
148
|
C
|
Mid
|
| 205
|
Psychoacoustics
|
4,441
|
148
|
C
|
Mid
|
| 206
|
The Mansion (recording studio)
|
4,440
|
148
|
Start
|
Low
|
| 207
|
Preamplifier
|
4,417
|
147
|
Start
|
Mid
|
| 208
|
Eddie Kramer
|
4,408
|
146
|
C
|
High
|
| 209
|
Scratching
|
4,373
|
145
|
C
|
Mid
|
| 210
|
Live television
|
4,356
|
145
|
Start
|
Mid
|
| 211
|
Ampex
|
4,342
|
144
|
C
|
Mid
|
| 212
|
Filter (signal processing)
|
4,341
|
144
|
C
|
Mid
|
| 213
|
Moog Music
|
4,322
|
144
|
C
|
Mid
|
| 214
|
Shangri-La (recording studio)
|
4,281
|
142
|
Start
|
Low
|
| 215
|
BandLab
|
4,281
|
142
|
Unknown
|
Unknown
|
| 216
|
Quadraphonic sound
|
4,242
|
141
|
C
|
Mid
|
| 217
|
Loudness
|
4,232
|
141
|
C
|
Mid
|
| 218
|
Institute of Radio Engineers
|
4,205
|
140
|
Start
|
Low
|
| 219
|
Klipsch Audio Technologies
|
4,190
|
139
|
C
|
Mid
|
| 220
|
Timeline of audio formats
|
4,156
|
138
|
Start
|
Mid
|
| 221
|
Hitsville U.S.A.
|
4,136
|
137
|
C
|
Mid
|
| 222
|
Binaural recording
|
4,119
|
137
|
C
|
Mid
|
| 223
|
FL Studio Mobile
|
4,105
|
136
|
Start
|
Low
|
| 224
|
Noise reduction
|
4,052
|
135
|
C
|
Mid
|
| 225
|
Frequency response
|
4,035
|
134
|
C
|
High
|
| 226
|
Mixing console
|
4,033
|
134
|
C
|
Top
|
| 227
|
Anti-aliasing
|
4,004
|
133
|
NA
|
Mid
|
| 228
|
Røde Microphones
|
3,997
|
133
|
Start
|
High
|
| 229
|
Audio-Technica
|
3,994
|
133
|
Start
|
Mid
|
| 230
|
Sound design
|
3,990
|
133
|
C
|
High
|
| 231
|
Anti-aliasing filter
|
3,954
|
131
|
C
|
Low
|
| 232
|
T-Minus (producer)
|
3,914
|
130
|
Start
|
Low
|
| 233
|
Vinyl revival
|
3,911
|
130
|
C
|
Low
|
| 234
|
Deep Note
|
3,897
|
129
|
Start
|
Low
|
| 235
|
Behringer
|
3,852
|
128
|
C
|
Mid
|
| 236
|
Peavey Electronics
|
3,847
|
128
|
C
|
Mid
|
| 237
|
The Hit Factory
|
3,820
|
127
|
Start
|
Low
|
| 238
|
Wall of Sound (Grateful Dead)
|
3,798
|
126
|
C
|
High
|
| 239
|
Sound level meter
|
3,759
|
125
|
B
|
Mid
|
| 240
|
Master Quality Authenticated
|
3,725
|
124
|
C
|
Low
|
| 241
|
Geoff Emerick
|
3,724
|
124
|
B
|
Mid
|
| 242
|
Distortion
|
3,717
|
123
|
C
|
High
|
| 243
|
Twelve-inch single
|
3,717
|
123
|
Start
|
Low
|
| 244
|
Vehicle audio
|
3,709
|
123
|
Start
|
Low
|
| 245
|
Dolby noise-reduction system
|
3,688
|
122
|
B
|
Mid
|
| 246
|
Sun Studio
|
3,674
|
122
|
C
|
Mid
|
| 247
|
Skywalker Sound
|
3,669
|
122
|
Start
|
Low
|
| 248
|
Audio equipment
|
3,660
|
122
|
Stub
|
Mid
|
| 249
|
Audio Interchange File Format
|
3,656
|
121
|
C
|
Mid
|
| 250
|
Compact Cassette tape types and formulations
|
3,618
|
120
|
C
|
Low
|
| 251
|
Avid Technology
|
3,612
|
120
|
Start
|
Low
|
| 252
|
Intercom
|
3,599
|
119
|
Start
|
Mid
|
| 253
|
Open Sound Control
|
3,592
|
119
|
Start
|
Mid
|
| 254
|
Altec Lansing
|
3,590
|
119
|
C
|
Mid
|
| 255
|
Audio mixing (recorded music)
|
3,589
|
119
|
C
|
High
|
| 256
|
Olympic Studios
|
3,588
|
119
|
C
|
Low
|
| 257
|
Wire recording
|
3,587
|
119
|
C
|
Mid
|
| 258
|
Compression artifact
|
3,576
|
119
|
Start
|
Mid
|
| 259
|
Chris Lord-Alge
|
3,572
|
119
|
Start
|
Mid
|
| 260
|
7.1 surround sound
|
3,539
|
117
|
Start
|
High
|
| 261
|
Reverb effect
|
3,536
|
117
|
C
|
High
|
| 262
|
Squelch
|
3,501
|
116
|
Start
|
Unknown
|
| 263
|
SMPTE 2110
|
3,495
|
116
|
Start
|
Low
|
| 264
|
MPEG-1
|
3,482
|
116
|
B
|
Low
|
| 265
|
VU meter
|
3,458
|
115
|
C
|
High
|
| 266
|
Trident Studios
|
3,458
|
115
|
C
|
Mid
|
| 267
|
Sound effect
|
3,456
|
115
|
C
|
High
|
| 268
|
Studio One (software)
|
3,438
|
114
|
B
|
Unknown
|
| 269
|
Grammy Award for Best Engineered Album, Non-Classical
|
3,432
|
114
|
List
|
Mid
|
| 270
|
Attenuator (electronics)
|
3,422
|
114
|
Start
|
Mid
|
| 271
|
Audio power amplifier
|
3,366
|
112
|
C
|
High
|
| 272
|
Band-stop filter
|
3,360
|
112
|
Start
|
Mid
|
| 273
|
Record sales
|
3,342
|
111
|
Start
|
Mid
|
| 274
|
Tom Dowd
|
3,317
|
110
|
Start
|
High
|
| 275
|
Crosstalk
|
3,313
|
110
|
C
|
Low
|
| 276
|
SMPTE timecode
|
3,302
|
110
|
C
|
High
|
| 277
|
Crest factor
|
3,302
|
110
|
C
|
Mid
|
| 278
|
DBFS
|
3,294
|
109
|
C
|
Mid
|
| 279
|
Ken Scott
|
3,284
|
109
|
Start
|
Low
|
| 280
|
Parabolic microphone
|
3,266
|
108
|
Start
|
Mid
|
| 281
|
Directional antenna
|
3,228
|
107
|
Start
|
Low
|
| 282
|
Monster Cable
|
3,221
|
107
|
GA
|
Low
|
| 283
|
Digital biquad filter
|
3,214
|
107
|
Start
|
Mid
|
| 284
|
Cue sheet (computing)
|
3,211
|
107
|
Start
|
Low
|
| 285
|
Gated reverb
|
3,205
|
106
|
C
|
Mid
|
| 286
|
Audio signal
|
3,199
|
106
|
Start
|
High
|
| 287
|
AES3
|
3,197
|
106
|
C
|
High
|
| 288
|
Log-periodic antenna
|
3,149
|
104
|
Start
|
Low
|
| 289
|
Audio crossover
|
3,135
|
104
|
B
|
Top
|
| 290
|
LHDC (codec)
|
3,126
|
104
|
Start
|
Low
|
| 291
|
Intermodulation
|
3,114
|
103
|
Start
|
Mid
|
| 292
|
Power Station (recording studio)
|
3,094
|
103
|
Unknown
|
Mid
|
| 293
|
Acetate disc
|
3,084
|
102
|
Start
|
Mid
|
| 294
|
Dante (networking)
|
3,062
|
102
|
Start
|
Mid
|
| 295
|
Banana connector
|
3,054
|
101
|
Start
|
Mid
|
| 296
|
Pitch shifting
|
3,042
|
101
|
C
|
Low
|
| 297
|
Yamaha NS-10
|
3,041
|
101
|
GA
|
Mid
|
| 298
|
Digital filter
|
3,025
|
100
|
C
|
Top
|
| 299
|
Delay (audio effect)
|
3,018
|
100
|
C
|
High
|
| 300
|
NoCopyrightSounds
|
3,007
|
100
|
Stub
|
Low
|
| 301
|
DVD-Audio
|
3,004
|
100
|
C
|
Mid
|
| 302
|
Production music
|
3,001
|
100
|
C
|
High
|
| 303
|
Hot mic
|
2,988
|
99
|
Unknown
|
Unknown
|
| 304
|
Clipping (audio)
|
2,986
|
99
|
C
|
Mid
|
| 305
|
Ambisonics
|
2,980
|
99
|
B
|
Mid
|
| 306
|
Shielded cable
|
2,979
|
99
|
Start
|
Low
|
| 307
|
Slew rate
|
2,975
|
99
|
Start
|
Mid
|
| 308
|
Front of house
|
2,958
|
98
|
Start
|
Mid
|
| 309
|
Edifier
|
2,957
|
98
|
Stub
|
Unknown
|
| 310
|
Horn loudspeaker
|
2,925
|
97
|
B
|
High
|
| 311
|
Yamaha YM2612
|
2,923
|
97
|
Start
|
Unknown
|
| 312
|
Stock sound effect
|
2,913
|
97
|
Start
|
Low
|
| 313
|
Steinberg
|
2,891
|
96
|
B
|
Mid
|
| 314
|
Bruce Fairbairn
|
2,876
|
95
|
C
|
Low
|
| 315
|
Monaural sound
|
2,857
|
95
|
Stub
|
Unknown
|
| 316
|
Mini CD
|
2,852
|
95
|
Start
|
Low
|
| 317
|
44,100 Hz
|
2,845
|
94
|
C
|
Mid
|
| 318
|
Oversampling
|
2,843
|
94
|
C
|
Low
|
| 319
|
Audio Video Bridging
|
2,829
|
94
|
C
|
Mid
|
| 320
|
Re-recording (music)
|
2,822
|
94
|
C
|
Low
|
| 321
|
Hip hop production
|
2,816
|
93
|
C
|
Mid
|
| 322
|
DTS-HD Master Audio
|
2,813
|
93
|
Start
|
Low
|
| 323
|
Audio Stream Input/Output
|
2,802
|
93
|
Start
|
Mid
|
| 324
|
Sawmills Studios
|
2,800
|
93
|
Stub
|
Unknown
|
| 325
|
Caribou Ranch
|
2,791
|
93
|
C
|
Mid
|
| 326
|
Westlake Recording Studios
|
2,779
|
92
|
Start
|
Mid
|
| 327
|
AES67
|
2,761
|
92
|
C
|
Mid
|
| 328
|
Bitcrusher
|
2,728
|
90
|
Start
|
Low
|
| 329
|
Phaser (effect)
|
2,698
|
89
|
B
|
Mid
|
| 330
|
Earplug
|
2,696
|
89
|
C
|
Mid
|
| 331
|
Ribbon microphone
|
2,694
|
89
|
B
|
High
|
| 332
|
Electret microphone
|
2,679
|
89
|
Start
|
High
|
| 333
|
Shaped compact disc
|
2,676
|
89
|
Start
|
Unknown
|
| 334
|
ISO base media file format
|
2,649
|
88
|
C
|
Low
|
| 335
|
RIAA equalization
|
2,648
|
88
|
C
|
Mid
|
| 336
|
CD single
|
2,627
|
87
|
Start
|
Mid
|
| 337
|
Analog recording
|
2,620
|
87
|
Stub
|
Mid
|
| 338
|
DVD-RAM
|
2,619
|
87
|
C
|
Low
|
| 339
|
Audio signal processing
|
2,609
|
86
|
C
|
High
|
| 340
|
Comb filter
|
2,602
|
86
|
B
|
Mid
|
| 341
|
McIntosh Laboratory
|
2,589
|
86
|
Start
|
Mid
|
| 342
|
LUFS
|
2,585
|
86
|
Start
|
Mid
|
| 343
|
Compass Point Studios
|
2,580
|
86
|
Start
|
Mid
|
| 344
|
Sound transmission class
|
2,567
|
85
|
C
|
Mid
|
| 345
|
Acoustical engineering
|
2,564
|
85
|
C
|
Mid
|
| 346
|
Click track
|
2,550
|
85
|
C
|
Mid
|
| 347
|
Flexi disc
|
2,538
|
84
|
Start
|
Low
|
| 348
|
International Standard Recording Code
|
2,533
|
84
|
Start
|
Mid
|
| 349
|
Château d'Hérouville
|
2,527
|
84
|
Start
|
Low
|
| 350
|
Carbon microphone
|
2,523
|
84
|
C
|
Low
|
| 351
|
Mains hum
|
2,518
|
83
|
Start
|
Mid
|
| 352
|
DJ mixer
|
2,518
|
83
|
Start
|
Mid
|
| 353
|
3D audio effect
|
2,511
|
83
|
Start
|
Low
|
| 354
|
Audiogram
|
2,502
|
83
|
C
|
Low
|
| 355
|
Sunset Sound Recorders
|
2,501
|
83
|
C
|
High
|
| 356
|
Canadian Radio-television and Telecommunications Commission
|
2,499
|
83
|
B
|
Low
|
| 357
|
Electronic filter
|
2,498
|
83
|
C
|
Mid
|
| 358
|
Native Instruments
|
2,496
|
83
|
Start
|
Unknown
|
| 359
|
Loudspeaker enclosure
|
2,494
|
83
|
C
|
Top
|
| 360
|
Rolling Stones Mobile Studio
|
2,488
|
82
|
Start
|
Low
|
| 361
|
Wavetable synthesis
|
2,486
|
82
|
B
|
Low
|
| 362
|
Shure SM57
|
2,467
|
82
|
Start
|
Mid
|
| 363
|
Acid Pro
|
2,456
|
81
|
Start
|
Mid
|
| 364
|
Whip antenna
|
2,448
|
81
|
C
|
Low
|
| 365
|
Sweetwater Sound
|
2,442
|
81
|
B
|
High
|
| 366
|
Eventide, Inc
|
2,421
|
80
|
Start
|
Low
|
| 367
|
All-pass filter
|
2,416
|
80
|
C
|
Mid
|
| 368
|
Tannoy
|
2,400
|
80
|
Start
|
Mid
|
| 369
|
Echoplex
|
2,398
|
79
|
C
|
Mid
|
| 370
|
InMusic Brands
|
2,378
|
79
|
C
|
Low
|
| 371
|
Upsampling
|
2,376
|
79
|
Start
|
Low
|
| 372
|
Bruce Swedien
|
2,373
|
79
|
Start
|
Low
|
| 373
|
Unusual types of gramophone records
|
2,372
|
79
|
C
|
Low
|
| 374
|
Tweeter
|
2,371
|
79
|
Start
|
Mid
|
| 375
|
Brian Ahern (producer)
|
2,361
|
78
|
Start
|
Low
|
| 376
|
Balanced audio
|
2,351
|
78
|
C
|
Top
|
| 377
|
Image-Line
|
2,344
|
78
|
Start
|
Low
|
| 378
|
Treble (sound)
|
2,335
|
77
|
Stub
|
Low
|
| 379
|
Karplus–Strong string synthesis
|
2,332
|
77
|
C
|
Low
|
| 380
|
Audio time stretching and pitch scaling
|
2,332
|
77
|
C
|
Low
|
| 381
|
Ardour (software)
|
2,321
|
77
|
Start
|
Low
|
| 382
|
Sound reinforcement system
|
2,321
|
77
|
B
|
Top
|
| 383
|
Digital Compact Cassette
|
2,318
|
77
|
C
|
Low
|
| 384
|
TEAC Corporation
|
2,308
|
76
|
Start
|
Mid
|
| 385
|
Ocean Productions
|
2,297
|
76
|
Start
|
Low
|
| 386
|
Orange Amps
|
2,271
|
75
|
C
|
Low
|
| 387
|
Double tracking
|
2,265
|
75
|
Start
|
Mid
|
| 388
|
Bass reflex
|
2,253
|
75
|
C
|
Mid
|
| 389
|
History of broadcasting
|
2,249
|
74
|
C
|
High
|
| 390
|
FAME Studios
|
2,242
|
74
|
Start
|
Mid
|
| 391
|
Stage monitor system
|
2,238
|
74
|
C
|
High
|
| 392
|
Noise gate
|
2,233
|
74
|
C
|
High
|
| 393
|
Field recording
|
2,231
|
74
|
Start
|
High
|
| 394
|
Criteria Studios
|
2,227
|
74
|
B
|
Low
|
| 395
|
Recording studio as an instrument
|
2,212
|
73
|
B
|
High
|
| 396
|
Le Studio
|
2,211
|
73
|
Start
|
Low
|
| 397
|
Electronic drum
|
2,209
|
73
|
C
|
Mid
|
| 398
|
MIDI controller
|
2,204
|
73
|
C
|
Mid
|
| 399
|
Sideman
|
2,194
|
73
|
Start
|
Mid
|
| 400
|
Audio and video interfaces and connectors
|
2,192
|
73
|
C
|
High
|
| 401
|
EBU R 128
|
2,177
|
72
|
C
|
Low
|
| 402
|
Blue Microphones
|
2,159
|
71
|
Start
|
Low
|
| 403
|
Audio headset
|
2,151
|
71
|
C
|
Mid
|
| 404
|
Infinity Systems
|
2,150
|
71
|
Start
|
Low
|
| 405
|
Cassette deck
|
2,145
|
71
|
C
|
Mid
|
| 406
|
Tuff Gong
|
2,144
|
71
|
Stub
|
Low
|
| 407
|
Digital recording
|
2,141
|
71
|
C
|
Top
|
| 408
|
Jay Pritzker Pavilion
|
2,139
|
71
|
FA
|
Mid
|
| 409
|
NAMM Show
|
2,123
|
70
|
Start
|
Mid
|
| 410
|
Wireless microphone
|
2,121
|
70
|
Start
|
Mid
|
| 411
|
British Grove Studios
|
2,121
|
70
|
Start
|
Low
|
| 412
|
AV receiver
|
2,114
|
70
|
C
|
Low
|
| 413
|
Thiele/Small parameters
|
2,106
|
70
|
Start
|
Unknown
|
| 414
|
Loudspeakers in mosques
|
2,100
|
70
|
Start
|
Unknown
|
| 415
|
Conway Recording Studios
|
2,093
|
69
|
Start
|
Low
|
| 416
|
TASCAM
|
2,088
|
69
|
Start
|
High
|
| 417
|
Hansa Tonstudio
|
2,077
|
69
|
Start
|
Low
|
| 418
|
Balanced line
|
2,074
|
69
|
C
|
High
|
| 419
|
Sequential (company)
|
2,070
|
69
|
C
|
Low
|
| 420
|
Fade (audio engineering)
|
2,068
|
68
|
C
|
High
|
| 421
|
Ocean Way Recording
|
2,068
|
68
|
Start
|
High
|
| 422
|
Sarm Studios
|
2,066
|
68
|
Start
|
Low
|
| 423
|
Pop filter
|
2,021
|
67
|
Start
|
Mid
|
| 424
|
Shure SM58
|
2,021
|
67
|
Start
|
Mid
|
| 425
|
List of discontinued Bose headphones
|
2,015
|
67
|
List
|
Low
|
| 426
|
American Sound Studio
|
2,004
|
66
|
C
|
Low
|
| 427
|
ReplayGain
|
1,986
|
66
|
C
|
Mid
|
| 428
|
Speakon connector
|
1,980
|
66
|
Start
|
High
|
| 429
|
Yamaha
|
1,979
|
65
|
NA
|
NA
|
| 430
|
Music visualization
|
1,977
|
65
|
Start
|
Low
|
| 431
|
1176 Peak Limiter
|
1,976
|
65
|
Start
|
Mid
|
| 432
|
Elliot Scheiner
|
1,975
|
65
|
C
|
Low
|
| 433
|
Woofer
|
1,956
|
65
|
Start
|
Mid
|
| 434
|
MADI
|
1,939
|
64
|
C
|
Mid
|
| 435
|
Sone
|
1,917
|
63
|
C
|
Low
|
| 436
|
Chorus (audio effect)
|
1,912
|
63
|
Start
|
Mid
|
| 437
|
Reinhold Mack
|
1,909
|
63
|
Start
|
Low
|
| 438
|
Line array
|
1,905
|
63
|
C
|
High
|
| 439
|
Manhattan Center
|
1,903
|
63
|
Start
|
Low
|
| 440
|
DI unit
|
1,900
|
63
|
Start
|
Low
|
| 441
|
Passive radiator (speaker)
|
1,890
|
63
|
Start
|
Low
|
| 442
|
Van Gelder Studio
|
1,886
|
62
|
Start
|
Low
|
| 443
|
Sunn
|
1,885
|
62
|
Stub
|
Low
|
| 444
|
Dictation machine
|
1,880
|
62
|
C
|
High
|
| 445
|
Chris Tsangarides
|
1,876
|
62
|
Start
|
Mid
|
| 446
|
Pitch correction
|
1,853
|
61
|
C
|
Mid
|
| 447
|
Sticky-shed syndrome
|
1,834
|
61
|
C
|
Mid
|
| 448
|
Stem (audio)
|
1,822
|
60
|
Start
|
Mid
|
| 449
|
Sigma Sound Studios
|
1,818
|
60
|
Unknown
|
Unknown
|
| 450
|
Virtual Audio Cable
|
1,816
|
60
|
Start
|
Unknown
|
| 451
|
Echo chamber
|
1,814
|
60
|
Start
|
Mid
|
| 452
|
Comparison of digital audio editors
|
1,813
|
60
|
B
|
High
|
| 453
|
Ultimate Ears
|
1,786
|
59
|
Start
|
Low
|
| 454
|
DJ mix
|
1,784
|
59
|
Start
|
Low
|
| 455
|
5150 Studios
|
1,783
|
59
|
Start
|
Low
|
| 456
|
Alesis
|
1,781
|
59
|
C
|
Mid
|
| 457
|
Chung King Studios
|
1,781
|
59
|
Start
|
Low
|
| 458
|
United Western Recorders
|
1,778
|
59
|
Start
|
Low
|
| 459
|
Reason (software)
|
1,774
|
59
|
C
|
Mid
|
| 460
|
Beyerdynamic
|
1,772
|
59
|
Start
|
Mid
|
| 461
|
Sound recording
|
1,759
|
58
|
NA
|
High
|
| 462
|
Low-frequency oscillation
|
1,757
|
58
|
Start
|
Mid
|
| 463
|
ADAT
|
1,751
|
58
|
Start
|
Mid
|
| 464
|
NRG Recording Studios
|
1,750
|
58
|
Stub
|
Low
|
| 465
|
Subtractive synthesis
|
1,749
|
58
|
Start
|
Mid
|
| 466
|
Sound Forge
|
1,748
|
58
|
Start
|
Mid
|
| 467
|
Boom operator (media)
|
1,744
|
58
|
Start
|
Low
|
| 468
|
ORTF stereo technique
|
1,741
|
58
|
Start
|
Mid
|
| 469
|
Backing track
|
1,740
|
58
|
C
|
Mid
|
| 470
|
Solid State Logic
|
1,739
|
57
|
B
|
Mid
|
| 471
|
Terry Brown (record producer)
|
1,739
|
57
|
Stub
|
Unknown
|
| 472
|
Master recordings
|
1,739
|
57
|
Stub
|
Low
|
| 473
|
Comparison of analog and digital recording
|
1,734
|
57
|
B
|
Mid
|
| 474
|
The Village (studio)
|
1,721
|
57
|
Stub
|
Unknown
|
| 475
|
Maida Vale Studios
|
1,721
|
57
|
Start
|
Low
|
| 476
|
Basing Street Studios
|
1,719
|
57
|
Start
|
Low
|
| 477
|
Real World Studios
|
1,692
|
56
|
Start
|
Low
|
| 478
|
Voice changer
|
1,675
|
55
|
Start
|
Low
|
| 479
|
Cadogan Hall
|
1,671
|
55
|
Start
|
Low
|
| 480
|
Linkwitz–Riley filter
|
1,650
|
55
|
C
|
Mid
|
| 481
|
List of sound chips
|
1,647
|
54
|
List
|
Low
|
| 482
|
Audio normalization
|
1,643
|
54
|
C
|
Mid
|
| 483
|
Patch panel
|
1,643
|
54
|
Start
|
High
|
| 484
|
George Marino
|
1,642
|
54
|
Start
|
Low
|
| 485
|
AES50
|
1,640
|
54
|
Start
|
Low
|
| 486
|
BBC Radiophonic Workshop
|
1,638
|
54
|
C
|
Low
|
| 487
|
Soundcheck
|
1,638
|
54
|
Start
|
Unknown
|
| 488
|
Impulse Tracker
|
1,636
|
54
|
C
|
Low
|
| 489
|
Linn Sondek LP12
|
1,633
|
54
|
C
|
Low
|
| 490
|
Georg Neumann
|
1,624
|
54
|
Start
|
High
|
| 491
|
Nagra
|
1,623
|
54
|
Start
|
Mid
|
| 492
|
QSound
|
1,618
|
53
|
Start
|
Low
|
| 493
|
Oberheim Electronics
|
1,609
|
53
|
Start
|
Low
|
| 494
|
Academy Award for Best Sound Editing
|
1,604
|
53
|
NA
|
High
|
| 495
|
Bearsville Studios
|
1,604
|
53
|
Start
|
Low
|
| 496
|
Timecode
|
1,603
|
53
|
Start
|
High
|
| 497
|
Mountain Studios
|
1,603
|
53
|
Start
|
Low
|
| 498
|
Waves Audio
|
1,588
|
52
|
Start
|
Low
|
| 499
|
Grammy Award for Best Immersive Audio Album
|
1,578
|
52
|
List
|
Mid
|
| 500
|
Dynaudio
|
1,577
|
52
|
Stub
|
Unknown
|
