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: 2025-06-01 to 2025-06-30
Total views: 4,056,846
Updated: 14:20, 10 July 2025 (UTC)
| Rank
|
Page title
|
Views
|
Daily average
|
Assessment
|
Importance
|
| 1
|
Spotify
|
101,346
|
3,378
|
B
|
Unknown
|
| 2
|
Auto-Tune
|
56,166
|
1,872
|
B
|
Mid
|
| 3
|
Compact disc
|
41,457
|
1,381
|
B
|
High
|
| 4
|
DVD
|
41,219
|
1,373
|
B
|
Mid
|
| 5
|
Blu-ray
|
40,905
|
1,363
|
C
|
Mid
|
| 6
|
Song
|
40,682
|
1,356
|
Start
|
Top
|
| 7
|
Extended play
|
40,330
|
1,344
|
C
|
Mid
|
| 8
|
Streaming media
|
37,572
|
1,252
|
C
|
Mid
|
| 9
|
George Martin
|
36,360
|
1,212
|
GA
|
High
|
| 10
|
Radio
|
36,299
|
1,209
|
C
|
High
|
| 11
|
Decibel
|
32,448
|
1,081
|
C
|
Top
|
| 12
|
Alan Parsons
|
31,480
|
1,049
|
Start
|
Mid
|
| 13
|
Phonograph record
|
31,468
|
1,048
|
C
|
High
|
| 14
|
Owsley Stanley
|
30,318
|
1,010
|
C
|
Low
|
| 15
|
Cassette tape
|
29,258
|
975
|
B
|
High
|
| 16
|
Phonograph
|
29,066
|
968
|
B
|
High
|
| 17
|
Wilhelm scream
|
28,930
|
964
|
C
|
Low
|
| 18
|
Sound
|
28,459
|
948
|
B
|
Top
|
| 19
|
Wall of Sound
|
28,208
|
940
|
C
|
Low
|
| 20
|
Synthesizer
|
27,940
|
931
|
B
|
Mid
|
| 21
|
Recording Industry Association of America
|
25,815
|
860
|
C
|
High
|
| 22
|
JBL
|
23,763
|
792
|
C
|
Mid
|
| 23
|
Record producer
|
22,041
|
734
|
C
|
Top
|
| 24
|
Microphone
|
21,832
|
727
|
C
|
Top
|
| 25
|
FL Studio
|
21,731
|
724
|
Start
|
Low
|
| 26
|
LP record
|
21,612
|
720
|
C
|
Mid
|
| 27
|
Music recording certification
|
21,246
|
708
|
C
|
Mid
|
| 28
|
Yamaha Corporation
|
19,860
|
662
|
C
|
Mid
|
| 29
|
Low-pass filter
|
19,772
|
659
|
C
|
Mid
|
| 30
|
Bose Corporation
|
19,352
|
645
|
B
|
Mid
|
| 31
|
Phone connector (audio)
|
19,022
|
634
|
C
|
High
|
| 32
|
Beats Electronics
|
18,740
|
624
|
C
|
Low
|
| 33
|
Richard Perry
|
16,955
|
565
|
C
|
Mid
|
| 34
|
Bob Ezrin
|
16,613
|
553
|
C
|
Low
|
| 35
|
White noise
|
16,601
|
553
|
C
|
Mid
|
| 36
|
Sound recording and reproduction
|
16,536
|
551
|
C
|
Top
|
| 37
|
Harman International
|
16,373
|
545
|
Start
|
Low
|
| 38
|
GarageBand
|
15,688
|
522
|
C
|
Mid
|
| 39
|
Headphones
|
15,659
|
521
|
C
|
High
|
| 40
|
Soundtrack
|
15,430
|
514
|
C
|
High
|
| 41
|
Dither
|
15,231
|
507
|
C
|
Mid
|
| 42
|
RCA connector
|
14,920
|
497
|
C
|
Mid
|
| 43
|
Audacity (audio editor)
|
14,587
|
486
|
C
|
Mid
|
| 44
|
Tony Visconti
|
14,294
|
476
|
C
|
Low
|
| 45
|
Noise pollution
|
13,935
|
464
|
C
|
Mid
|
| 46
|
Audio engineer
|
13,917
|
463
|
C
|
Top
|
| 47
|
THX
|
13,797
|
459
|
C
|
Unknown
|
| 48
|
Recording studio as an instrument
|
13,758
|
458
|
B
|
High
|
| 49
|
Digital audio workstation
|
13,653
|
455
|
C
|
Top
|
| 50
|
Pulse-code modulation
|
13,626
|
454
|
B
|
High
|
| 51
|
Abbey Road Studios
|
13,570
|
452
|
B
|
High
|
| 52
|
Dolby Atmos
|
13,188
|
439
|
B
|
Low
|
| 53
|
List of unexplained sounds
|
13,110
|
437
|
List
|
Mid
|
| 54
|
Dipole antenna
|
13,012
|
433
|
B
|
Low
|
| 55
|
Shepard tone
|
12,941
|
431
|
Start
|
Low
|
| 56
|
Loudspeaker
|
12,749
|
424
|
C
|
Top
|
| 57
|
Composer
|
12,367
|
412
|
Start
|
Low
|
| 58
|
Broadcasting
|
12,319
|
410
|
C
|
Top
|
| 59
|
Loudness war
|
12,010
|
400
|
B
|
High
|
| 60
|
WAV
|
12,001
|
400
|
C
|
Mid
|
| 61
|
40 (record producer)
|
11,939
|
397
|
Start
|
Low
|
| 62
|
Marshall Amplification
|
11,889
|
396
|
B
|
Mid
|
| 63
|
Ground (electricity)
|
11,815
|
393
|
C
|
High
|
| 64
|
Analog-to-digital converter
|
11,742
|
391
|
C
|
High
|
| 65
|
Amar Bose
|
11,290
|
376
|
C
|
Mid
|
| 66
|
Aliasing
|
11,118
|
370
|
B
|
Mid
|
| 67
|
Compact Disc Digital Audio
|
11,038
|
367
|
C
|
Mid
|
| 68
|
Dann Huff
|
10,732
|
357
|
Start
|
Mid
|
| 69
|
MiniDisc
|
10,472
|
349
|
C
|
Low
|
| 70
|
S-Video
|
10,450
|
348
|
C
|
Low
|
| 71
|
Spectrogram
|
10,430
|
347
|
C
|
Low
|
| 72
|
Pink noise
|
10,277
|
342
|
B
|
Mid
|
| 73
|
Harman Kardon
|
10,104
|
336
|
Start
|
Low
|
| 74
|
Harmonic
|
10,084
|
336
|
Start
|
Mid
|
| 75
|
Two Steps from Hell
|
9,971
|
332
|
Start
|
Mid
|
| 76
|
D-subminiature
|
9,953
|
331
|
B
|
Low
|
| 77
|
National Recording Registry
|
9,941
|
331
|
FL
|
High
|
| 78
|
Remaster
|
9,899
|
329
|
C
|
Mid
|
| 79
|
Stereophonic sound
|
9,837
|
327
|
C
|
Top
|
| 80
|
HMV
|
9,734
|
324
|
C
|
High
|
| 81
|
Distortion (music)
|
9,727
|
324
|
C
|
High
|
| 82
|
Foley (filmmaking)
|
9,672
|
322
|
C
|
High
|
| 83
|
Human voice
|
9,653
|
321
|
B
|
Mid
|
| 84
|
Mastering (audio)
|
9,547
|
318
|
C
|
Top
|
| 85
|
S/PDIF
|
9,416
|
313
|
C
|
Low
|
| 86
|
Backmasking
|
9,310
|
310
|
C
|
Mid
|
| 87
|
Logic Pro
|
9,269
|
308
|
C
|
High
|
| 88
|
Quantization (signal processing)
|
9,123
|
304
|
B
|
Mid
|
| 89
|
Super Audio CD
|
9,088
|
302
|
B
|
Low
|
| 90
|
XLR connector
|
9,066
|
302
|
C
|
High
|
| 91
|
Electric Lady Studios
|
9,032
|
301
|
B
|
Low
|
| 92
|
Wah-wah pedal
|
9,018
|
300
|
Start
|
Low
|
| 93
|
Session musician
|
8,896
|
296
|
Start
|
Mid
|
| 94
|
BNC connector
|
8,842
|
294
|
C
|
Mid
|
| 95
|
Laugh track
|
8,771
|
292
|
C
|
Mid
|
| 96
|
Academy Award for Best Sound
|
8,704
|
290
|
List
|
Mid
|
| 97
|
Concert
|
8,644
|
288
|
C
|
High
|
| 98
|
Reel-to-reel audio tape recording
|
8,577
|
285
|
B
|
High
|
| 99
|
Phonograph cylinder
|
8,558
|
285
|
C
|
Mid
|
| 100
|
Roland Corporation
|
8,487
|
282
|
Start
|
Mid
|
| 101
|
Record Plant
|
8,381
|
279
|
C
|
Mid
|
| 102
|
Digital-to-analog converter
|
8,351
|
278
|
C
|
High
|
| 103
|
Bode plot
|
8,072
|
269
|
C
|
Mid
|
| 104
|
Recording studio
|
8,057
|
268
|
C
|
Top
|
| 105
|
Ableton Live
|
7,993
|
266
|
C
|
Mid
|
| 106
|
Composite video
|
7,990
|
266
|
C
|
Mid
|
| 107
|
High fidelity
|
7,977
|
265
|
C
|
Mid
|
| 108
|
Acoustics
|
7,926
|
264
|
C
|
Top
|
| 109
|
Paisley Park
|
7,924
|
264
|
Start
|
Unknown
|
| 110
|
Pro Tools
|
7,917
|
263
|
C
|
High
|
| 111
|
High-pass filter
|
7,764
|
258
|
C
|
High
|
| 112
|
Remix
|
7,732
|
257
|
Start
|
Low
|
| 113
|
Effects unit
|
7,648
|
254
|
B
|
Mid
|
| 114
|
Full Sail University
|
7,629
|
254
|
C
|
Mid
|
| 115
|
AC power
|
7,604
|
253
|
B
|
Mid
|
| 116
|
Sampling (signal processing)
|
7,598
|
253
|
C
|
High
|
| 117
|
Bandwidth (signal processing)
|
7,539
|
251
|
C
|
Mid
|
| 118
|
Ben Burtt
|
7,521
|
250
|
C
|
Low
|
| 119
|
Flood (producer)
|
7,483
|
249
|
C
|
Mid
|
| 120
|
Sennheiser
|
7,474
|
249
|
B
|
High
|
| 121
|
Multitrack recording
|
7,316
|
243
|
C
|
Top
|
| 122
|
Band-pass filter
|
7,284
|
242
|
Start
|
Low
|
| 123
|
Digital signal processor
|
7,276
|
242
|
C
|
High
|
| 124
|
Dynamic range compression
|
7,224
|
240
|
B
|
Top
|
| 125
|
ISDN
|
7,185
|
239
|
C
|
Mid
|
| 126
|
Tape recorder
|
7,153
|
238
|
C
|
High
|
| 127
|
Impedance matching
|
7,057
|
235
|
C
|
Mid
|
| 128
|
Public address system
|
6,963
|
232
|
C
|
Top
|
| 129
|
In-ear monitor
|
6,939
|
231
|
C
|
High
|
| 130
|
Blaupunkt
|
6,755
|
225
|
Start
|
Low
|
| 131
|
Wall of Sound (Grateful Dead)
|
6,749
|
224
|
C
|
High
|
| 132
|
Magnetic tape
|
6,739
|
224
|
C
|
High
|
| 133
|
Sound pressure
|
6,711
|
223
|
C
|
High
|
| 134
|
Robert Moog
|
6,703
|
223
|
B
|
High
|
| 135
|
BandLab
|
6,633
|
221
|
Unknown
|
Unknown
|
| 136
|
Soundproofing
|
6,593
|
219
|
C
|
Mid
|
| 137
|
Optical disc packaging
|
6,547
|
218
|
Start
|
Low
|
| 138
|
Demo (music)
|
6,540
|
218
|
Start
|
Low
|
| 139
|
Double tracking
|
6,497
|
216
|
Start
|
Mid
|
| 140
|
Bassline
|
6,485
|
216
|
C
|
Mid
|
| 141
|
History of sound recording
|
6,460
|
215
|
C
|
High
|
| 142
|
Non-linear editing
|
6,451
|
215
|
C
|
High
|
| 143
|
Brownian noise
|
6,421
|
214
|
Start
|
Low
|
| 144
|
Finite impulse response
|
6,420
|
214
|
Start
|
Mid
|
| 145
|
TOSLINK
|
6,385
|
212
|
Start
|
Unknown
|
| 146
|
Phil Ramone
|
6,346
|
211
|
C
|
High
|
| 147
|
Digital audio
|
6,284
|
209
|
C
|
Top
|
| 148
|
Muscle Shoals Sound Studio
|
6,282
|
209
|
C
|
Low
|
| 149
|
Equal-loudness contour
|
6,270
|
209
|
C
|
Mid
|
| 150
|
Beach Boys Studio
|
6,254
|
208
|
Start
|
Low
|
| 151
|
Total harmonic distortion
|
6,237
|
207
|
Start
|
Mid
|
| 152
|
DIN connector
|
6,211
|
207
|
C
|
Low
|
| 153
|
Post-production
|
6,159
|
205
|
Start
|
Top
|
| 154
|
Subwoofer
|
6,059
|
201
|
B
|
Top
|
| 155
|
Road crew
|
5,977
|
199
|
Start
|
High
|
| 156
|
Equalization (audio)
|
5,958
|
198
|
C
|
Top
|
| 157
|
Digital Audio Tape
|
5,892
|
196
|
C
|
Mid
|
| 158
|
Deep Note
|
5,883
|
196
|
Start
|
Low
|
| 159
|
Surround sound
|
5,851
|
195
|
B
|
Top
|
| 160
|
Skywalker Sound
|
5,710
|
190
|
Start
|
Low
|
| 161
|
Line level
|
5,673
|
189
|
C
|
High
|
| 162
|
Music tracker
|
5,627
|
187
|
Start
|
Low
|
| 163
|
Noise reduction
|
5,567
|
185
|
C
|
Mid
|
| 164
|
Sound Blaster
|
5,541
|
184
|
C
|
Unknown
|
| 165
|
Bob Ludwig
|
5,511
|
183
|
C
|
Mid
|
| 166
|
Associated Independent Recording
|
5,481
|
182
|
Start
|
Mid
|
| 167
|
Balun
|
5,477
|
182
|
C
|
Low
|
| 168
|
Overdubbing
|
5,442
|
181
|
Start
|
Mid
|
| 169
|
Sound stage
|
5,409
|
180
|
Start
|
Low
|
| 170
|
Psychoacoustics
|
5,362
|
178
|
C
|
Mid
|
| 171
|
Virtual Studio Technology
|
5,360
|
178
|
C
|
Mid
|
| 172
|
Eddie Kramer
|
5,349
|
178
|
C
|
High
|
| 173
|
5.1 surround sound
|
5,280
|
176
|
Start
|
High
|
| 174
|
Mixing console
|
5,265
|
175
|
C
|
Top
|
| 175
|
Electromagnetic shielding
|
5,256
|
175
|
C
|
Mid
|
| 176
|
Vehicle audio
|
5,224
|
174
|
C
|
Low
|
| 177
|
Behringer
|
5,218
|
173
|
C
|
Mid
|
| 178
|
Megaphone
|
5,193
|
173
|
Start
|
Unknown
|
| 179
|
Audio feedback
|
5,150
|
171
|
C
|
High
|
| 180
|
Phonautograph
|
5,138
|
171
|
C
|
Low
|
| 181
|
Flanging
|
5,127
|
170
|
C
|
Mid
|
| 182
|
Shangri-La (recording studio)
|
5,056
|
168
|
Start
|
Low
|
| 183
|
Audio bit depth
|
5,032
|
167
|
B
|
High
|
| 184
|
20 Feet from Stardom
|
4,992
|
166
|
Start
|
Low
|
| 185
|
Dynamic range
|
4,943
|
164
|
C
|
Mid
|
| 186
|
Twelve-inch single
|
4,894
|
163
|
Start
|
Low
|
| 187
|
Cubase
|
4,894
|
163
|
C
|
Mid
|
| 188
|
Programming (music)
|
4,850
|
161
|
C
|
Low
|
| 189
|
General MIDI
|
4,808
|
160
|
C
|
Low
|
| 190
|
Overtone
|
4,762
|
158
|
C
|
Mid
|
| 191
|
Audiovisual
|
4,728
|
157
|
Start
|
High
|
| 192
|
A-weighting
|
4,716
|
157
|
B
|
Mid
|
| 193
|
United Western Recorders
|
4,712
|
157
|
Start
|
Low
|
| 194
|
Synclavier
|
4,704
|
156
|
C
|
Low
|
| 195
|
Stock sound effect
|
4,697
|
156
|
Start
|
Low
|
| 196
|
Audio mixing (recorded music)
|
4,630
|
154
|
C
|
High
|
| 197
|
Noise
|
4,627
|
154
|
B
|
Mid
|
| 198
|
Delay (audio effect)
|
4,607
|
153
|
C
|
High
|
| 199
|
Vinyl revival
|
4,570
|
152
|
C
|
Low
|
| 200
|
Binaural recording
|
4,551
|
151
|
C
|
Mid
|
| 201
|
Timeline of audio formats
|
4,550
|
151
|
Start
|
Mid
|
| 202
|
REAPER
|
4,530
|
151
|
Start
|
Low
|
| 203
|
Lavalier microphone
|
4,525
|
150
|
Start
|
Mid
|
| 204
|
Ableton
|
4,509
|
150
|
C
|
Low
|
| 205
|
Røde Microphones
|
4,500
|
150
|
Start
|
High
|
| 206
|
Quadraphonic sound
|
4,487
|
149
|
C
|
Mid
|
| 207
|
Downsampling (signal processing)
|
4,437
|
147
|
Start
|
Low
|
| 208
|
Audiophile
|
4,423
|
147
|
C
|
Mid
|
| 209
|
Sound effect
|
4,350
|
145
|
C
|
High
|
| 210
|
Times Square Studios
|
4,316
|
143
|
Start
|
Low
|
| 211
|
Avid Technology
|
4,296
|
143
|
Start
|
Low
|
| 212
|
Loudness
|
4,289
|
142
|
C
|
Mid
|
| 213
|
LDAC (codec)
|
4,260
|
142
|
Start
|
Low
|
| 214
|
Crosstalk
|
4,247
|
141
|
C
|
Low
|
| 215
|
Preamplifier
|
4,246
|
141
|
Start
|
Mid
|
| 216
|
Direct Stream Digital
|
4,234
|
141
|
C
|
Mid
|
| 217
|
Compression artifact
|
4,211
|
140
|
Start
|
Mid
|
| 218
|
Doug Sax
|
4,199
|
139
|
Start
|
Mid
|
| 219
|
Frequency modulation synthesis
|
4,196
|
139
|
C
|
Low
|
| 220
|
Sound City Studios
|
4,177
|
139
|
Start
|
Low
|
| 221
|
Frequency response
|
4,175
|
139
|
C
|
High
|
| 222
|
Audio power amplifier
|
4,169
|
138
|
C
|
High
|
| 223
|
Tom Dowd
|
4,151
|
138
|
Start
|
High
|
| 224
|
Hip-hop production
|
4,141
|
138
|
C
|
Mid
|
| 225
|
The Hit Factory
|
4,140
|
138
|
Start
|
Low
|
| 226
|
Audio frequency
|
4,123
|
137
|
Start
|
Mid
|
| 227
|
List of largest recorded music markets
|
4,115
|
137
|
List
|
Low
|
| 228
|
Music sequencer
|
4,096
|
136
|
C
|
Mid
|
| 229
|
AKG (company)
|
4,085
|
136
|
C
|
High
|
| 230
|
Squelch
|
4,065
|
135
|
Start
|
Unknown
|
| 231
|
Scratching
|
4,058
|
135
|
C
|
Mid
|
| 232
|
Klipsch Audio Technologies
|
4,041
|
134
|
C
|
Mid
|
| 233
|
Horn loudspeaker
|
4,029
|
134
|
B
|
High
|
| 234
|
Bob Clearmountain
|
4,004
|
133
|
Start
|
Unknown
|
| 235
|
NoCopyrightSounds
|
4,003
|
133
|
Start
|
Low
|
| 236
|
Hitsville U.S.A.
|
3,978
|
132
|
C
|
Mid
|
| 237
|
Shure
|
3,974
|
132
|
B
|
High
|
| 238
|
High-resolution audio
|
3,968
|
132
|
C
|
Mid
|
| 239
|
Rockfield Studios
|
3,966
|
132
|
Start
|
Unknown
|
| 240
|
Reverb effect
|
3,937
|
131
|
C
|
High
|
| 241
|
Wire recording
|
3,933
|
131
|
C
|
Mid
|
| 242
|
Filter (signal processing)
|
3,931
|
131
|
C
|
Mid
|
| 243
|
Sound design
|
3,927
|
130
|
C
|
High
|
| 244
|
Re-recording (music)
|
3,925
|
130
|
C
|
Low
|
| 245
|
Phantom power
|
3,921
|
130
|
C
|
Mid
|
| 246
|
Bitcrusher
|
3,910
|
130
|
Start
|
Low
|
| 247
|
Production music
|
3,903
|
130
|
C
|
High
|
| 248
|
Anti-aliasing filter
|
3,901
|
130
|
C
|
Low
|
| 249
|
Intercom
|
3,900
|
130
|
C
|
Mid
|
| 250
|
Live television
|
3,897
|
129
|
Start
|
Mid
|
| 251
|
Power Station (recording studio)
|
3,844
|
128
|
C
|
Mid
|
| 252
|
The Mansion (recording studio)
|
3,836
|
127
|
Start
|
Low
|
| 253
|
Olympic Studios
|
3,816
|
127
|
C
|
Low
|
| 254
|
Moog Music
|
3,808
|
126
|
C
|
Mid
|
| 255
|
Astoria (houseboat)
|
3,808
|
126
|
Start
|
Low
|
| 256
|
Acetate disc
|
3,803
|
126
|
Start
|
Mid
|
| 257
|
Log-periodic antenna
|
3,801
|
126
|
Start
|
Low
|
| 258
|
Ampex
|
3,782
|
126
|
C
|
Mid
|
| 259
|
Earplug
|
3,754
|
125
|
C
|
Mid
|
| 260
|
FL Studio Mobile
|
3,744
|
124
|
Start
|
Low
|
| 261
|
Anti-aliasing
|
3,743
|
124
|
List
|
Mid
|
| 262
|
Korg
|
3,723
|
124
|
Start
|
Low
|
| 263
|
MPEG-1
|
3,715
|
123
|
B
|
Low
|
| 264
|
Geoff Emerick
|
3,698
|
123
|
B
|
Mid
|
| 265
|
Yamaha NS-10
|
3,694
|
123
|
GA
|
Mid
|
| 266
|
Spectrum analyzer
|
3,675
|
122
|
Start
|
Mid
|
| 267
|
International Standard Recording Code
|
3,673
|
122
|
Start
|
Mid
|
| 268
|
Gain (electronics)
|
3,666
|
122
|
C
|
High
|
| 269
|
Dolby noise-reduction system
|
3,626
|
120
|
B
|
Mid
|
| 270
|
Mains hum
|
3,618
|
120
|
Start
|
Mid
|
| 271
|
Monaural sound
|
3,616
|
120
|
Start
|
Low
|
| 272
|
Audio signal
|
3,604
|
120
|
Start
|
High
|
| 273
|
Peavey Electronics
|
3,593
|
119
|
C
|
Mid
|
| 274
|
Laser microphone
|
3,571
|
119
|
Start
|
Low
|
| 275
|
Directional antenna
|
3,562
|
118
|
Start
|
Low
|
| 276
|
Phaser (effect)
|
3,525
|
117
|
B
|
Mid
|
| 277
|
Band-stop filter
|
3,499
|
116
|
Start
|
Mid
|
| 278
|
Ambisonics
|
3,493
|
116
|
B
|
Mid
|
| 279
|
Audio crossover
|
3,485
|
116
|
B
|
Top
|
| 280
|
7.1 surround sound
|
3,479
|
115
|
Start
|
High
|
| 281
|
CD single
|
3,466
|
115
|
Start
|
Mid
|
| 282
|
Adobe Audition
|
3,459
|
115
|
Start
|
Mid
|
| 283
|
Analog recording
|
3,423
|
114
|
Stub
|
Mid
|
| 284
|
Tweeter
|
3,405
|
113
|
Start
|
Mid
|
| 285
|
Hot mic
|
3,380
|
112
|
Unknown
|
Unknown
|
| 286
|
Distortion
|
3,372
|
112
|
C
|
High
|
| 287
|
DJ mix
|
3,364
|
112
|
Start
|
Low
|
| 288
|
DI unit
|
3,358
|
111
|
Start
|
Low
|
| 289
|
Sound level meter
|
3,335
|
111
|
B
|
Mid
|
| 290
|
Cutoff frequency
|
3,325
|
110
|
C
|
Mid
|
| 291
|
Audio-Technica
|
3,325
|
110
|
Start
|
Mid
|
| 292
|
Canadian Radio-television and Telecommunications Commission
|
3,321
|
110
|
B
|
Low
|
| 293
|
Monster Cable
|
3,293
|
109
|
GA
|
Low
|
| 294
|
Digital filter
|
3,286
|
109
|
C
|
Top
|
| 295
|
Sun Studio
|
3,282
|
109
|
C
|
Mid
|
| 296
|
Audio time stretching and pitch scaling
|
3,278
|
109
|
C
|
Low
|
| 297
|
Yamaha YM2612
|
3,269
|
108
|
Start
|
Unknown
|
| 298
|
Unusual types of gramophone records
|
3,255
|
108
|
C
|
Low
|
| 299
|
Master recordings
|
3,249
|
108
|
Stub
|
Low
|
| 300
|
Balanced audio
|
3,235
|
107
|
C
|
Top
|
| 301
|
Record sales
|
3,229
|
107
|
Start
|
Mid
|
| 302
|
Stage monitor system
|
3,213
|
107
|
C
|
High
|
| 303
|
VU meter
|
3,208
|
106
|
C
|
High
|
| 304
|
ReplayGain
|
3,206
|
106
|
C
|
Mid
|
| 305
|
Caribou Ranch
|
3,193
|
106
|
C
|
Mid
|
| 306
|
Software synthesizer
|
3,189
|
106
|
Start
|
Low
|
| 307
|
Sunset Sound Recorders
|
3,180
|
106
|
C
|
High
|
| 308
|
Gated reverb
|
3,180
|
106
|
C
|
Mid
|
| 309
|
Clipping (audio)
|
3,151
|
105
|
C
|
Mid
|
| 310
|
Electronic drum
|
3,132
|
104
|
C
|
Mid
|
| 311
|
Pitch shifting
|
3,114
|
103
|
C
|
Low
|
| 312
|
Chris Lord-Alge
|
3,092
|
103
|
Start
|
Mid
|
| 313
|
Whip antenna
|
3,081
|
102
|
C
|
Low
|
| 314
|
Grammy Award for Best Engineered Album, Non-Classical
|
3,038
|
101
|
List
|
Mid
|
| 315
|
Loudspeaker enclosure
|
3,037
|
101
|
C
|
Top
|
| 316
|
Altec Lansing
|
3,020
|
100
|
C
|
Mid
|
| 317
|
DJ mixer
|
3,016
|
100
|
Start
|
Mid
|
| 318
|
Intermodulation
|
2,991
|
99
|
Start
|
Mid
|
| 319
|
Open Sound Control
|
2,983
|
99
|
Start
|
Mid
|
| 320
|
Front of house
|
2,955
|
98
|
Start
|
Mid
|
| 321
|
List of backmasked messages
|
2,955
|
98
|
List
|
Unknown
|
| 322
|
T-Minus (producer)
|
2,955
|
98
|
Start
|
Low
|
| 323
|
Portastudio
|
2,950
|
98
|
C
|
Low
|
| 324
|
Banana connector
|
2,947
|
98
|
Start
|
Mid
|
| 325
|
Beyerdynamic
|
2,938
|
97
|
Start
|
Mid
|
| 326
|
Compact Cassette tape types and formulations
|
2,938
|
97
|
C
|
Low
|
| 327
|
Flexi disc
|
2,900
|
96
|
Start
|
Low
|
| 328
|
Chorus (audio effect)
|
2,888
|
96
|
Start
|
Mid
|
| 329
|
Jay Pritzker Pavilion
|
2,888
|
96
|
FA
|
Mid
|
| 330
|
SMPTE timecode
|
2,874
|
95
|
C
|
High
|
| 331
|
Compass Point Studios
|
2,874
|
95
|
Start
|
Mid
|
| 332
|
Ribbon microphone
|
2,870
|
95
|
B
|
High
|
| 333
|
DVD-RAM
|
2,847
|
94
|
C
|
Low
|
| 334
|
RIAA equalization
|
2,846
|
94
|
C
|
Mid
|
| 335
|
ISO base media file format
|
2,846
|
94
|
C
|
Low
|
| 336
|
Bruce Fairbairn
|
2,844
|
94
|
C
|
Low
|
| 337
|
Woofer
|
2,821
|
94
|
Start
|
Mid
|
| 338
|
McIntosh Laboratory
|
2,809
|
93
|
Start
|
Mid
|
| 339
|
DBFS
|
2,803
|
93
|
C
|
Mid
|
| 340
|
Gold Star Studios
|
2,802
|
93
|
Start
|
Low
|
| 341
|
Cassette deck
|
2,800
|
93
|
C
|
Mid
|
| 342
|
AES3
|
2,797
|
93
|
C
|
High
|
| 343
|
Trident Studios
|
2,794
|
93
|
C
|
Mid
|
| 344
|
Pop filter
|
2,770
|
92
|
C
|
Mid
|
| 345
|
Audio Interchange File Format
|
2,754
|
91
|
C
|
Mid
|
| 346
|
Audio signal processing
|
2,752
|
91
|
C
|
High
|
| 347
|
Westlake Recording Studios
|
2,749
|
91
|
Start
|
Mid
|
| 348
|
Rolling Stones Mobile Studio
|
2,744
|
91
|
Start
|
Low
|
| 349
|
Audio headset
|
2,734
|
91
|
C
|
Mid
|
| 350
|
Master Quality Authenticated
|
2,732
|
91
|
C
|
Low
|
| 351
|
Edifier
|
2,729
|
90
|
Start
|
Low
|
| 352
|
Cue sheet (computing)
|
2,718
|
90
|
Start
|
Low
|
| 353
|
DVD-Audio
|
2,700
|
90
|
C
|
Mid
|
| 354
|
Ardour (software)
|
2,691
|
89
|
Start
|
Low
|
| 355
|
Echoplex
|
2,683
|
89
|
C
|
Mid
|
| 356
|
Electret microphone
|
2,671
|
89
|
Start
|
High
|
| 357
|
SMPTE 2110
|
2,670
|
89
|
Start
|
Low
|
| 358
|
Sound transmission class
|
2,669
|
88
|
C
|
Mid
|
| 359
|
Patch panel
|
2,667
|
88
|
Start
|
High
|
| 360
|
Mini CD
|
2,663
|
88
|
Start
|
Low
|
| 361
|
Hansa Tonstudio
|
2,658
|
88
|
Start
|
Low
|
| 362
|
Slew rate
|
2,657
|
88
|
Start
|
Mid
|
| 363
|
Bass reflex
|
2,650
|
88
|
C
|
Mid
|
| 364
|
Digital biquad filter
|
2,649
|
88
|
Start
|
Mid
|
| 365
|
FAME Studios
|
2,626
|
87
|
Start
|
Mid
|
| 366
|
Sweetwater Sound
|
2,625
|
87
|
B
|
High
|
| 367
|
SAE Institute
|
2,604
|
86
|
Start
|
Mid
|
| 368
|
Audio editing software
|
2,600
|
86
|
C
|
Mid
|
| 369
|
AV receiver
|
2,599
|
86
|
C
|
Low
|
| 370
|
Sound reinforcement system
|
2,593
|
86
|
B
|
Top
|
| 371
|
MIDI controller
|
2,584
|
86
|
C
|
Mid
|
| 372
|
Sone
|
2,572
|
85
|
C
|
Low
|
| 373
|
Passive radiator (speaker)
|
2,560
|
85
|
Start
|
Low
|
| 374
|
Château d'Hérouville
|
2,558
|
85
|
Start
|
Low
|
| 375
|
Ocean Way Recording
|
2,557
|
85
|
Start
|
High
|
| 376
|
Line array
|
2,536
|
84
|
C
|
High
|
| 377
|
Field recording
|
2,532
|
84
|
Start
|
High
|
| 378
|
All-pass filter
|
2,526
|
84
|
C
|
Mid
|
| 379
|
Oversampling
|
2,509
|
83
|
C
|
Low
|
| 380
|
Dictation machine
|
2,502
|
83
|
C
|
High
|
| 381
|
Shure SM57
|
2,498
|
83
|
Start
|
Mid
|
| 382
|
Walla
|
2,494
|
83
|
Start
|
Low
|
| 383
|
44,100 Hz
|
2,489
|
82
|
C
|
Mid
|
| 384
|
Acoustical engineering
|
2,487
|
82
|
C
|
Mid
|
| 385
|
Comparison of digital audio editors
|
2,475
|
82
|
B
|
High
|
| 386
|
Echo chamber
|
2,468
|
82
|
Start
|
Mid
|
| 387
|
Noise gate
|
2,466
|
82
|
C
|
High
|
| 388
|
Dante (networking)
|
2,458
|
81
|
Start
|
Mid
|
| 389
|
Sunn
|
2,447
|
81
|
Start
|
Low
|
| 390
|
History of broadcasting
|
2,442
|
81
|
C
|
High
|
| 391
|
Parabolic microphone
|
2,435
|
81
|
Start
|
Mid
|
| 392
|
Carbon microphone
|
2,433
|
81
|
C
|
Low
|
| 393
|
Studio One (software)
|
2,419
|
80
|
B
|
Unknown
|
| 394
|
Audio Stream Input/Output
|
2,410
|
80
|
Start
|
Mid
|
| 395
|
Ken Scott
|
2,403
|
80
|
Start
|
Low
|
| 396
|
Jack Dolman
|
2,400
|
80
|
Stub
|
Low
|
| 397
|
Justin Varghese
|
2,399
|
79
|
Start
|
Low
|
| 398
|
Click track
|
2,370
|
79
|
C
|
Mid
|
| 399
|
Ocean Productions
|
2,367
|
78
|
Start
|
Low
|
| 400
|
Reason (software)
|
2,364
|
78
|
C
|
Mid
|
| 401
|
Wavetable synthesis
|
2,348
|
78
|
B
|
Low
|
| 402
|
LHDC (codec)
|
2,297
|
76
|
Start
|
Low
|
| 403
|
DTS-HD Master Audio
|
2,293
|
76
|
Start
|
Low
|
| 404
|
Fade (audio engineering)
|
2,286
|
76
|
C
|
High
|
| 405
|
Attenuator (electronics)
|
2,277
|
75
|
Start
|
Mid
|
| 406
|
Pitch correction
|
2,275
|
75
|
C
|
Mid
|
| 407
|
Tape head
|
2,274
|
75
|
Start
|
Mid
|
| 408
|
Criteria Studios
|
2,260
|
75
|
B
|
Low
|
| 409
|
Bruce Swedien
|
2,232
|
74
|
Start
|
Low
|
| 410
|
LUFS
|
2,228
|
74
|
Start
|
Mid
|
| 411
|
Electronic filter
|
2,227
|
74
|
C
|
Mid
|
| 412
|
Digital Compact Cassette
|
2,225
|
74
|
C
|
Low
|
| 413
|
Conway Recording Studios
|
2,214
|
73
|
Start
|
Low
|
| 414
|
Orange Amps
|
2,213
|
73
|
C
|
Low
|
| 415
|
Blue Microphones
|
2,209
|
73
|
Start
|
Low
|
| 416
|
Georg Neumann
|
2,208
|
73
|
Start
|
High
|
| 417
|
Tube sound
|
2,199
|
73
|
C
|
Mid
|
| 418
|
Le Studio
|
2,192
|
73
|
Start
|
Low
|
| 419
|
Digital recording
|
2,187
|
72
|
C
|
Top
|
| 420
|
Audio Video Bridging
|
2,187
|
72
|
C
|
Mid
|
| 421
|
Low-frequency oscillation
|
2,186
|
72
|
Start
|
Mid
|
| 422
|
Electrostatic loudspeaker
|
2,180
|
72
|
Start
|
Low
|
| 423
|
Audio equipment
|
2,177
|
72
|
Start
|
Mid
|
| 424
|
Comb filter
|
2,172
|
72
|
B
|
Mid
|
| 425
|
Wireless microphone
|
2,164
|
72
|
C
|
Mid
|
| 426
|
History of multitrack recording
|
2,155
|
71
|
C
|
Mid
|
| 427
|
Speakon connector
|
2,152
|
71
|
Start
|
High
|
| 428
|
Subtractive synthesis
|
2,146
|
71
|
Start
|
Mid
|
| 429
|
Balanced line
|
2,141
|
71
|
C
|
High
|
| 430
|
Take
|
2,132
|
71
|
Start
|
Mid
|
| 431
|
5150 Studios
|
2,127
|
70
|
Start
|
Low
|
| 432
|
The Village (studio)
|
2,122
|
70
|
Start
|
Low
|
| 433
|
Audio mixing
|
2,117
|
70
|
Start
|
Top
|
| 434
|
Karplus–Strong string synthesis
|
2,109
|
70
|
C
|
Low
|
| 435
|
Comparison of analog and digital recording
|
2,096
|
69
|
B
|
Mid
|
| 436
|
Boom operator (media)
|
2,094
|
69
|
Start
|
Low
|
| 437
|
Pregap
|
2,086
|
69
|
Start
|
Low
|
| 438
|
Shure SM58
|
2,084
|
69
|
Start
|
Mid
|
| 439
|
Passband
|
2,076
|
69
|
Start
|
Mid
|
| 440
|
Automatic content recognition
|
2,073
|
69
|
Start
|
Low
|
| 441
|
JL Audio
|
2,062
|
68
|
Start
|
Mid
|
| 442
|
Electrodynamic speaker driver
|
2,058
|
68
|
C
|
Low
|
| 443
|
Rancho De La Luna
|
2,053
|
68
|
Start
|
Low
|
| 444
|
Duophonic
|
2,043
|
68
|
Start
|
Low
|
| 445
|
Bearsville Studios
|
2,038
|
67
|
Start
|
Low
|
| 446
|
TEAC Corporation
|
2,035
|
67
|
Start
|
Mid
|
| 447
|
Studio monitor
|
2,022
|
67
|
Start
|
High
|
| 448
|
NAMM Show
|
2,015
|
67
|
Start
|
Mid
|
| 449
|
Image-Line
|
2,007
|
66
|
Start
|
Low
|
| 450
|
Maida Vale Studios
|
2,006
|
66
|
Start
|
Low
|
| 451
|
InMusic Brands
|
2,002
|
66
|
C
|
Low
|
| 452
|
Sticky-shed syndrome
|
1,999
|
66
|
C
|
Mid
|
| 453
|
Crest factor
|
1,998
|
66
|
C
|
Mid
|
| 454
|
Noise spectral density
|
1,987
|
66
|
Stub
|
Low
|
| 455
|
Thiele/Small parameters
|
1,979
|
65
|
Start
|
Unknown
|
| 456
|
AES67
|
1,979
|
65
|
C
|
Mid
|
| 457
|
Music visualization
|
1,978
|
65
|
Start
|
Low
|
| 458
|
Sound Forge
|
1,976
|
65
|
Start
|
Mid
|
| 459
|
Audiogram
|
1,976
|
65
|
C
|
Low
|
| 460
|
American Sound Studio
|
1,975
|
65
|
C
|
Low
|
| 461
|
Precedence effect
|
1,971
|
65
|
C
|
High
|
| 462
|
Roland Sound Canvas
|
1,963
|
65
|
Unknown
|
Unknown
|
| 463
|
Cassette single
|
1,958
|
65
|
C
|
Low
|
| 464
|
Capitol Studios
|
1,954
|
65
|
C
|
Mid
|
| 465
|
Musical acoustics
|
1,951
|
65
|
B
|
High
|
| 466
|
Manhattan Center
|
1,945
|
64
|
Start
|
Low
|
| 467
|
3D audio effect
|
1,899
|
63
|
Start
|
Low
|
| 468
|
Voice changer
|
1,894
|
63
|
Start
|
Low
|
| 469
|
Alan Blumlein
|
1,883
|
62
|
B
|
High
|
| 470
|
Brian Ahern
|
1,883
|
62
|
Start
|
Low
|
| 471
|
Upsampling
|
1,881
|
62
|
Start
|
Low
|
| 472
|
Terry Brown (record producer)
|
1,881
|
62
|
Start
|
Low
|
| 473
|
Tuff Gong
|
1,880
|
62
|
Start
|
Low
|
| 474
|
Treble (sound)
|
1,876
|
62
|
Stub
|
Low
|
| 475
|
Brother Studios
|
1,872
|
62
|
Start
|
Low
|
| 476
|
Dynaudio
|
1,863
|
62
|
Stub
|
Unknown
|
| 477
|
Magnetic cartridge
|
1,859
|
61
|
C
|
High
|
| 478
|
TASCAM
|
1,858
|
61
|
Start
|
High
|
| 479
|
EBU R 128
|
1,857
|
61
|
C
|
Low
|
| 480
|
Sound quality
|
1,854
|
61
|
Start
|
Mid
|
| 481
|
Van Gelder Studio
|
1,851
|
61
|
Start
|
Low
|
| 482
|
Tannoy
|
1,850
|
61
|
Start
|
Mid
|
| 483
|
Sarm Studios
|
1,847
|
61
|
Start
|
Low
|
| 484
|
Backing track
|
1,842
|
61
|
C
|
Mid
|
| 485
|
Cakewalk by BandLab
|
1,840
|
61
|
Start
|
Low
|
| 486
|
BBC Radiophonic Workshop
|
1,835
|
61
|
C
|
Low
|
| 487
|
Sequential (company)
|
1,834
|
61
|
C
|
Low
|
| 488
|
Steinberg
|
1,815
|
60
|
B
|
Mid
|
| 489
|
George Marino
|
1,813
|
60
|
Start
|
Low
|
| 490
|
Race record
|
1,810
|
60
|
C
|
Mid
|
| 491
|
Companding
|
1,806
|
60
|
C
|
Low
|
| 492
|
Roland Space Echo
|
1,806
|
60
|
C
|
Mid
|
| 493
|
Sound chip
|
1,806
|
60
|
Start
|
Low
|
| 494
|
Audio and video interfaces and connectors
|
1,804
|
60
|
C
|
High
|
| 495
|
Sigma Sound Studios
|
1,803
|
60
|
B
|
Low
|
| 496
|
Microphone practice
|
1,797
|
59
|
C
|
Top
|
| 497
|
Frank Liddell
|
1,784
|
59
|
Start
|
Mid
|
| 498
|
Native Instruments
|
1,781
|
59
|
Start
|
Unknown
|
| 499
|
ADAT
|
1,767
|
58
|
Start
|
Mid
|
| 500
|
Nagra
|
1,765
|
58
|
Start
|
Mid
|
