Rank
|
Page title
|
Views
|
Daily average
|
Assessment
|
Importance
|
1
|
Spotify
|
175,841
|
5,672
|
B
|
Unknown
|
2
|
Richard Perry
|
141,322
|
4,558
|
C
|
Mid
|
3
|
Blu-ray
|
52,000
|
1,677
|
C
|
Mid
|
4
|
Song
|
50,852
|
1,640
|
Start
|
Top
|
5
|
DVD
|
44,611
|
1,439
|
B
|
Mid
|
6
|
Compact disc
|
42,887
|
1,383
|
B
|
High
|
7
|
Streaming media
|
42,466
|
1,369
|
C
|
Mid
|
8
|
Extended play
|
40,439
|
1,304
|
C
|
Mid
|
9
|
Alan Parsons
|
37,230
|
1,200
|
Start
|
Mid
|
10
|
George Martin
|
35,508
|
1,145
|
GA
|
High
|
11
|
Decibel
|
35,489
|
1,144
|
C
|
Top
|
12
|
JBL
|
33,595
|
1,083
|
C
|
Mid
|
13
|
Cassette tape
|
32,872
|
1,060
|
B
|
High
|
14
|
Phonograph
|
32,495
|
1,048
|
B
|
High
|
15
|
Phonograph record
|
32,329
|
1,042
|
C
|
High
|
16
|
Sound
|
32,328
|
1,042
|
B
|
Top
|
17
|
Radio
|
31,911
|
1,029
|
C
|
High
|
18
|
Wilhelm scream
|
30,512
|
984
|
C
|
Low
|
19
|
Recording Industry Association of America
|
29,373
|
947
|
C
|
High
|
20
|
LP record
|
27,411
|
884
|
C
|
Mid
|
21
|
Bose Corporation
|
27,063
|
873
|
B
|
Mid
|
22
|
Noise pollution
|
26,803
|
864
|
C
|
Mid
|
23
|
FL Studio
|
25,931
|
836
|
Start
|
Low
|
24
|
Synthesizer
|
25,580
|
825
|
B
|
Mid
|
25
|
Beats Electronics
|
24,977
|
805
|
C
|
Low
|
26
|
Yamaha Corporation
|
24,374
|
786
|
C
|
Mid
|
27
|
Low-pass filter
|
24,311
|
784
|
C
|
Mid
|
28
|
Record producer
|
24,170
|
779
|
C
|
Top
|
29
|
Microphone
|
23,009
|
742
|
C
|
Top
|
30
|
Music recording certification
|
22,960
|
740
|
C
|
Mid
|
31
|
Dolby Atmos
|
22,697
|
732
|
B
|
Low
|
32
|
Wall of Sound
|
21,414
|
690
|
C
|
Low
|
33
|
GarageBand
|
20,857
|
672
|
C
|
Mid
|
34
|
Phone connector (audio)
|
20,568
|
663
|
C
|
High
|
35
|
White noise
|
20,560
|
663
|
C
|
Mid
|
36
|
40 (record producer)
|
19,891
|
641
|
Start
|
Low
|
37
|
Harman International
|
19,271
|
621
|
Start
|
Low
|
38
|
S-Video
|
19,104
|
616
|
C
|
Low
|
39
|
RCA connector
|
18,894
|
609
|
C
|
Mid
|
40
|
Audacity (audio editor)
|
18,277
|
589
|
C
|
Mid
|
41
|
Auto-Tune
|
17,427
|
562
|
B
|
Mid
|
42
|
Tony Visconti
|
17,384
|
560
|
C
|
Low
|
43
|
Headphones
|
17,309
|
558
|
C
|
High
|
44
|
Soundtrack
|
17,208
|
555
|
C
|
High
|
45
|
Analog-to-digital converter
|
15,913
|
513
|
C
|
High
|
46
|
Marshall Amplification
|
15,616
|
503
|
B
|
Mid
|
47
|
Amar Bose
|
15,526
|
500
|
Start
|
Mid
|
48
|
Pulse-code modulation
|
15,517
|
500
|
B
|
High
|
49
|
S/PDIF
|
15,328
|
494
|
C
|
Low
|
50
|
Audio engineer
|
15,192
|
490
|
C
|
Top
|
51
|
Composer
|
15,186
|
489
|
Start
|
Low
|
52
|
Sound recording and reproduction
|
14,418
|
465
|
C
|
Top
|
53
|
Pink noise
|
13,710
|
442
|
B
|
Mid
|
54
|
Abbey Road Studios
|
13,658
|
440
|
B
|
High
|
55
|
WAV
|
13,576
|
437
|
C
|
Mid
|
56
|
Harman Kardon
|
13,555
|
437
|
Start
|
Low
|
57
|
Tape recorder
|
13,108
|
422
|
C
|
High
|
58
|
Ableton Live
|
13,092
|
422
|
C
|
Mid
|
59
|
Ground (electricity)
|
13,074
|
421
|
C
|
High
|
60
|
Dipole antenna
|
13,034
|
420
|
B
|
Low
|
61
|
HMV
|
12,863
|
414
|
C
|
High
|
62
|
Loudspeaker
|
12,861
|
414
|
B
|
Top
|
63
|
THX
|
12,460
|
401
|
C
|
Unknown
|
64
|
Dither
|
12,454
|
401
|
C
|
Mid
|
65
|
Digital audio workstation
|
12,415
|
400
|
C
|
Top
|
66
|
Compact Disc Digital Audio
|
12,244
|
394
|
C
|
Mid
|
67
|
Logic Pro
|
12,231
|
394
|
C
|
High
|
68
|
Foley (filmmaking)
|
12,204
|
393
|
C
|
High
|
69
|
Aliasing
|
12,185
|
393
|
B
|
Mid
|
70
|
Owsley Stanley
|
12,141
|
391
|
C
|
Low
|
71
|
Broadcasting
|
12,045
|
388
|
C
|
Top
|
72
|
BNC connector
|
11,925
|
384
|
C
|
Mid
|
73
|
MiniDisc
|
11,782
|
380
|
C
|
Low
|
74
|
Loudness war
|
11,761
|
379
|
B
|
High
|
75
|
Pro Tools
|
11,743
|
378
|
C
|
High
|
76
|
XLR connector
|
11,486
|
370
|
C
|
High
|
77
|
Brownian noise
|
11,469
|
369
|
Start
|
Low
|
78
|
Remaster
|
11,387
|
367
|
C
|
Mid
|
79
|
TOSLINK
|
11,306
|
364
|
Start
|
Unknown
|
80
|
Two Steps from Hell
|
11,105
|
358
|
Start
|
Mid
|
81
|
Spectrogram
|
10,993
|
354
|
C
|
Low
|
82
|
Bode plot
|
10,787
|
347
|
C
|
Mid
|
83
|
Phonograph cylinder
|
10,783
|
347
|
C
|
Mid
|
84
|
Harmonic
|
10,671
|
344
|
Start
|
Mid
|
85
|
Digital-to-analog converter
|
10,572
|
341
|
C
|
High
|
86
|
Roland Corporation
|
10,354
|
334
|
Start
|
Mid
|
87
|
Electric Lady Studios
|
10,321
|
332
|
B
|
Low
|
88
|
List of unexplained sounds
|
10,319
|
332
|
List
|
Mid
|
89
|
Academy Award for Best Sound
|
10,232
|
330
|
List
|
Mid
|
90
|
High fidelity
|
10,198
|
328
|
C
|
Mid
|
91
|
National Recording Registry
|
10,156
|
327
|
FL
|
High
|
92
|
High-pass filter
|
10,018
|
323
|
C
|
High
|
93
|
Super Audio CD
|
9,763
|
314
|
B
|
Low
|
94
|
Sennheiser
|
9,727
|
313
|
B
|
High
|
95
|
AC power
|
9,294
|
299
|
B
|
Mid
|
96
|
In-ear monitor
|
9,281
|
299
|
C
|
High
|
97
|
Mastering (audio)
|
9,145
|
295
|
C
|
Top
|
98
|
Human voice
|
9,121
|
294
|
B
|
Mid
|
99
|
D-subminiature
|
9,093
|
293
|
B
|
Low
|
100
|
Composite video
|
9,028
|
291
|
C
|
Mid
|
101
|
Digital signal processor
|
8,982
|
289
|
C
|
High
|
102
|
Sampling (signal processing)
|
8,941
|
288
|
C
|
High
|
103
|
Stereophonic sound
|
8,872
|
286
|
C
|
Top
|
104
|
Distortion (music)
|
8,633
|
278
|
C
|
High
|
105
|
Sound pressure
|
8,612
|
277
|
C
|
High
|
106
|
20 Feet from Stardom
|
8,505
|
274
|
Start
|
Low
|
107
|
Total harmonic distortion
|
8,498
|
274
|
Start
|
Mid
|
108
|
Full Sail University
|
8,459
|
272
|
C
|
Mid
|
109
|
Reel-to-reel audio tape recording
|
8,310
|
268
|
B
|
High
|
110
|
Finite impulse response
|
8,309
|
268
|
Start
|
Mid
|
111
|
Acoustics
|
8,289
|
267
|
C
|
Top
|
112
|
Quantization (signal processing)
|
8,252
|
266
|
B
|
Mid
|
113
|
Laugh track
|
8,249
|
266
|
C
|
Mid
|
114
|
Sarm Studios
|
8,143
|
262
|
Start
|
Low
|
115
|
Blaupunkt
|
8,129
|
262
|
Start
|
Low
|
116
|
Record Plant
|
8,077
|
260
|
C
|
Mid
|
117
|
Backmasking
|
8,023
|
258
|
B
|
Mid
|
118
|
Public address system
|
8,022
|
258
|
C
|
Top
|
119
|
Band-pass filter
|
7,985
|
257
|
Start
|
Low
|
120
|
History of sound recording
|
7,876
|
254
|
C
|
High
|
121
|
Bandwidth (signal processing)
|
7,875
|
254
|
C
|
Mid
|
122
|
Concert
|
7,857
|
253
|
C
|
High
|
123
|
Shepard tone
|
7,768
|
250
|
Start
|
Low
|
124
|
Virtual Studio Technology
|
7,591
|
244
|
C
|
Mid
|
125
|
Dynamic range compression
|
7,535
|
243
|
B
|
Top
|
126
|
Subwoofer
|
7,477
|
241
|
B
|
Top
|
127
|
LDAC (codec)
|
7,433
|
239
|
Start
|
Low
|
128
|
Magnetic tape
|
7,343
|
236
|
C
|
High
|
129
|
Bob Ezrin
|
7,294
|
235
|
C
|
Low
|
130
|
5.1 surround sound
|
7,278
|
234
|
Start
|
High
|
131
|
Dann Huff
|
7,220
|
232
|
Start
|
Mid
|
132
|
Robert Moog
|
7,143
|
230
|
B
|
High
|
133
|
BandLab
|
7,137
|
230
|
Unknown
|
Unknown
|
134
|
Equal-loudness contour
|
7,133
|
230
|
C
|
Mid
|
135
|
Non-linear editing
|
7,055
|
227
|
C
|
High
|
136
|
Phil Ramone
|
7,042
|
227
|
C
|
High
|
137
|
Surround sound
|
6,898
|
222
|
B
|
Top
|
138
|
Flood (music producer)
|
6,872
|
221
|
C
|
Mid
|
139
|
Impedance matching
|
6,850
|
220
|
C
|
Mid
|
140
|
Recording studio
|
6,837
|
220
|
C
|
Top
|
141
|
Session musician
|
6,727
|
217
|
Start
|
Mid
|
142
|
Steinberg Cubase
|
6,657
|
214
|
C
|
Mid
|
143
|
Effects unit
|
6,647
|
214
|
B
|
Mid
|
144
|
Direct Stream Digital
|
6,606
|
213
|
C
|
Mid
|
145
|
ISDN
|
6,472
|
208
|
C
|
Mid
|
146
|
Muscle Shoals Sound Studio
|
6,368
|
205
|
C
|
Low
|
147
|
DIN connector
|
6,322
|
203
|
C
|
Low
|
148
|
Optical disc packaging
|
6,206
|
200
|
Start
|
Low
|
149
|
Multitrack recording
|
6,202
|
200
|
C
|
Top
|
150
|
Klipsch Audio Technologies
|
6,166
|
198
|
C
|
Mid
|
151
|
Digital audio
|
6,119
|
197
|
C
|
Top
|
152
|
General MIDI
|
6,085
|
196
|
C
|
Low
|
153
|
Sound stage
|
6,064
|
195
|
Start
|
Low
|
154
|
AKG (company)
|
6,027
|
194
|
C
|
High
|
155
|
Ben Burtt
|
6,021
|
194
|
C
|
Low
|
156
|
Line level
|
6,014
|
194
|
C
|
High
|
157
|
Audiovisual
|
5,937
|
191
|
Start
|
High
|
158
|
Paisley Park
|
5,893
|
190
|
Start
|
Unknown
|
159
|
Equalization (audio)
|
5,797
|
187
|
C
|
Top
|
160
|
Vinyl revival
|
5,788
|
186
|
C
|
Low
|
161
|
High-resolution audio
|
5,785
|
186
|
C
|
Mid
|
162
|
Rockfield Studios
|
5,763
|
185
|
Start
|
Unknown
|
163
|
Post-production
|
5,752
|
185
|
Start
|
Top
|
164
|
Remix
|
5,713
|
184
|
Start
|
Low
|
165
|
Preamplifier
|
5,702
|
183
|
Start
|
Mid
|
166
|
Behringer
|
5,630
|
181
|
C
|
Mid
|
167
|
REAPER
|
5,618
|
181
|
Start
|
Low
|
168
|
Audio frequency
|
5,607
|
180
|
Start
|
Mid
|
169
|
Audio bit depth
|
5,590
|
180
|
B
|
High
|
170
|
Audiophile
|
5,577
|
179
|
C
|
Mid
|
171
|
Digital Audio Tape
|
5,561
|
179
|
C
|
Mid
|
172
|
Wall of Sound (Grateful Dead)
|
5,456
|
176
|
C
|
High
|
173
|
Overtone
|
5,444
|
175
|
C
|
Mid
|
174
|
Cutoff frequency
|
5,423
|
174
|
C
|
Mid
|
175
|
List of largest recorded music markets
|
5,421
|
174
|
List
|
Low
|
176
|
Live television
|
5,413
|
174
|
Start
|
Mid
|
177
|
Synclavier
|
5,389
|
173
|
C
|
Low
|
178
|
Wah-wah pedal
|
5,317
|
171
|
Start
|
Low
|
179
|
Audio-Technica
|
5,310
|
171
|
Start
|
Mid
|
180
|
Music sequencer
|
5,222
|
168
|
C
|
Mid
|
181
|
Dynamic range
|
5,208
|
168
|
C
|
Mid
|
182
|
Road crew
|
5,173
|
166
|
Start
|
High
|
183
|
Soundproofing
|
5,104
|
164
|
C
|
Mid
|
184
|
Ableton
|
5,097
|
164
|
C
|
Low
|
185
|
Bassline
|
5,095
|
164
|
C
|
Mid
|
186
|
Røde Microphones
|
5,068
|
163
|
Start
|
High
|
187
|
Demo (music)
|
5,067
|
163
|
Start
|
Low
|
188
|
Noise
|
5,061
|
163
|
B
|
Mid
|
189
|
Associated Independent Recording
|
5,041
|
162
|
Start
|
Mid
|
190
|
Bob Ludwig
|
5,022
|
162
|
C
|
Mid
|
191
|
Frequency modulation synthesis
|
4,976
|
160
|
C
|
Low
|
192
|
A-weighting
|
4,973
|
160
|
B
|
Mid
|
193
|
Gain (electronics)
|
4,969
|
160
|
C
|
High
|
194
|
Gated reverb
|
4,962
|
160
|
C
|
Mid
|
195
|
Electromagnetic shielding
|
4,945
|
159
|
C
|
Mid
|
196
|
Adobe Audition
|
4,904
|
158
|
Start
|
Mid
|
197
|
Flanging
|
4,890
|
157
|
C
|
Mid
|
198
|
Lavalier microphone
|
4,874
|
157
|
Start
|
Mid
|
199
|
Mixing console
|
4,843
|
156
|
C
|
Top
|
200
|
Phantom power
|
4,832
|
155
|
C
|
Mid
|
201
|
Spectrum analyzer
|
4,811
|
155
|
Start
|
Mid
|
202
|
Peavey Electronics
|
4,782
|
154
|
C
|
Mid
|
203
|
Phonautograph
|
4,748
|
153
|
C
|
Low
|
204
|
Grammy Award for Best Engineered Album, Non-Classical
|
4,729
|
152
|
List
|
Mid
|
205
|
Megaphone
|
4,727
|
152
|
Start
|
Unknown
|
206
|
Downsampling (signal processing)
|
4,710
|
151
|
Start
|
Low
|
207
|
Music tracker
|
4,698
|
151
|
Start
|
Low
|
208
|
Korg
|
4,662
|
150
|
Start
|
Low
|
209
|
Ampex
|
4,655
|
150
|
C
|
Mid
|
210
|
The Hit Factory
|
4,632
|
149
|
Start
|
Low
|
211
|
Shangri-La (recording studio)
|
4,617
|
148
|
Start
|
Low
|
212
|
7.1 surround sound
|
4,538
|
146
|
Start
|
High
|
213
|
Filter (signal processing)
|
4,536
|
146
|
C
|
Mid
|
214
|
McIntosh Laboratory
|
4,527
|
146
|
Start
|
Mid
|
215
|
Audio crossover
|
4,518
|
145
|
B
|
Top
|
216
|
Noise reduction
|
4,463
|
143
|
C
|
Mid
|
217
|
Overdubbing
|
4,429
|
142
|
Start
|
Mid
|
218
|
Eddie Kramer
|
4,416
|
142
|
C
|
High
|
219
|
Quadraphonic sound
|
4,406
|
142
|
C
|
Mid
|
220
|
Master Quality Authenticated
|
4,380
|
141
|
C
|
Low
|
221
|
Sound effect
|
4,378
|
141
|
C
|
High
|
222
|
Hitsville U.S.A.
|
4,369
|
140
|
C
|
Mid
|
223
|
Vehicle audio
|
4,334
|
139
|
Start
|
Low
|
224
|
Shure
|
4,320
|
139
|
B
|
High
|
225
|
Programming (music)
|
4,317
|
139
|
C
|
Low
|
226
|
Anti-aliasing
|
4,305
|
138
|
List
|
Mid
|
227
|
Balun
|
4,292
|
138
|
C
|
Low
|
228
|
Avid Technology
|
4,280
|
138
|
Start
|
Low
|
229
|
Sound City Studios
|
4,222
|
136
|
Start
|
Low
|
230
|
Audio mixing (recorded music)
|
4,215
|
135
|
C
|
High
|
231
|
Psychoacoustics
|
4,186
|
135
|
C
|
Mid
|
232
|
Timeline of audio formats
|
4,170
|
134
|
Start
|
Mid
|
233
|
Loudness
|
4,166
|
134
|
C
|
Mid
|
234
|
Edifier
|
4,155
|
134
|
Start
|
Low
|
235
|
Twelve-inch single
|
4,137
|
133
|
Start
|
Low
|
236
|
Anti-aliasing filter
|
4,132
|
133
|
C
|
Low
|
237
|
Chris Lord-Alge
|
4,121
|
132
|
Start
|
Mid
|
238
|
Moog Music
|
4,114
|
132
|
C
|
Mid
|
239
|
Skywalker Sound
|
4,107
|
132
|
Start
|
Low
|
240
|
Reverb effect
|
4,092
|
132
|
C
|
High
|
241
|
Deep Note
|
4,036
|
130
|
Start
|
Low
|
242
|
Audio power amplifier
|
4,021
|
129
|
C
|
High
|
243
|
Altec Lansing
|
4,012
|
129
|
C
|
Mid
|
244
|
VU meter
|
3,991
|
128
|
C
|
High
|
245
|
Compact Cassette tape types and formulations
|
3,990
|
128
|
C
|
Low
|
246
|
Astoria (recording studio)
|
3,937
|
127
|
Start
|
Low
|
247
|
Frequency response
|
3,933
|
126
|
C
|
High
|
248
|
Manhattan Center
|
3,924
|
126
|
Start
|
Low
|
249
|
The Sound Factory
|
3,921
|
126
|
Start
|
Low
|
250
|
Binaural recording
|
3,911
|
126
|
C
|
Mid
|
251
|
Doug Sax
|
3,910
|
126
|
Start
|
Mid
|
252
|
Geoff Emerick
|
3,885
|
125
|
B
|
Mid
|
253
|
Band-stop filter
|
3,884
|
125
|
Start
|
Mid
|
254
|
Dolby noise-reduction system
|
3,814
|
123
|
B
|
Mid
|
255
|
MPEG-1
|
3,767
|
121
|
B
|
Low
|
256
|
FL Studio Mobile
|
3,757
|
121
|
Start
|
Low
|
257
|
Open Sound Control
|
3,745
|
120
|
Start
|
Mid
|
258
|
Sound design
|
3,737
|
120
|
C
|
High
|
259
|
Scratching
|
3,735
|
120
|
C
|
Mid
|
260
|
NoCopyrightSounds
|
3,694
|
119
|
Start
|
Low
|
261
|
Compression artifact
|
3,682
|
118
|
Start
|
Mid
|
262
|
Trident Studios
|
3,680
|
118
|
C
|
Mid
|
263
|
RIAA equalization
|
3,674
|
118
|
C
|
Mid
|
264
|
Audio feedback
|
3,654
|
117
|
C
|
High
|
265
|
Audio Interchange File Format
|
3,649
|
117
|
C
|
Mid
|
266
|
Yamaha NS-10
|
3,618
|
116
|
GA
|
Mid
|
267
|
T-Minus (producer)
|
3,574
|
115
|
Start
|
Low
|
268
|
Record sales
|
3,566
|
115
|
Start
|
Mid
|
269
|
Sound level meter
|
3,564
|
114
|
B
|
Mid
|
270
|
Banana connector
|
3,528
|
113
|
Start
|
Mid
|
271
|
Monster Cable
|
3,522
|
113
|
GA
|
Low
|
272
|
Attenuator (electronics)
|
3,492
|
112
|
Start
|
Mid
|
273
|
Crosstalk
|
3,483
|
112
|
C
|
Low
|
274
|
Distortion
|
3,480
|
112
|
C
|
High
|
275
|
Bitcrusher
|
3,415
|
110
|
Start
|
Low
|
276
|
Studio One (software)
|
3,414
|
110
|
B
|
Unknown
|
277
|
AES3
|
3,385
|
109
|
C
|
High
|
278
|
Paradox (musician)
|
3,383
|
109
|
Start
|
Low
|
279
|
Sun Studio
|
3,369
|
108
|
C
|
Mid
|
280
|
Audio signal
|
3,355
|
108
|
Start
|
High
|
281
|
Tom Dowd
|
3,354
|
108
|
Start
|
High
|
282
|
Re-recording (music)
|
3,351
|
108
|
C
|
Low
|
283
|
Power Station (recording studio)
|
3,349
|
108
|
C
|
Mid
|
284
|
Sweetwater Sound
|
3,346
|
107
|
B
|
High
|
285
|
Bruce Fairbairn
|
3,345
|
107
|
C
|
Low
|
286
|
Stock sound effect
|
3,316
|
106
|
Start
|
Low
|
287
|
DTS-HD Master Audio
|
3,316
|
106
|
Start
|
Low
|
288
|
Olympic Studios
|
3,309
|
106
|
C
|
Low
|
289
|
Horn loudspeaker
|
3,296
|
106
|
B
|
High
|
290
|
The Mansion (recording studio)
|
3,295
|
106
|
Start
|
Low
|
291
|
Audio Stream Input/Output
|
3,293
|
106
|
Start
|
Mid
|
292
|
NAMM Show
|
3,259
|
105
|
Start
|
Mid
|
293
|
Log-periodic antenna
|
3,251
|
104
|
Start
|
Low
|
294
|
Tweeter
|
3,231
|
104
|
Start
|
Mid
|
295
|
Yamaha YM2612
|
3,216
|
103
|
Start
|
Unknown
|
296
|
3D audio effect
|
3,191
|
102
|
Start
|
Low
|
297
|
Dante (networking)
|
3,183
|
102
|
Start
|
Mid
|
298
|
LHDC (codec)
|
3,183
|
102
|
Start
|
Low
|
299
|
Delay (audio effect)
|
3,172
|
102
|
C
|
High
|
300
|
Electronic filter
|
3,169
|
102
|
C
|
Mid
|
301
|
Sound Forge
|
3,151
|
101
|
Start
|
Mid
|
302
|
Squelch
|
3,133
|
101
|
Start
|
Unknown
|
303
|
44,100 Hz
|
3,132
|
101
|
C
|
Mid
|
304
|
Directional antenna
|
3,120
|
100
|
Start
|
Low
|
305
|
SAE Institute
|
3,120
|
100
|
Start
|
Mid
|
306
|
DVD-Audio
|
3,117
|
100
|
C
|
Mid
|
307
|
Electret microphone
|
3,107
|
100
|
Start
|
High
|
308
|
Acetate disc
|
3,099
|
99
|
Start
|
Mid
|
309
|
DBFS
|
3,069
|
99
|
C
|
Mid
|
310
|
SMPTE timecode
|
3,065
|
98
|
C
|
High
|
311
|
Bass reflex
|
3,047
|
98
|
C
|
Mid
|
312
|
Shure SM57
|
3,036
|
97
|
Start
|
Mid
|
313
|
Cue sheet (computing)
|
3,031
|
97
|
Start
|
Low
|
314
|
Digital filter
|
3,013
|
97
|
C
|
Top
|
315
|
Clipping (audio)
|
3,011
|
97
|
C
|
Mid
|
316
|
Tannoy
|
3,000
|
96
|
Start
|
Mid
|
317
|
Phaser (effect)
|
2,983
|
96
|
B
|
Mid
|
318
|
Comb filter
|
2,982
|
96
|
B
|
Mid
|
319
|
Ambisonics
|
2,978
|
96
|
B
|
Mid
|
320
|
Audio equipment
|
2,970
|
95
|
Start
|
Mid
|
321
|
Wavetable synthesis
|
2,956
|
95
|
B
|
Low
|
322
|
Native Instruments
|
2,950
|
95
|
Start
|
Unknown
|
323
|
Digital biquad filter
|
2,950
|
95
|
Start
|
Mid
|
324
|
AV receiver
|
2,932
|
94
|
C
|
Low
|
325
|
Mains hum
|
2,926
|
94
|
Start
|
Mid
|
326
|
All-pass filter
|
2,925
|
94
|
C
|
Mid
|
327
|
Intercom
|
2,924
|
94
|
Start
|
Mid
|
328
|
Canadian Radio-television and Telecommunications Commission
|
2,919
|
94
|
B
|
Low
|
329
|
SMPTE 2110
|
2,916
|
94
|
Start
|
Low
|
330
|
Hip-hop production
|
2,906
|
93
|
C
|
Mid
|
331
|
Production music
|
2,904
|
93
|
C
|
High
|
332
|
Intermodulation
|
2,889
|
93
|
Start
|
Mid
|
333
|
Mark Korven
|
2,888
|
93
|
Start
|
Unknown
|
334
|
Westlake Recording Studios
|
2,882
|
92
|
Start
|
Mid
|
335
|
Image-Line
|
2,847
|
91
|
Start
|
Low
|
336
|
Flexi disc
|
2,828
|
91
|
Start
|
Low
|
337
|
Balanced audio
|
2,820
|
90
|
C
|
Top
|
338
|
Compass Point Studios
|
2,807
|
90
|
Start
|
Mid
|
339
|
Bruce Swedien
|
2,793
|
90
|
Start
|
Low
|
340
|
Mini CD
|
2,791
|
90
|
Start
|
Low
|
341
|
Analog recording
|
2,789
|
89
|
Stub
|
Mid
|
342
|
TEAC Corporation
|
2,786
|
89
|
Start
|
Mid
|
343
|
Blue Microphones
|
2,779
|
89
|
Start
|
Low
|
344
|
Wire recording
|
2,775
|
89
|
C
|
Mid
|
345
|
Château d'Hérouville
|
2,767
|
89
|
Start
|
Low
|
346
|
List of discontinued Bose headphones
|
2,737
|
88
|
List
|
Low
|
347
|
Shielded cable
|
2,734
|
88
|
Start
|
Low
|
348
|
Monaural sound
|
2,726
|
87
|
Start
|
Low
|
349
|
Slew rate
|
2,721
|
87
|
Start
|
Mid
|
350
|
Ken Scott
|
2,717
|
87
|
Start
|
Low
|
351
|
Rolling Stones Mobile Studio
|
2,701
|
87
|
Start
|
Low
|
352
|
LUFS
|
2,699
|
87
|
Start
|
Mid
|
353
|
Unusual types of gramophone records
|
2,697
|
87
|
C
|
Low
|
354
|
ISO base media file format
|
2,692
|
86
|
C
|
Low
|
355
|
Loudspeaker enclosure
|
2,689
|
86
|
C
|
Top
|
356
|
Cassette deck
|
2,678
|
86
|
C
|
Mid
|
357
|
Sunset Sound Recorders
|
2,668
|
86
|
C
|
High
|
358
|
Sound transmission class
|
2,666
|
86
|
C
|
Mid
|
359
|
Audio signal processing
|
2,631
|
84
|
C
|
High
|
360
|
Conway Recording Studios
|
2,629
|
84
|
Start
|
Low
|
361
|
FAME Studios
|
2,610
|
84
|
Start
|
Mid
|
362
|
Crest factor
|
2,596
|
83
|
C
|
Mid
|
363
|
Oversampling
|
2,595
|
83
|
C
|
Low
|
364
|
Caribou Ranch
|
2,594
|
83
|
C
|
Mid
|
365
|
Sequential (company)
|
2,589
|
83
|
C
|
Low
|
366
|
MIDI controller
|
2,571
|
82
|
C
|
Mid
|
367
|
Echoplex
|
2,570
|
82
|
C
|
Mid
|
368
|
Justin Varghese
|
2,569
|
82
|
Start
|
Low
|
369
|
Pitch shifting
|
2,568
|
82
|
C
|
Low
|
370
|
Ribbon microphone
|
2,563
|
82
|
B
|
High
|
371
|
Audio Video Bridging
|
2,551
|
82
|
C
|
Mid
|
372
|
Hansa Tonstudio
|
2,549
|
82
|
Start
|
Low
|
373
|
Recording studio as an instrument
|
2,538
|
81
|
B
|
High
|
374
|
Electronic drum
|
2,526
|
81
|
C
|
Mid
|
375
|
Hot mic
|
2,524
|
81
|
Unknown
|
Unknown
|
376
|
Roger Nichols (recording engineer)
|
2,511
|
81
|
C
|
High
|
377
|
Audio headset
|
2,509
|
80
|
C
|
Mid
|
378
|
Whip antenna
|
2,497
|
80
|
C
|
Low
|
379
|
Pop filter
|
2,497
|
80
|
Start
|
Mid
|
380
|
InMusic Brands
|
2,492
|
80
|
C
|
Low
|
381
|
Sound reinforcement system
|
2,484
|
80
|
B
|
Top
|
382
|
Passive radiator (speaker)
|
2,484
|
80
|
Start
|
Low
|
383
|
Chorus (audio effect)
|
2,480
|
80
|
Start
|
Mid
|
384
|
Treble (sound)
|
2,480
|
80
|
Stub
|
Low
|
385
|
International Standard Recording Code
|
2,478
|
79
|
Start
|
Mid
|
386
|
Thiele/Small parameters
|
2,473
|
79
|
Start
|
Unknown
|
387
|
Digital recording
|
2,467
|
79
|
C
|
Top
|
388
|
The Village (studio)
|
2,462
|
79
|
Start
|
Low
|
389
|
Ardour (software)
|
2,461
|
79
|
Start
|
Low
|
390
|
ReplayGain
|
2,456
|
79
|
C
|
Mid
|
391
|
Voice changer
|
2,451
|
79
|
Start
|
Low
|
392
|
Audio time stretching and pitch scaling
|
2,447
|
78
|
C
|
Low
|
393
|
Steinberg
|
2,446
|
78
|
B
|
Mid
|
394
|
Noise gate
|
2,443
|
78
|
C
|
High
|
395
|
Shure SM58
|
2,438
|
78
|
Start
|
Mid
|
396
|
Digital Compact Cassette
|
2,437
|
78
|
C
|
Low
|
397
|
Al Schmitt
|
2,416
|
77
|
C
|
Mid
|
398
|
Front of house
|
2,413
|
77
|
Start
|
Mid
|
399
|
DVD-RAM
|
2,410
|
77
|
C
|
Low
|
400
|
DI unit
|
2,400
|
77
|
Start
|
Low
|
401
|
Parabolic microphone
|
2,397
|
77
|
Start
|
Mid
|
402
|
Music visualization
|
2,394
|
77
|
Start
|
Low
|
403
|
Orange Amps
|
2,393
|
77
|
C
|
Low
|
404
|
Woofer
|
2,385
|
76
|
Start
|
Mid
|
405
|
EBU R 128
|
2,375
|
76
|
C
|
Low
|
406
|
Soundbar
|
2,368
|
76
|
Start
|
Unknown
|
407
|
Infinity Systems
|
2,362
|
76
|
Start
|
Low
|
408
|
TASCAM
|
2,352
|
75
|
Start
|
High
|
409
|
DJ mixer
|
2,352
|
75
|
Start
|
Mid
|
410
|
Acoustical engineering
|
2,322
|
74
|
C
|
Mid
|
411
|
CD single
|
2,315
|
74
|
Start
|
Mid
|
412
|
Basing Street Studios
|
2,315
|
74
|
Start
|
Low
|
413
|
AES67
|
2,314
|
74
|
C
|
Mid
|
414
|
Universal Audio (company)
|
2,308
|
74
|
Start
|
Mid
|
415
|
Brian Ahern (producer)
|
2,291
|
73
|
Start
|
Low
|
416
|
Earplug
|
2,284
|
73
|
C
|
Mid
|
417
|
Le Studio
|
2,278
|
73
|
Start
|
Low
|
418
|
Audio and video interfaces and connectors
|
2,275
|
73
|
C
|
High
|
419
|
Ocean Productions
|
2,269
|
73
|
Start
|
Low
|
420
|
Audiogram
|
2,232
|
72
|
C
|
Low
|
421
|
Virtual Audio Cable
|
2,221
|
71
|
Start
|
Unknown
|
422
|
Sigma Sound Studios
|
2,218
|
71
|
Unknown
|
Unknown
|
423
|
1176 Peak Limiter
|
2,210
|
71
|
Start
|
Mid
|
424
|
Alesis
|
2,183
|
70
|
C
|
Mid
|
425
|
Field recording
|
2,164
|
69
|
Start
|
High
|
426
|
Stage monitor system
|
2,162
|
69
|
C
|
High
|
427
|
Ultimate Ears
|
2,156
|
69
|
Start
|
Low
|
428
|
ORTF stereo technique
|
2,134
|
68
|
Start
|
Mid
|
429
|
Click track
|
2,127
|
68
|
C
|
Mid
|
430
|
Carbon microphone
|
2,127
|
68
|
C
|
Low
|
431
|
Reason (software)
|
2,115
|
68
|
C
|
Mid
|
432
|
Wireless microphone
|
2,110
|
68
|
Start
|
Mid
|
433
|
DJ mix
|
2,100
|
67
|
Start
|
Low
|
434
|
Loudspeakers in mosques
|
2,092
|
67
|
Start
|
Unknown
|
435
|
Criteria Studios
|
2,090
|
67
|
B
|
Low
|
436
|
Comparison of analog and digital recording
|
2,087
|
67
|
B
|
Mid
|
437
|
Speakon connector
|
2,084
|
67
|
Start
|
High
|
438
|
Beyerdynamic
|
2,084
|
67
|
Start
|
Mid
|
439
|
Dictation machine
|
2,060
|
66
|
C
|
High
|
440
|
Double tracking
|
2,048
|
66
|
Start
|
Mid
|
441
|
History of broadcasting
|
2,042
|
65
|
C
|
High
|
442
|
Focusrite
|
2,036
|
65
|
Start
|
Low
|
443
|
Nagra
|
2,032
|
65
|
Start
|
Mid
|
444
|
Low-frequency oscillation
|
2,032
|
65
|
Start
|
Mid
|
445
|
Sunn
|
2,032
|
65
|
Start
|
Low
|
446
|
Solid State Logic
|
2,008
|
64
|
B
|
Mid
|
447
|
Upsampling
|
1,986
|
64
|
Start
|
Low
|
448
|
Tuff Gong
|
1,980
|
63
|
Start
|
Low
|
449
|
Dave Smith (engineer)
|
1,972
|
63
|
Start
|
Low
|
450
|
BBC Radiophonic Workshop
|
1,968
|
63
|
C
|
Low
|
451
|
Fade (audio engineering)
|
1,965
|
63
|
C
|
High
|
452
|
Portastudio
|
1,962
|
63
|
C
|
Low
|
453
|
List of sound chips
|
1,959
|
63
|
List
|
Low
|
454
|
American Sound Studio
|
1,957
|
63
|
C
|
Low
|
455
|
Sone
|
1,948
|
62
|
C
|
Low
|
456
|
Van Gelder Studio
|
1,948
|
62
|
Start
|
Low
|
457
|
Ocean Way Recording
|
1,943
|
62
|
Start
|
High
|
458
|
Subtractive synthesis
|
1,942
|
62
|
Start
|
Mid
|
459
|
Boom operator (media)
|
1,937
|
62
|
Start
|
Low
|
460
|
Backing track
|
1,935
|
62
|
C
|
Mid
|
461
|
Erik Aadahl
|
1,921
|
61
|
Stub
|
Low
|
462
|
Georg Neumann
|
1,918
|
61
|
Start
|
High
|
463
|
PreSonus
|
1,918
|
61
|
Start
|
Low
|
464
|
Comparison of digital audio editors
|
1,916
|
61
|
B
|
High
|
465
|
Transmission line loudspeaker
|
1,916
|
61
|
C
|
Mid
|
466
|
Waves Audio
|
1,909
|
61
|
Start
|
Low
|
467
|
Balanced line
|
1,905
|
61
|
C
|
High
|
468
|
ADAT
|
1,903
|
61
|
Start
|
Mid
|
469
|
United Western Recorders
|
1,895
|
61
|
Start
|
Low
|
470
|
Reinhold Mack
|
1,893
|
61
|
Start
|
Low
|
471
|
Acid Pro
|
1,885
|
60
|
Start
|
Mid
|
472
|
Oberheim Electronics
|
1,881
|
60
|
Start
|
Low
|
473
|
Master recordings
|
1,880
|
60
|
Stub
|
Low
|
474
|
Roland Space Echo
|
1,877
|
60
|
C
|
Mid
|
475
|
Sound recording
|
1,876
|
60
|
NA
|
High
|
476
|
Neumann U 47
|
1,876
|
60
|
Start
|
Mid
|
477
|
Linkwitz–Riley filter
|
1,867
|
60
|
C
|
Mid
|
478
|
Echo chamber
|
1,864
|
60
|
Start
|
Mid
|
479
|
Rotel
|
1,864
|
60
|
Stub
|
Low
|
480
|
Shure SM7
|
1,864
|
60
|
Start
|
Mid
|
481
|
JACK Audio Connection Kit
|
1,862
|
60
|
Start
|
Low
|
482
|
Coaxial loudspeaker
|
1,845
|
59
|
C
|
Mid
|
483
|
Cakewalk by BandLab
|
1,845
|
59
|
Start
|
Low
|
484
|
Bitwig Studio
|
1,844
|
59
|
Start
|
Mid
|
485
|
Little Mountain Sound Studios
|
1,830
|
59
|
Start
|
Low
|
486
|
Dynaudio
|
1,822
|
58
|
Stub
|
Unknown
|
487
|
Celemony Software
|
1,822
|
58
|
Start
|
Low
|
488
|
MADI
|
1,803
|
58
|
C
|
Mid
|
489
|
Line array
|
1,803
|
58
|
C
|
High
|
490
|
Cerwin-Vega
|
1,797
|
57
|
C
|
Mid
|
491
|
Linn Sondek LP12
|
1,789
|
57
|
C
|
Low
|
492
|
Grammy Award for Best Immersive Audio Album
|
1,784
|
57
|
List
|
Mid
|
493
|
5150 Studios
|
1,769
|
57
|
Start
|
Low
|
494
|
High Definition Compatible Digital
|
1,764
|
56
|
C
|
Low
|
495
|
AES50
|
1,746
|
56
|
Start
|
Low
|
496
|
Electrostatic loudspeaker
|
1,742
|
56
|
Start
|
Low
|
497
|
45 rpm adapter
|
1,741
|
56
|
Start
|
Low
|
498
|
Take
|
1,740
|
56
|
Start
|
Mid
|
499
|
Audio mixing
|
1,739
|
56
|
Start
|
Top
|
500
|
NAD 3020
|
1,732
|
55
|
GA
|
Low
|