| Rank
|
Page title
|
Views
|
Daily average
|
Assessment
|
Importance
|
| 1
|
Spotify
|
155,855
|
5,195
|
B
|
Unknown
|
| 2
|
Blu-ray
|
48,151
|
1,605
|
C
|
Mid
|
| 3
|
DVD
|
44,602
|
1,486
|
B
|
Mid
|
| 4
|
Song
|
43,804
|
1,460
|
Start
|
Top
|
| 5
|
Streaming media
|
42,947
|
1,431
|
C
|
Mid
|
| 6
|
Extended play
|
42,051
|
1,401
|
C
|
Mid
|
| 7
|
Decibel
|
40,066
|
1,335
|
C
|
Top
|
| 8
|
Compact disc
|
39,713
|
1,323
|
B
|
High
|
| 9
|
George Martin
|
36,360
|
1,212
|
GA
|
High
|
| 10
|
Radio
|
35,065
|
1,168
|
C
|
High
|
| 11
|
Sound
|
34,496
|
1,149
|
B
|
Top
|
| 12
|
Alan Parsons
|
33,978
|
1,132
|
Start
|
Mid
|
| 13
|
Bose Corporation
|
33,162
|
1,105
|
B
|
Mid
|
| 14
|
Wilhelm scream
|
32,531
|
1,084
|
C
|
Low
|
| 15
|
Phonograph
|
32,017
|
1,067
|
B
|
High
|
| 16
|
Noise pollution
|
31,547
|
1,051
|
C
|
Mid
|
| 17
|
Cassette tape
|
30,436
|
1,014
|
B
|
High
|
| 18
|
Phonograph record
|
30,319
|
1,010
|
C
|
High
|
| 19
|
JBL
|
29,995
|
999
|
C
|
Mid
|
| 20
|
Recording Industry Association of America
|
29,419
|
980
|
C
|
High
|
| 21
|
Low-pass filter
|
27,993
|
933
|
C
|
Mid
|
| 22
|
Microphone
|
26,946
|
898
|
C
|
Top
|
| 23
|
LP record
|
26,338
|
877
|
C
|
Mid
|
| 24
|
Synthesizer
|
25,570
|
852
|
B
|
Mid
|
| 25
|
Record producer
|
25,295
|
843
|
C
|
Top
|
| 26
|
FL Studio
|
24,911
|
830
|
Start
|
Low
|
| 27
|
Yamaha Corporation
|
24,635
|
821
|
C
|
Mid
|
| 28
|
Beats Electronics
|
23,580
|
786
|
C
|
Low
|
| 29
|
Dolby Atmos
|
22,148
|
738
|
B
|
Low
|
| 30
|
White noise
|
21,685
|
722
|
C
|
Mid
|
| 31
|
Music recording certification
|
20,889
|
696
|
C
|
Mid
|
| 32
|
Phone connector (audio)
|
20,793
|
693
|
C
|
High
|
| 33
|
GarageBand
|
20,743
|
691
|
C
|
Mid
|
| 34
|
Headphones
|
18,651
|
621
|
C
|
High
|
| 35
|
Audacity (audio editor)
|
18,570
|
619
|
C
|
Mid
|
| 36
|
Auto-Tune
|
18,461
|
615
|
B
|
Mid
|
| 37
|
Amar Bose
|
18,011
|
600
|
Start
|
Mid
|
| 38
|
Harman International
|
17,994
|
599
|
Start
|
Low
|
| 39
|
RCA connector
|
17,938
|
597
|
C
|
Mid
|
| 40
|
Analog-to-digital converter
|
17,496
|
583
|
C
|
High
|
| 41
|
Richard Perry
|
16,936
|
564
|
C
|
Mid
|
| 42
|
National Audio-Visual Conservation Center
|
16,817
|
560
|
Start
|
Low
|
| 43
|
Soundtrack
|
16,663
|
555
|
C
|
High
|
| 44
|
Wall of Sound
|
16,479
|
549
|
C
|
Low
|
| 45
|
Pulse-code modulation
|
15,815
|
527
|
B
|
High
|
| 46
|
Tony Visconti
|
15,591
|
519
|
C
|
Low
|
| 47
|
S-Video
|
15,551
|
518
|
C
|
Low
|
| 48
|
Sound recording and reproduction
|
15,310
|
510
|
C
|
Top
|
| 49
|
Pink noise
|
14,915
|
497
|
B
|
Mid
|
| 50
|
WAV
|
14,622
|
487
|
C
|
Mid
|
| 51
|
40 (record producer)
|
14,517
|
483
|
Start
|
Low
|
| 52
|
Composer
|
14,458
|
481
|
Start
|
Low
|
| 53
|
Aliasing
|
14,313
|
477
|
B
|
Mid
|
| 54
|
Broadcasting
|
14,109
|
470
|
C
|
Top
|
| 55
|
List of unexplained sounds
|
14,039
|
467
|
List
|
Mid
|
| 56
|
Dipole antenna
|
14,004
|
466
|
B
|
Low
|
| 57
|
Marshall Amplification
|
13,862
|
462
|
B
|
Mid
|
| 58
|
Loudspeaker
|
13,818
|
460
|
B
|
Top
|
| 59
|
Audio engineer
|
13,778
|
459
|
C
|
Top
|
| 60
|
S/PDIF
|
13,505
|
450
|
C
|
Low
|
| 61
|
Abbey Road Studios
|
13,501
|
450
|
B
|
High
|
| 62
|
Dither
|
13,485
|
449
|
C
|
Mid
|
| 63
|
Logic Pro
|
13,472
|
449
|
C
|
High
|
| 64
|
Digital audio workstation
|
12,669
|
422
|
C
|
Top
|
| 65
|
Ableton Live
|
12,639
|
421
|
C
|
Mid
|
| 66
|
Ground (electricity)
|
12,312
|
410
|
C
|
High
|
| 67
|
Bode plot
|
12,295
|
409
|
C
|
Mid
|
| 68
|
Harman Kardon
|
12,159
|
405
|
Start
|
Low
|
| 69
|
BNC connector
|
12,057
|
401
|
C
|
Mid
|
| 70
|
Pro Tools
|
11,976
|
399
|
C
|
High
|
| 71
|
Foley (filmmaking)
|
11,972
|
399
|
C
|
High
|
| 72
|
Harmonic
|
11,856
|
395
|
Start
|
Mid
|
| 73
|
High-pass filter
|
11,847
|
394
|
C
|
High
|
| 74
|
XLR connector
|
11,568
|
385
|
C
|
High
|
| 75
|
THX
|
11,496
|
383
|
C
|
Unknown
|
| 76
|
Spectrogram
|
11,349
|
378
|
C
|
Low
|
| 77
|
MiniDisc
|
11,236
|
374
|
C
|
Low
|
| 78
|
Two Steps from Hell
|
11,129
|
370
|
Start
|
Mid
|
| 79
|
Compact Disc Digital Audio
|
10,938
|
364
|
C
|
Mid
|
| 80
|
Loudness war
|
10,918
|
363
|
B
|
High
|
| 81
|
Stereophonic sound
|
10,747
|
358
|
C
|
Top
|
| 82
|
Brownian noise
|
10,617
|
353
|
Start
|
Low
|
| 83
|
Sampling (signal processing)
|
10,594
|
353
|
C
|
High
|
| 84
|
Sennheiser
|
10,544
|
351
|
B
|
High
|
| 85
|
Digital-to-analog converter
|
10,428
|
347
|
C
|
High
|
| 86
|
Owsley Stanley
|
10,191
|
339
|
C
|
Low
|
| 87
|
AC power
|
10,122
|
337
|
B
|
Mid
|
| 88
|
Human voice
|
10,116
|
337
|
B
|
Mid
|
| 89
|
High fidelity
|
10,108
|
336
|
C
|
Mid
|
| 90
|
D-subminiature
|
9,951
|
331
|
B
|
Low
|
| 91
|
Phonograph cylinder
|
9,926
|
330
|
C
|
Mid
|
| 92
|
Electric Lady Studios
|
9,779
|
325
|
Start
|
Low
|
| 93
|
Academy Award for Best Sound
|
9,702
|
323
|
List
|
Mid
|
| 94
|
Finite impulse response
|
9,694
|
323
|
Start
|
Mid
|
| 95
|
Total harmonic distortion
|
9,610
|
320
|
Start
|
Mid
|
| 96
|
Sound pressure
|
9,608
|
320
|
C
|
High
|
| 97
|
Roland Corporation
|
9,607
|
320
|
Start
|
Mid
|
| 98
|
Quantization (signal processing)
|
9,537
|
317
|
B
|
Mid
|
| 99
|
National Recording Registry
|
9,354
|
311
|
FL
|
High
|
| 100
|
Digital signal processor
|
9,323
|
310
|
C
|
High
|
| 101
|
Bandwidth (signal processing)
|
9,277
|
309
|
C
|
Mid
|
| 102
|
Super Audio CD
|
9,028
|
300
|
B
|
Low
|
| 103
|
Mastering (audio)
|
8,969
|
298
|
C
|
Top
|
| 104
|
Composite video
|
8,926
|
297
|
C
|
Mid
|
| 105
|
Acoustics
|
8,908
|
296
|
C
|
Top
|
| 106
|
Band-pass filter
|
8,868
|
295
|
Start
|
Low
|
| 107
|
TOSLINK
|
8,785
|
292
|
Start
|
Unknown
|
| 108
|
Shepard tone
|
8,579
|
285
|
Start
|
Low
|
| 109
|
Remaster
|
8,540
|
284
|
C
|
Mid
|
| 110
|
Astoria (recording studio)
|
8,443
|
281
|
Start
|
Low
|
| 111
|
Distortion (music)
|
8,420
|
280
|
C
|
High
|
| 112
|
Public address system
|
8,301
|
276
|
C
|
Top
|
| 113
|
Reel-to-reel audio tape recording
|
8,124
|
270
|
B
|
High
|
| 114
|
Full Sail University
|
8,062
|
268
|
C
|
Mid
|
| 115
|
In-ear monitor
|
8,054
|
268
|
C
|
High
|
| 116
|
Concert
|
8,022
|
267
|
C
|
High
|
| 117
|
Subwoofer
|
7,988
|
266
|
B
|
Top
|
| 118
|
Backmasking
|
7,980
|
266
|
B
|
Mid
|
| 119
|
History of sound recording
|
7,877
|
262
|
C
|
High
|
| 120
|
Magnetic tape
|
7,871
|
262
|
C
|
High
|
| 121
|
Bob Ezrin
|
7,832
|
261
|
C
|
Low
|
| 122
|
Blaupunkt
|
7,754
|
258
|
Start
|
Low
|
| 123
|
Virtual Studio Technology
|
7,734
|
257
|
C
|
Mid
|
| 124
|
Steinberg Cubase
|
7,621
|
254
|
C
|
Mid
|
| 125
|
Impedance matching
|
7,561
|
252
|
C
|
Mid
|
| 126
|
Laugh track
|
7,519
|
250
|
C
|
Mid
|
| 127
|
Tape recorder
|
7,404
|
246
|
C
|
High
|
| 128
|
Flood (music producer)
|
7,386
|
246
|
C
|
Mid
|
| 129
|
Canadian Radio-television and Telecommunications Commission
|
7,366
|
245
|
B
|
Low
|
| 130
|
Non-linear editing
|
7,331
|
244
|
C
|
High
|
| 131
|
Record Plant
|
7,122
|
237
|
C
|
Mid
|
| 132
|
Equal-loudness contour
|
7,120
|
237
|
C
|
Mid
|
| 133
|
Dynamic range compression
|
6,965
|
232
|
B
|
Top
|
| 134
|
Robert Moog
|
6,934
|
231
|
B
|
High
|
| 135
|
Recording studio
|
6,811
|
227
|
C
|
Top
|
| 136
|
Session musician
|
6,796
|
226
|
Start
|
Mid
|
| 137
|
DIN connector
|
6,762
|
225
|
C
|
Low
|
| 138
|
5.1 surround sound
|
6,737
|
224
|
Start
|
High
|
| 139
|
Road crew
|
6,697
|
223
|
Start
|
High
|
| 140
|
LDAC (codec)
|
6,694
|
223
|
Start
|
Low
|
| 141
|
Direct Stream Digital
|
6,589
|
219
|
C
|
Mid
|
| 142
|
Paisley Park
|
6,567
|
218
|
Start
|
Unknown
|
| 143
|
Cutoff frequency
|
6,551
|
218
|
C
|
Mid
|
| 144
|
Muscle Shoals Sound Studio
|
6,547
|
218
|
C
|
Low
|
| 145
|
Grammy Award for Best Engineered Album, Non-Classical
|
6,472
|
215
|
List
|
Mid
|
| 146
|
Overtone
|
6,433
|
214
|
C
|
Mid
|
| 147
|
Surround sound
|
6,340
|
211
|
B
|
Top
|
| 148
|
Sarm Studios
|
6,325
|
210
|
Start
|
Low
|
| 149
|
ISDN
|
6,285
|
209
|
C
|
Mid
|
| 150
|
Digital audio
|
6,255
|
208
|
C
|
Top
|
| 151
|
Effects unit
|
6,210
|
207
|
B
|
Mid
|
| 152
|
General MIDI
|
6,102
|
203
|
C
|
Low
|
| 153
|
Line level
|
6,096
|
203
|
C
|
High
|
| 154
|
Multitrack recording
|
6,082
|
202
|
C
|
Top
|
| 155
|
Audio frequency
|
6,028
|
200
|
Start
|
Mid
|
| 156
|
Phil Ramone
|
6,012
|
200
|
C
|
High
|
| 157
|
McIntosh Laboratory
|
5,999
|
199
|
Start
|
Mid
|
| 158
|
Dann Huff
|
5,978
|
199
|
Start
|
Mid
|
| 159
|
Equalization (audio)
|
5,972
|
199
|
C
|
Top
|
| 160
|
Audio bit depth
|
5,926
|
197
|
B
|
High
|
| 161
|
BandLab
|
5,916
|
197
|
Unknown
|
Unknown
|
| 162
|
Optical disc packaging
|
5,882
|
196
|
Start
|
Low
|
| 163
|
Ben Burtt
|
5,869
|
195
|
C
|
Low
|
| 164
|
Noise
|
5,863
|
195
|
B
|
Mid
|
| 165
|
Remix
|
5,863
|
195
|
Start
|
Low
|
| 166
|
Sound stage
|
5,837
|
194
|
Start
|
Low
|
| 167
|
High-resolution audio
|
5,804
|
193
|
C
|
Mid
|
| 168
|
20 Feet from Stardom
|
5,795
|
193
|
Start
|
Low
|
| 169
|
Downsampling (signal processing)
|
5,755
|
191
|
Start
|
Low
|
| 170
|
Post-production
|
5,737
|
191
|
Start
|
Top
|
| 171
|
Doug Sax
|
5,708
|
190
|
Start
|
Mid
|
| 172
|
Dynamic range
|
5,698
|
189
|
C
|
Mid
|
| 173
|
Bruce Swedien
|
5,612
|
187
|
Start
|
Low
|
| 174
|
AKG (company)
|
5,559
|
185
|
C
|
High
|
| 175
|
Phonautograph
|
5,522
|
184
|
C
|
Low
|
| 176
|
A-weighting
|
5,474
|
182
|
B
|
Mid
|
| 177
|
List of largest recorded music markets
|
5,424
|
180
|
List
|
Low
|
| 178
|
Live television
|
5,421
|
180
|
Start
|
Mid
|
| 179
|
Hot mic
|
5,415
|
180
|
Unknown
|
Unknown
|
| 180
|
REAPER
|
5,410
|
180
|
Start
|
Low
|
| 181
|
Preamplifier
|
5,406
|
180
|
Start
|
Mid
|
| 182
|
Filter (signal processing)
|
5,396
|
179
|
C
|
Mid
|
| 183
|
Synclavier
|
5,385
|
179
|
C
|
Low
|
| 184
|
Audiophile
|
5,343
|
178
|
C
|
Mid
|
| 185
|
Gain (electronics)
|
5,332
|
177
|
C
|
High
|
| 186
|
Wall of Sound (Grateful Dead)
|
5,309
|
176
|
C
|
High
|
| 187
|
Rockfield Studios
|
5,268
|
175
|
Start
|
Unknown
|
| 188
|
Digital Audio Tape
|
5,266
|
175
|
C
|
Mid
|
| 189
|
Demo (music)
|
5,247
|
174
|
Start
|
Low
|
| 190
|
Wah-wah pedal
|
5,155
|
171
|
Start
|
Low
|
| 191
|
Music sequencer
|
5,153
|
171
|
C
|
Mid
|
| 192
|
Bob Ludwig
|
5,151
|
171
|
C
|
Mid
|
| 193
|
Shure
|
5,147
|
171
|
B
|
High
|
| 194
|
Associated Independent Recording
|
5,097
|
169
|
Start
|
Mid
|
| 195
|
Spectrum analyzer
|
5,086
|
169
|
Start
|
Mid
|
| 196
|
Lavalier microphone
|
5,068
|
168
|
Start
|
Mid
|
| 197
|
Audiovisual
|
5,040
|
168
|
Start
|
High
|
| 198
|
Electromagnetic shielding
|
4,993
|
166
|
C
|
Mid
|
| 199
|
Soundproofing
|
4,980
|
166
|
C
|
Mid
|
| 200
|
Klipsch Audio Technologies
|
4,971
|
165
|
C
|
Mid
|
| 201
|
Flanging
|
4,961
|
165
|
C
|
Mid
|
| 202
|
Adobe Audition
|
4,872
|
162
|
Start
|
Mid
|
| 203
|
Balun
|
4,832
|
161
|
C
|
Low
|
| 204
|
Bassline
|
4,810
|
160
|
C
|
Mid
|
| 205
|
Megaphone
|
4,788
|
159
|
Start
|
Unknown
|
| 206
|
Frequency response
|
4,726
|
157
|
C
|
High
|
| 207
|
Frequency modulation synthesis
|
4,717
|
157
|
C
|
Low
|
| 208
|
Phantom power
|
4,686
|
156
|
C
|
Mid
|
| 209
|
Ableton
|
4,669
|
155
|
C
|
Low
|
| 210
|
Behringer
|
4,634
|
154
|
C
|
Mid
|
| 211
|
Audio-Technica
|
4,609
|
153
|
Start
|
Mid
|
| 212
|
Mixing console
|
4,581
|
152
|
C
|
Top
|
| 213
|
Loudness
|
4,556
|
151
|
C
|
Mid
|
| 214
|
Røde Microphones
|
4,541
|
151
|
Start
|
High
|
| 215
|
Anti-aliasing filter
|
4,523
|
150
|
C
|
Low
|
| 216
|
Shangri-La (recording studio)
|
4,472
|
149
|
Start
|
Low
|
| 217
|
Psychoacoustics
|
4,428
|
147
|
C
|
Mid
|
| 218
|
Programming (music)
|
4,410
|
147
|
C
|
Low
|
| 219
|
Overdubbing
|
4,404
|
146
|
Start
|
Mid
|
| 220
|
Music tracker
|
4,381
|
146
|
Start
|
Low
|
| 221
|
Audio crossover
|
4,378
|
145
|
B
|
Top
|
| 222
|
Vehicle audio
|
4,366
|
145
|
Start
|
Low
|
| 223
|
Noise reduction
|
4,355
|
145
|
C
|
Mid
|
| 224
|
Hitsville U.S.A.
|
4,341
|
144
|
C
|
Mid
|
| 225
|
Band-stop filter
|
4,334
|
144
|
Start
|
Mid
|
| 226
|
Korg
|
4,296
|
143
|
Start
|
Low
|
| 227
|
7.1 surround sound
|
4,270
|
142
|
Start
|
High
|
| 228
|
Eddie Kramer
|
4,269
|
142
|
C
|
High
|
| 229
|
Sound level meter
|
4,255
|
141
|
B
|
Mid
|
| 230
|
Quadraphonic sound
|
4,226
|
140
|
C
|
Mid
|
| 231
|
Sound City Studios
|
4,225
|
140
|
Start
|
Low
|
| 232
|
Master Quality Authenticated
|
4,221
|
140
|
C
|
Low
|
| 233
|
Vinyl revival
|
4,196
|
139
|
C
|
Low
|
| 234
|
Anti-aliasing
|
4,151
|
138
|
List
|
Mid
|
| 235
|
Audio power amplifier
|
4,138
|
137
|
C
|
High
|
| 236
|
Sound effect
|
4,107
|
136
|
C
|
High
|
| 237
|
Reverb effect
|
4,097
|
136
|
C
|
High
|
| 238
|
Binaural recording
|
4,045
|
134
|
C
|
Mid
|
| 239
|
Timeline of audio formats
|
4,006
|
133
|
Start
|
Mid
|
| 240
|
Geoff Emerick
|
4,001
|
133
|
B
|
Mid
|
| 241
|
VU meter
|
3,961
|
132
|
C
|
High
|
| 242
|
Sound design
|
3,944
|
131
|
C
|
High
|
| 243
|
Skywalker Sound
|
3,931
|
131
|
Start
|
Low
|
| 244
|
Chris Lord-Alge
|
3,930
|
131
|
Start
|
Mid
|
| 245
|
Avid Technology
|
3,913
|
130
|
Start
|
Low
|
| 246
|
Altec Lansing
|
3,895
|
129
|
C
|
Mid
|
| 247
|
Ampex
|
3,890
|
129
|
C
|
Mid
|
| 248
|
Audio feedback
|
3,862
|
128
|
C
|
High
|
| 249
|
Open Sound Control
|
3,851
|
128
|
Start
|
Mid
|
| 250
|
The Hit Factory
|
3,833
|
127
|
Start
|
Low
|
| 251
|
Compact Cassette tape types and formulations
|
3,830
|
127
|
C
|
Low
|
| 252
|
Distortion
|
3,818
|
127
|
C
|
High
|
| 253
|
Scratching
|
3,817
|
127
|
C
|
Mid
|
| 254
|
Westlake Recording Studios
|
3,779
|
125
|
Start
|
Mid
|
| 255
|
Twelve-inch single
|
3,777
|
125
|
Start
|
Low
|
| 256
|
Audio mixing (recorded music)
|
3,751
|
125
|
C
|
High
|
| 257
|
Electret microphone
|
3,718
|
123
|
Start
|
High
|
| 258
|
Dante (networking)
|
3,706
|
123
|
Start
|
Mid
|
| 259
|
Trident Studios
|
3,702
|
123
|
C
|
Mid
|
| 260
|
Justin Varghese
|
3,693
|
123
|
Start
|
Low
|
| 261
|
Dolby noise-reduction system
|
3,692
|
123
|
B
|
Mid
|
| 262
|
Peavey Electronics
|
3,672
|
122
|
C
|
Mid
|
| 263
|
MPEG-1
|
3,670
|
122
|
B
|
Low
|
| 264
|
Audio Interchange File Format
|
3,666
|
122
|
C
|
Mid
|
| 265
|
Deep Note
|
3,660
|
122
|
Start
|
Low
|
| 266
|
Audio signal
|
3,647
|
121
|
Start
|
High
|
| 267
|
Compression artifact
|
3,640
|
121
|
Start
|
Mid
|
| 268
|
Digital filter
|
3,611
|
120
|
C
|
Top
|
| 269
|
Moog Music
|
3,609
|
120
|
C
|
Mid
|
| 270
|
Carbon microphone
|
3,602
|
120
|
C
|
Low
|
| 271
|
AES3
|
3,553
|
118
|
C
|
High
|
| 272
|
Horn loudspeaker
|
3,553
|
118
|
B
|
High
|
| 273
|
SMPTE 2110
|
3,553
|
118
|
Start
|
Low
|
| 274
|
Crosstalk
|
3,545
|
118
|
C
|
Low
|
| 275
|
NoCopyrightSounds
|
3,513
|
117
|
Start
|
Low
|
| 276
|
Studio One (software)
|
3,504
|
116
|
B
|
Unknown
|
| 277
|
Edifier
|
3,491
|
116
|
Start
|
Low
|
| 278
|
Attenuator (electronics)
|
3,476
|
115
|
Start
|
Mid
|
| 279
|
Banana connector
|
3,459
|
115
|
Start
|
Mid
|
| 280
|
Olympic Studios
|
3,441
|
114
|
C
|
Low
|
| 281
|
Tom Dowd
|
3,438
|
114
|
Start
|
High
|
| 282
|
SMPTE timecode
|
3,434
|
114
|
C
|
High
|
| 283
|
Log-periodic antenna
|
3,423
|
114
|
Start
|
Low
|
| 284
|
Shielded cable
|
3,394
|
113
|
Start
|
Low
|
| 285
|
Intermodulation
|
3,386
|
112
|
Start
|
Mid
|
| 286
|
DBFS
|
3,379
|
112
|
C
|
Mid
|
| 287
|
Power Station (recording studio)
|
3,378
|
112
|
C
|
Mid
|
| 288
|
Directional antenna
|
3,368
|
112
|
Start
|
Low
|
| 289
|
Slew rate
|
3,353
|
111
|
Start
|
Mid
|
| 290
|
The Mansion (recording studio)
|
3,308
|
110
|
Start
|
Low
|
| 291
|
Intercom
|
3,300
|
110
|
Start
|
Mid
|
| 292
|
LHDC (codec)
|
3,295
|
109
|
Start
|
Low
|
| 293
|
Acetate disc
|
3,240
|
108
|
Start
|
Mid
|
| 294
|
44,100 Hz
|
3,238
|
107
|
C
|
Mid
|
| 295
|
Digital biquad filter
|
3,228
|
107
|
Start
|
Mid
|
| 296
|
Ken Scott
|
3,209
|
106
|
Start
|
Low
|
| 297
|
T-Minus (producer)
|
3,209
|
106
|
Start
|
Low
|
| 298
|
Yamaha YM2612
|
3,208
|
106
|
Start
|
Unknown
|
| 299
|
Tweeter
|
3,204
|
106
|
Start
|
Mid
|
| 300
|
Record sales
|
3,197
|
106
|
Start
|
Mid
|
| 301
|
Gated reverb
|
3,183
|
106
|
C
|
Mid
|
| 302
|
Audio Video Bridging
|
3,180
|
106
|
C
|
Mid
|
| 303
|
Ambisonics
|
3,174
|
105
|
B
|
Mid
|
| 304
|
Delay (audio effect)
|
3,169
|
105
|
C
|
High
|
| 305
|
Yamaha NS-10
|
3,155
|
105
|
GA
|
Mid
|
| 306
|
Clipping (audio)
|
3,135
|
104
|
C
|
Mid
|
| 307
|
Production music
|
3,127
|
104
|
C
|
High
|
| 308
|
Sun Studio
|
3,123
|
104
|
C
|
Mid
|
| 309
|
Oversampling
|
3,103
|
103
|
C
|
Low
|
| 310
|
Squelch
|
3,082
|
102
|
Start
|
Unknown
|
| 311
|
RIAA equalization
|
3,077
|
102
|
C
|
Mid
|
| 312
|
Comb filter
|
3,076
|
102
|
B
|
Mid
|
| 313
|
Bitcrusher
|
3,053
|
101
|
Start
|
Low
|
| 314
|
Bruce Fairbairn
|
3,048
|
101
|
C
|
Low
|
| 315
|
Monster Cable
|
3,046
|
101
|
GA
|
Low
|
| 316
|
Audio Stream Input/Output
|
3,025
|
100
|
Start
|
Mid
|
| 317
|
All-pass filter
|
3,021
|
100
|
C
|
Mid
|
| 318
|
Cue sheet (computing)
|
3,011
|
100
|
Start
|
Low
|
| 319
|
Grammy Award for Best Immersive Audio Album
|
3,010
|
100
|
List
|
Mid
|
| 320
|
Voice changer
|
3,005
|
100
|
Start
|
Low
|
| 321
|
Bass reflex
|
3,001
|
100
|
C
|
Mid
|
| 322
|
Phaser (effect)
|
2,982
|
99
|
B
|
Mid
|
| 323
|
AV receiver
|
2,981
|
99
|
C
|
Low
|
| 324
|
Native Instruments
|
2,979
|
99
|
Start
|
Unknown
|
| 325
|
Parabolic microphone
|
2,949
|
98
|
Start
|
Mid
|
| 326
|
Wire recording
|
2,940
|
98
|
C
|
Mid
|
| 327
|
SAE Institute
|
2,935
|
97
|
Start
|
Mid
|
| 328
|
Mini CD
|
2,931
|
97
|
Start
|
Low
|
| 329
|
Audio equipment
|
2,925
|
97
|
Start
|
Mid
|
| 330
|
DVD-Audio
|
2,921
|
97
|
C
|
Mid
|
| 331
|
Earplug
|
2,914
|
97
|
C
|
Mid
|
| 332
|
Stock sound effect
|
2,913
|
97
|
Start
|
Low
|
| 333
|
International Standard Recording Code
|
2,900
|
96
|
Start
|
Mid
|
| 334
|
Crest factor
|
2,893
|
96
|
C
|
Mid
|
| 335
|
DTS-HD Master Audio
|
2,881
|
96
|
Start
|
Low
|
| 336
|
Jeff Thacher
|
2,861
|
95
|
Start
|
Low
|
| 337
|
Mains hum
|
2,860
|
95
|
Start
|
Mid
|
| 338
|
Hip hop production
|
2,852
|
95
|
C
|
Mid
|
| 339
|
List of discontinued Bose headphones
|
2,821
|
94
|
List
|
Low
|
| 340
|
Monaural sound
|
2,819
|
93
|
Start
|
Low
|
| 341
|
Conway Recording Studios
|
2,814
|
93
|
Start
|
Low
|
| 342
|
Audio signal processing
|
2,795
|
93
|
C
|
High
|
| 343
|
LUFS
|
2,793
|
93
|
Start
|
Mid
|
| 344
|
AES67
|
2,768
|
92
|
C
|
Mid
|
| 345
|
FL Studio Mobile
|
2,760
|
92
|
Start
|
Low
|
| 346
|
Front of house
|
2,741
|
91
|
Start
|
Mid
|
| 347
|
Flexi disc
|
2,719
|
90
|
Start
|
Low
|
| 348
|
Analog recording
|
2,710
|
90
|
Stub
|
Mid
|
| 349
|
Balanced audio
|
2,703
|
90
|
C
|
Top
|
| 350
|
Wavetable synthesis
|
2,702
|
90
|
B
|
Low
|
| 351
|
Steinberg
|
2,691
|
89
|
B
|
Mid
|
| 352
|
Electronic filter
|
2,689
|
89
|
C
|
Mid
|
| 353
|
Blue Microphones
|
2,684
|
89
|
Start
|
Low
|
| 354
|
Cassette deck
|
2,679
|
89
|
C
|
Mid
|
| 355
|
3D audio effect
|
2,678
|
89
|
Start
|
Low
|
| 356
|
Shure SM57
|
2,665
|
88
|
Start
|
Mid
|
| 357
|
Audio and video interfaces and connectors
|
2,650
|
88
|
C
|
High
|
| 358
|
Re-recording (music)
|
2,642
|
88
|
C
|
Low
|
| 359
|
Ribbon microphone
|
2,633
|
87
|
B
|
High
|
| 360
|
DVD-RAM
|
2,626
|
87
|
C
|
Low
|
| 361
|
Pitch shifting
|
2,625
|
87
|
C
|
Low
|
| 362
|
Sound transmission class
|
2,616
|
87
|
C
|
Mid
|
| 363
|
Sweetwater Sound
|
2,616
|
87
|
B
|
High
|
| 364
|
Click track
|
2,613
|
87
|
C
|
Mid
|
| 365
|
EBU R 128
|
2,613
|
87
|
C
|
Low
|
| 366
|
Audio time stretching and pitch scaling
|
2,608
|
86
|
C
|
Low
|
| 367
|
Tannoy
|
2,589
|
86
|
Start
|
Mid
|
| 368
|
ISO base media file format
|
2,589
|
86
|
C
|
Low
|
| 369
|
Walla
|
2,583
|
86
|
Start
|
Low
|
| 370
|
DJ mixer
|
2,561
|
85
|
Start
|
Mid
|
| 371
|
Woofer
|
2,554
|
85
|
Start
|
Mid
|
| 372
|
Unusual types of gramophone records
|
2,553
|
85
|
C
|
Low
|
| 373
|
Digital recording
|
2,549
|
84
|
C
|
Top
|
| 374
|
Whip antenna
|
2,539
|
84
|
C
|
Low
|
| 375
|
Loudspeaker enclosure
|
2,537
|
84
|
C
|
Top
|
| 376
|
NAMM Show
|
2,510
|
83
|
Start
|
Mid
|
| 377
|
TEAC Corporation
|
2,504
|
83
|
Start
|
Mid
|
| 378
|
Compass Point Studios
|
2,481
|
82
|
Start
|
Mid
|
| 379
|
Acoustical engineering
|
2,451
|
81
|
C
|
Mid
|
| 380
|
Sunset Sound Recorders
|
2,439
|
81
|
C
|
High
|
| 381
|
Al Schmitt
|
2,438
|
81
|
Start
|
Mid
|
| 382
|
Upsampling
|
2,436
|
81
|
Start
|
Low
|
| 383
|
Echoplex
|
2,428
|
80
|
C
|
Mid
|
| 384
|
Pop filter
|
2,414
|
80
|
Start
|
Mid
|
| 385
|
Electronic drum
|
2,398
|
79
|
C
|
Mid
|
| 386
|
Echo chamber
|
2,392
|
79
|
Start
|
Mid
|
| 387
|
Manhattan Center
|
2,391
|
79
|
Start
|
Low
|
| 388
|
Ocean Productions
|
2,390
|
79
|
Start
|
Low
|
| 389
|
Rolling Stones Mobile Studio
|
2,389
|
79
|
Start
|
Low
|
| 390
|
Château d'Hérouville
|
2,382
|
79
|
Start
|
Low
|
| 391
|
Audio headset
|
2,365
|
78
|
C
|
Mid
|
| 392
|
Audiogram
|
2,358
|
78
|
C
|
Low
|
| 393
|
Image-Line
|
2,329
|
77
|
Start
|
Low
|
| 394
|
Thiele/Small parameters
|
2,327
|
77
|
Start
|
Unknown
|
| 395
|
Shure SM58
|
2,308
|
76
|
Start
|
Mid
|
| 396
|
ORTF stereo technique
|
2,300
|
76
|
Start
|
Mid
|
| 397
|
Dictation machine
|
2,296
|
76
|
C
|
High
|
| 398
|
Digital Compact Cassette
|
2,293
|
76
|
C
|
Low
|
| 399
|
Noise gate
|
2,293
|
76
|
C
|
High
|
| 400
|
Sound reinforcement system
|
2,279
|
75
|
B
|
Top
|
| 401
|
InMusic Brands
|
2,279
|
75
|
C
|
Low
|
| 402
|
MIDI controller
|
2,278
|
75
|
C
|
Mid
|
| 403
|
5150 Studios
|
2,278
|
75
|
Start
|
Low
|
| 404
|
FAME Studios
|
2,267
|
75
|
Start
|
Mid
|
| 405
|
Sigma Sound Studios
|
2,264
|
75
|
Unknown
|
Unknown
|
| 406
|
American Sound Studio
|
2,261
|
75
|
C
|
Low
|
| 407
|
Sequential (company)
|
2,257
|
75
|
C
|
Low
|
| 408
|
Recording studio as an instrument
|
2,242
|
74
|
B
|
High
|
| 409
|
Ardour (software)
|
2,240
|
74
|
Start
|
Low
|
| 410
|
Orange Amps
|
2,234
|
74
|
C
|
Low
|
| 411
|
DI unit
|
2,233
|
74
|
Start
|
Low
|
| 412
|
Infinity Systems
|
2,231
|
74
|
Start
|
Low
|
| 413
|
Hansa Tonstudio
|
2,227
|
74
|
Start
|
Low
|
| 414
|
1176 Peak Limiter
|
2,227
|
74
|
Start
|
Mid
|
| 415
|
Sound Forge
|
2,226
|
74
|
Start
|
Mid
|
| 416
|
QSound
|
2,226
|
74
|
C
|
Low
|
| 417
|
CD single
|
2,215
|
73
|
Start
|
Mid
|
| 418
|
Beyerdynamic
|
2,205
|
73
|
Start
|
Mid
|
| 419
|
Nagra
|
2,203
|
73
|
Start
|
Mid
|
| 420
|
Treble (sound)
|
2,199
|
73
|
Stub
|
Low
|
| 421
|
Van Gelder Studio
|
2,198
|
73
|
Start
|
Low
|
| 422
|
TASCAM
|
2,191
|
73
|
Start
|
High
|
| 423
|
Sone
|
2,182
|
72
|
C
|
Low
|
| 424
|
Le Studio
|
2,181
|
72
|
Start
|
Low
|
| 425
|
Passive radiator (speaker)
|
2,180
|
72
|
Start
|
Low
|
| 426
|
Chorus (audio effect)
|
2,179
|
72
|
Start
|
Mid
|
| 427
|
Soundbar
|
2,169
|
72
|
Start
|
Unknown
|
| 428
|
Stage monitor system
|
2,166
|
72
|
C
|
High
|
| 429
|
Basing Street Studios
|
2,147
|
71
|
Start
|
Low
|
| 430
|
Fade (audio engineering)
|
2,124
|
70
|
C
|
High
|
| 431
|
Music visualization
|
2,114
|
70
|
Start
|
Low
|
| 432
|
Sound recording
|
2,108
|
70
|
NA
|
High
|
| 433
|
Caribou Ranch
|
2,100
|
70
|
C
|
Mid
|
| 434
|
Balanced line
|
2,096
|
69
|
C
|
High
|
| 435
|
Criteria Studios
|
2,092
|
69
|
B
|
Low
|
| 436
|
History of broadcasting
|
2,084
|
69
|
C
|
High
|
| 437
|
Mark Korven
|
2,084
|
69
|
Start
|
Unknown
|
| 438
|
Patch panel
|
2,081
|
69
|
Start
|
High
|
| 439
|
Virtual Audio Cable
|
2,074
|
69
|
Start
|
Unknown
|
| 440
|
Waves Audio
|
2,064
|
68
|
Start
|
Low
|
| 441
|
Backing track
|
2,064
|
68
|
C
|
Mid
|
| 442
|
Sunn
|
2,055
|
68
|
Start
|
Low
|
| 443
|
Line array
|
2,055
|
68
|
C
|
High
|
| 444
|
The Sound Factory
|
2,032
|
67
|
Start
|
Low
|
| 445
|
AES50
|
2,024
|
67
|
Start
|
Low
|
| 446
|
Tuff Gong
|
2,015
|
67
|
Start
|
Low
|
| 447
|
Shure SM7
|
2,002
|
66
|
Start
|
Mid
|
| 448
|
Reason (software)
|
1,994
|
66
|
C
|
Mid
|
| 449
|
Field recording
|
1,989
|
66
|
Start
|
High
|
| 450
|
Low-frequency oscillation
|
1,976
|
65
|
Start
|
Mid
|
| 451
|
MADI
|
1,970
|
65
|
C
|
Mid
|
| 452
|
Alesis
|
1,965
|
65
|
C
|
Mid
|
| 453
|
Wireless microphone
|
1,964
|
65
|
Start
|
Mid
|
| 454
|
Sovtek
|
1,956
|
65
|
Start
|
Low
|
| 455
|
Subtractive synthesis
|
1,952
|
65
|
Start
|
Mid
|
| 456
|
Double tracking
|
1,942
|
64
|
Start
|
Mid
|
| 457
|
ReplayGain
|
1,915
|
63
|
C
|
Mid
|
| 458
|
Ocean Way Recording
|
1,909
|
63
|
Start
|
High
|
| 459
|
Solid State Logic
|
1,907
|
63
|
B
|
Mid
|
| 460
|
List of sound chips
|
1,898
|
63
|
List
|
Low
|
| 461
|
Comparison of analog and digital recording
|
1,890
|
63
|
B
|
Mid
|
| 462
|
ADAT
|
1,889
|
62
|
Start
|
Mid
|
| 463
|
Speakon connector
|
1,888
|
62
|
Start
|
High
|
| 464
|
Linkwitz–Riley filter
|
1,878
|
62
|
C
|
Mid
|
| 465
|
Karplus–Strong string synthesis
|
1,868
|
62
|
C
|
Low
|
| 466
|
Pitch correction
|
1,866
|
62
|
C
|
Mid
|
| 467
|
Roland Space Echo
|
1,860
|
62
|
C
|
Mid
|
| 468
|
BBC Radiophonic Workshop
|
1,855
|
61
|
C
|
Low
|
| 469
|
Boom operator (media)
|
1,851
|
61
|
Start
|
Low
|
| 470
|
Real World Studios
|
1,835
|
61
|
Start
|
Low
|
| 471
|
Focusrite
|
1,832
|
61
|
Start
|
Low
|
| 472
|
The Village (studio)
|
1,829
|
60
|
Start
|
Low
|
| 473
|
Reinhold Mack
|
1,816
|
60
|
Start
|
Low
|
| 474
|
Georg Neumann
|
1,815
|
60
|
Start
|
High
|
| 475
|
DJ mix
|
1,802
|
60
|
Start
|
Low
|
| 476
|
Electrostatic loudspeaker
|
1,800
|
60
|
Start
|
Low
|
| 477
|
Brian Ahern (producer)
|
1,771
|
59
|
Start
|
Low
|
| 478
|
United Western Recorders
|
1,769
|
58
|
Start
|
Low
|
| 479
|
Audio editing software
|
1,764
|
58
|
C
|
Mid
|
| 480
|
Master recordings
|
1,761
|
58
|
Stub
|
Low
|
| 481
|
Jay Pritzker Pavilion
|
1,758
|
58
|
FA
|
Mid
|
| 482
|
Bitwig Studio
|
1,755
|
58
|
Start
|
Mid
|
| 483
|
Terry Brown (record producer)
|
1,753
|
58
|
Start
|
Low
|
| 484
|
Timecode
|
1,749
|
58
|
Start
|
High
|
| 485
|
High Definition Compatible Digital
|
1,749
|
58
|
C
|
Low
|
| 486
|
Oberheim Electronics
|
1,747
|
58
|
Start
|
Low
|
| 487
|
Chung King Studios
|
1,735
|
57
|
Start
|
Low
|
| 488
|
Dynaudio
|
1,730
|
57
|
Stub
|
Unknown
|
| 489
|
Dave Smith (engineer)
|
1,727
|
57
|
Start
|
Low
|
| 490
|
Phon
|
1,722
|
57
|
Start
|
Low
|
| 491
|
Portastudio
|
1,722
|
57
|
C
|
Low
|
| 492
|
Dubplate
|
1,722
|
57
|
Start
|
Low
|
| 493
|
Neumann U 47
|
1,722
|
57
|
Start
|
Mid
|
| 494
|
Passband
|
1,721
|
57
|
Start
|
Mid
|
| 495
|
PreSonus
|
1,720
|
57
|
Start
|
Low
|
| 496
|
Roll-off
|
1,714
|
57
|
C
|
Mid
|
| 497
|
Electrodynamic speaker driver
|
1,706
|
56
|
C
|
Low
|
| 498
|
NAD 3020
|
1,687
|
56
|
GA
|
Low
|
| 499
|
Loudspeakers in mosques
|
1,672
|
55
|
Start
|
Unknown
|
| 500
|
Stem (audio)
|
1,672
|
55
|
Start
|
Mid
|
