| Rank
|
Page title
|
Views
|
Daily average
|
Assessment
|
Importance
|
| 1
|
Spotify
|
145,420
|
4,690
|
B
|
Unknown
|
| 2
|
George Martin
|
56,661
|
1,827
|
B
|
High
|
| 3
|
Blu-ray
|
46,283
|
1,493
|
C
|
Mid
|
| 4
|
Song
|
43,219
|
1,394
|
Start
|
Top
|
| 5
|
Streaming media
|
40,122
|
1,294
|
C
|
Mid
|
| 6
|
DVD
|
39,336
|
1,268
|
B
|
Mid
|
| 7
|
Compact disc
|
37,186
|
1,199
|
B
|
High
|
| 8
|
Extended play
|
36,961
|
1,192
|
C
|
Mid
|
| 9
|
Wilhelm scream
|
34,925
|
1,126
|
C
|
Low
|
| 10
|
Phonograph
|
34,922
|
1,126
|
B
|
High
|
| 11
|
Alan Parsons
|
34,655
|
1,117
|
Start
|
Mid
|
| 12
|
Decibel
|
30,765
|
992
|
C
|
Top
|
| 13
|
Tony Visconti
|
30,730
|
991
|
C
|
Low
|
| 14
|
Radio
|
30,053
|
969
|
C
|
High
|
| 15
|
Sound
|
29,890
|
964
|
B
|
Top
|
| 16
|
Phonograph record
|
28,893
|
932
|
C
|
High
|
| 17
|
Cassette tape
|
28,413
|
916
|
B
|
High
|
| 18
|
Owsley Stanley
|
26,240
|
846
|
C
|
Low
|
| 19
|
Richard Perry
|
25,493
|
822
|
C
|
Mid
|
| 20
|
Recording Industry Association of America
|
24,483
|
789
|
C
|
High
|
| 21
|
FL Studio
|
23,458
|
756
|
Start
|
Low
|
| 22
|
Yamaha Corporation
|
22,894
|
738
|
C
|
Mid
|
| 23
|
JBL
|
22,815
|
735
|
C
|
Mid
|
| 24
|
Bose Corporation
|
21,073
|
679
|
B
|
Mid
|
| 25
|
Synthesizer
|
20,872
|
673
|
B
|
Mid
|
| 26
|
GarageBand
|
20,768
|
669
|
C
|
Mid
|
| 27
|
Music recording certification
|
19,870
|
640
|
C
|
Mid
|
| 28
|
Microphone
|
18,966
|
611
|
C
|
Top
|
| 29
|
LP record
|
18,768
|
605
|
C
|
Mid
|
| 30
|
Record producer
|
18,384
|
593
|
C
|
Top
|
| 31
|
Harman International
|
18,090
|
583
|
Start
|
Low
|
| 32
|
Wall of Sound
|
17,675
|
570
|
C
|
Low
|
| 33
|
Beats Electronics
|
16,867
|
544
|
C
|
Low
|
| 34
|
Noise pollution
|
16,349
|
527
|
C
|
Mid
|
| 35
|
Audacity (audio editor)
|
16,230
|
523
|
C
|
Mid
|
| 36
|
Low-pass filter
|
16,099
|
519
|
C
|
Mid
|
| 37
|
Amar Bose
|
15,182
|
489
|
C
|
Mid
|
| 38
|
Phone connector (audio)
|
14,697
|
474
|
C
|
High
|
| 39
|
Headphones
|
14,692
|
473
|
C
|
High
|
| 40
|
Soundtrack
|
14,673
|
473
|
C
|
High
|
| 41
|
Dither
|
14,639
|
472
|
C
|
Mid
|
| 42
|
Abbey Road Studios
|
14,549
|
469
|
B
|
High
|
| 43
|
White noise
|
13,814
|
445
|
C
|
Mid
|
| 44
|
RCA connector
|
13,727
|
442
|
C
|
Mid
|
| 45
|
Academy Award for Best Sound
|
13,504
|
435
|
List
|
Mid
|
| 46
|
MiniDisc
|
13,344
|
430
|
C
|
Low
|
| 47
|
Human voice
|
13,155
|
424
|
B
|
Mid
|
| 48
|
Logic Pro
|
13,140
|
423
|
C
|
High
|
| 49
|
Broadcasting
|
13,100
|
422
|
C
|
Top
|
| 50
|
THX
|
13,017
|
419
|
C
|
Unknown
|
| 51
|
Auto-Tune
|
12,742
|
411
|
B
|
Mid
|
| 52
|
Dolby Atmos
|
12,685
|
409
|
B
|
Low
|
| 53
|
40 (music producer)
|
12,670
|
408
|
Start
|
Low
|
| 54
|
Digital audio workstation
|
12,499
|
403
|
C
|
Top
|
| 55
|
Paisley Park
|
12,356
|
398
|
Start
|
Unknown
|
| 56
|
Pulse-code modulation
|
12,343
|
398
|
B
|
High
|
| 57
|
Aliasing
|
12,076
|
389
|
B
|
Mid
|
| 58
|
Spectrogram
|
11,874
|
383
|
C
|
Low
|
| 59
|
S/PDIF
|
11,833
|
381
|
C
|
Low
|
| 60
|
Sound recording and reproduction
|
11,734
|
378
|
C
|
Top
|
| 61
|
Loudspeaker
|
11,673
|
376
|
C
|
Top
|
| 62
|
Marshall Amplification
|
11,536
|
372
|
B
|
Mid
|
| 63
|
Concert
|
11,485
|
370
|
C
|
High
|
| 64
|
National Recording Registry
|
11,260
|
363
|
FL
|
High
|
| 65
|
Composer
|
11,234
|
362
|
Start
|
Low
|
| 66
|
WAV
|
11,013
|
355
|
C
|
Mid
|
| 67
|
Loudness war
|
10,983
|
354
|
B
|
High
|
| 68
|
Sennheiser
|
10,613
|
342
|
B
|
High
|
| 69
|
Compact Disc Digital Audio
|
10,230
|
330
|
C
|
Mid
|
| 70
|
Harman Kardon
|
10,220
|
329
|
Start
|
Low
|
| 71
|
Audio engineer
|
10,060
|
324
|
C
|
Top
|
| 72
|
Dipole antenna
|
9,978
|
321
|
B
|
Low
|
| 73
|
Bob Ezrin
|
9,870
|
318
|
C
|
Low
|
| 74
|
NAMM Show
|
9,734
|
314
|
Start
|
Mid
|
| 75
|
Pink noise
|
9,616
|
310
|
B
|
Mid
|
| 76
|
HMV
|
9,604
|
309
|
C
|
High
|
| 77
|
Phonograph cylinder
|
9,565
|
308
|
C
|
Mid
|
| 78
|
Analog-to-digital converter
|
9,503
|
306
|
C
|
High
|
| 79
|
List of unexplained sounds
|
9,335
|
301
|
List
|
Mid
|
| 80
|
Super Audio CD
|
9,313
|
300
|
B
|
Low
|
| 81
|
Ken Scott
|
9,312
|
300
|
Start
|
Low
|
| 82
|
BandLab
|
9,260
|
298
|
Start
|
Low
|
| 83
|
Electric Lady Studios
|
9,227
|
297
|
B
|
Low
|
| 84
|
Boundary microphone
|
9,224
|
297
|
Start
|
Mid
|
| 85
|
Foley (sound design)
|
9,049
|
291
|
C
|
High
|
| 86
|
Roland Corporation
|
9,043
|
291
|
Start
|
Mid
|
| 87
|
Harmonic
|
9,007
|
290
|
Start
|
Mid
|
| 88
|
Ableton Live
|
8,903
|
287
|
C
|
Mid
|
| 89
|
XLR connector
|
8,819
|
284
|
C
|
High
|
| 90
|
Mixing console
|
8,790
|
283
|
C
|
Top
|
| 91
|
D-subminiature
|
8,770
|
282
|
B
|
Low
|
| 92
|
Two Steps from Hell
|
8,733
|
281
|
Start
|
Mid
|
| 93
|
Record Plant
|
8,567
|
276
|
C
|
Mid
|
| 94
|
Stereophonic sound
|
8,380
|
270
|
C
|
Top
|
| 95
|
Shepard tone
|
8,338
|
268
|
Start
|
Low
|
| 96
|
Acoustics
|
8,248
|
266
|
C
|
Top
|
| 97
|
Ground (electricity)
|
8,167
|
263
|
C
|
High
|
| 98
|
BNC connector
|
7,926
|
255
|
C
|
Mid
|
| 99
|
Balun
|
7,824
|
252
|
C
|
Low
|
| 100
|
Pro Tools
|
7,789
|
251
|
C
|
High
|
| 101
|
Soundproofing
|
7,620
|
245
|
C
|
Mid
|
| 102
|
Flood (producer)
|
7,581
|
244
|
C
|
Mid
|
| 103
|
Audiovisual
|
7,495
|
241
|
Start
|
High
|
| 104
|
Native Instruments
|
7,473
|
241
|
Start
|
Unknown
|
| 105
|
Distortion (music)
|
7,444
|
240
|
C
|
High
|
| 106
|
Composite video
|
7,377
|
237
|
C
|
Mid
|
| 107
|
Remaster
|
7,367
|
237
|
C
|
Mid
|
| 108
|
Quantization (signal processing)
|
7,334
|
236
|
B
|
Mid
|
| 109
|
The Hospital Club
|
7,294
|
235
|
Start
|
Low
|
| 110
|
Phil Ramone
|
7,242
|
233
|
C
|
High
|
| 111
|
Optical disc packaging
|
7,231
|
233
|
Start
|
Low
|
| 112
|
Blaupunkt
|
7,216
|
232
|
Start
|
Low
|
| 113
|
Dann Huff
|
7,205
|
232
|
Start
|
Mid
|
| 114
|
Brownian noise
|
7,100
|
229
|
Start
|
Low
|
| 115
|
Reel-to-reel audio tape recording
|
7,085
|
228
|
B
|
High
|
| 116
|
Backmasking
|
7,077
|
228
|
C
|
Mid
|
| 117
|
S-Video
|
7,036
|
226
|
C
|
Low
|
| 118
|
History of sound recording
|
6,974
|
224
|
C
|
High
|
| 119
|
Robert Moog
|
6,959
|
224
|
B
|
High
|
| 120
|
Digital-to-analog converter
|
6,938
|
223
|
C
|
High
|
| 121
|
Doug Sax
|
6,889
|
222
|
Start
|
Mid
|
| 122
|
Sound pressure
|
6,884
|
222
|
C
|
High
|
| 123
|
Bode plot
|
6,861
|
221
|
C
|
Mid
|
| 124
|
Mastering (audio)
|
6,779
|
218
|
C
|
Top
|
| 125
|
Ben Burtt
|
6,745
|
217
|
C
|
Low
|
| 126
|
Korg
|
6,737
|
217
|
Start
|
Low
|
| 127
|
Laugh track
|
6,725
|
216
|
C
|
Mid
|
| 128
|
Remix
|
6,690
|
215
|
Start
|
Low
|
| 129
|
High fidelity
|
6,645
|
214
|
C
|
Mid
|
| 130
|
Audiophile
|
6,617
|
213
|
C
|
Mid
|
| 131
|
Session musician
|
6,593
|
212
|
Start
|
Mid
|
| 132
|
TOSLINK
|
6,554
|
211
|
C
|
Low
|
| 133
|
Dynamic range compression
|
6,539
|
210
|
B
|
Top
|
| 134
|
Ampex
|
6,532
|
210
|
C
|
Mid
|
| 135
|
Multitrack recording
|
6,506
|
209
|
C
|
Top
|
| 136
|
Cubase
|
6,496
|
209
|
C
|
Mid
|
| 137
|
Distortion
|
6,408
|
206
|
C
|
High
|
| 138
|
Wall of Sound (Grateful Dead)
|
6,393
|
206
|
C
|
High
|
| 139
|
Shangri-La (recording studio)
|
6,367
|
205
|
Start
|
Low
|
| 140
|
Recording studio
|
6,276
|
202
|
C
|
Top
|
| 141
|
Public address system
|
6,268
|
202
|
C
|
Top
|
| 142
|
Full Sail University
|
6,263
|
202
|
C
|
Mid
|
| 143
|
Bob Ludwig
|
6,251
|
201
|
C
|
Mid
|
| 144
|
Equal-loudness contour
|
6,206
|
200
|
C
|
Mid
|
| 145
|
High-pass filter
|
6,034
|
194
|
C
|
High
|
| 146
|
Magnetic tape
|
6,011
|
193
|
C
|
High
|
| 147
|
Sampling (signal processing)
|
5,994
|
193
|
C
|
High
|
| 148
|
In-ear monitor
|
5,988
|
193
|
C
|
High
|
| 149
|
Virtual Studio Technology
|
5,937
|
191
|
C
|
Mid
|
| 150
|
Trident Studios
|
5,923
|
191
|
C
|
Mid
|
| 151
|
Bandwidth (signal processing)
|
5,844
|
188
|
C
|
Mid
|
| 152
|
Digital signal processor
|
5,826
|
187
|
C
|
High
|
| 153
|
AC power
|
5,764
|
185
|
B
|
Mid
|
| 154
|
REAPER
|
5,762
|
185
|
Start
|
Low
|
| 155
|
Finite impulse response
|
5,750
|
185
|
Start
|
Mid
|
| 156
|
Effects unit
|
5,678
|
183
|
B
|
Mid
|
| 157
|
20 Feet from Stardom
|
5,633
|
181
|
Start
|
Low
|
| 158
|
Shure
|
5,608
|
180
|
B
|
High
|
| 159
|
NoCopyrightSounds
|
5,604
|
180
|
Start
|
Low
|
| 160
|
Sound stage
|
5,594
|
180
|
Start
|
Low
|
| 161
|
DIN connector
|
5,562
|
179
|
C
|
Low
|
| 162
|
Megaphone
|
5,496
|
177
|
Start
|
Unknown
|
| 163
|
Associated Independent Recording
|
5,476
|
176
|
Start
|
Mid
|
| 164
|
Digital Audio Tape
|
5,303
|
171
|
C
|
Mid
|
| 165
|
Overdubbing
|
5,295
|
170
|
Start
|
Mid
|
| 166
|
General MIDI
|
5,274
|
170
|
C
|
Low
|
| 167
|
Spectrum analyzer
|
5,235
|
168
|
Start
|
Mid
|
| 168
|
Overtone
|
5,223
|
168
|
C
|
Mid
|
| 169
|
Band-pass filter
|
5,199
|
167
|
Start
|
Low
|
| 170
|
Demo (music)
|
5,186
|
167
|
Start
|
Low
|
| 171
|
Direct Stream Digital
|
5,145
|
165
|
C
|
Mid
|
| 172
|
Total harmonic distortion
|
5,136
|
165
|
Start
|
Mid
|
| 173
|
Power Station (recording studio)
|
5,109
|
164
|
C
|
Mid
|
| 174
|
Muscle Shoals Sound Studio
|
5,104
|
164
|
C
|
Low
|
| 175
|
ISDN
|
5,078
|
163
|
C
|
Mid
|
| 176
|
Skywalker Sound
|
5,034
|
162
|
Start
|
Low
|
| 177
|
Synclavier
|
5,004
|
161
|
C
|
Low
|
| 178
|
Subwoofer
|
4,981
|
160
|
B
|
Top
|
| 179
|
Earplug
|
4,973
|
160
|
C
|
Mid
|
| 180
|
Eddie Kramer
|
4,973
|
160
|
C
|
High
|
| 181
|
Audio equalization
|
4,945
|
159
|
C
|
Top
|
| 182
|
Music tracker
|
4,943
|
159
|
Start
|
Low
|
| 183
|
Post-production
|
4,942
|
159
|
Start
|
Top
|
| 184
|
Geoff Emerick
|
4,931
|
159
|
B
|
Mid
|
| 185
|
Impedance matching
|
4,913
|
158
|
C
|
Mid
|
| 186
|
Thiele/Small parameters
|
4,908
|
158
|
Start
|
Unknown
|
| 187
|
Non-linear editing
|
4,878
|
157
|
C
|
High
|
| 188
|
Vinyl revival
|
4,845
|
156
|
C
|
Low
|
| 189
|
LDAC (codec)
|
4,844
|
156
|
Start
|
Low
|
| 190
|
Sound Blaster
|
4,792
|
154
|
C
|
Unknown
|
| 191
|
Tape recorder
|
4,787
|
154
|
C
|
High
|
| 192
|
Road crew
|
4,778
|
154
|
Start
|
High
|
| 193
|
Surround sound
|
4,770
|
153
|
B
|
Top
|
| 194
|
Bassline
|
4,763
|
153
|
C
|
Mid
|
| 195
|
Tweeter
|
4,638
|
149
|
Start
|
Mid
|
| 196
|
Studio Pro
|
4,569
|
147
|
B
|
Unknown
|
| 197
|
Deep Note
|
4,541
|
146
|
Start
|
Low
|
| 198
|
Frequency modulation synthesis
|
4,532
|
146
|
C
|
Low
|
| 199
|
Jack Dolman
|
4,519
|
145
|
Stub
|
Low
|
| 200
|
Flanging
|
4,503
|
145
|
C
|
Mid
|
| 201
|
Digital audio
|
4,502
|
145
|
C
|
Top
|
| 202
|
Wah-wah pedal
|
4,496
|
145
|
Start
|
Low
|
| 203
|
5.1 surround sound
|
4,495
|
145
|
Start
|
High
|
| 204
|
Line level
|
4,491
|
144
|
C
|
High
|
| 205
|
High-resolution audio
|
4,481
|
144
|
C
|
Mid
|
| 206
|
Ableton
|
4,477
|
144
|
C
|
Low
|
| 207
|
Audio-Technica
|
4,422
|
142
|
Start
|
Mid
|
| 208
|
Behringer
|
4,396
|
141
|
C
|
Mid
|
| 209
|
Sound City Studios
|
4,391
|
141
|
Start
|
Low
|
| 210
|
Electromagnetic shielding
|
4,348
|
140
|
C
|
Mid
|
| 211
|
Bob Clearmountain
|
4,339
|
139
|
Start
|
Unknown
|
| 212
|
The Hit Factory
|
4,258
|
137
|
Start
|
Low
|
| 213
|
Røde Microphones
|
4,231
|
136
|
Start
|
High
|
| 214
|
Shure SM58
|
4,219
|
136
|
Start
|
Mid
|
| 215
|
Music sequencer
|
4,207
|
135
|
C
|
Mid
|
| 216
|
Sound card
|
4,199
|
135
|
C
|
High
|
| 217
|
Phonautograph
|
4,172
|
134
|
C
|
Low
|
| 218
|
Intermodulation
|
4,108
|
132
|
Start
|
Mid
|
| 219
|
Loudness
|
4,106
|
132
|
C
|
Mid
|
| 220
|
A-weighting
|
4,092
|
132
|
B
|
Mid
|
| 221
|
AKG (company)
|
4,071
|
131
|
C
|
High
|
| 222
|
Compression artifact
|
4,052
|
130
|
Start
|
Mid
|
| 223
|
Audio frequency
|
4,042
|
130
|
Start
|
Mid
|
| 224
|
Audio bit depth
|
4,042
|
130
|
B
|
High
|
| 225
|
List of largest recorded music markets
|
4,042
|
130
|
List
|
Low
|
| 226
|
Twelve-inch single
|
4,016
|
129
|
Start
|
Low
|
| 227
|
Château d'Hérouville
|
4,009
|
129
|
Start
|
Low
|
| 228
|
Avid Technology
|
3,982
|
128
|
Start
|
Low
|
| 229
|
Astoria (houseboat)
|
3,975
|
128
|
Start
|
Low
|
| 230
|
Klipsch Audio Technologies
|
3,953
|
127
|
C
|
Mid
|
| 231
|
Sound effect
|
3,950
|
127
|
C
|
High
|
| 232
|
Quadraphonic sound
|
3,940
|
127
|
C
|
Mid
|
| 233
|
Psychoacoustics
|
3,892
|
125
|
C
|
Mid
|
| 234
|
Sone
|
3,890
|
125
|
C
|
Low
|
| 235
|
Timeline of audio formats
|
3,831
|
123
|
Start
|
Mid
|
| 236
|
Rockfield Studios
|
3,824
|
123
|
Start
|
Unknown
|
| 237
|
Jay Graydon
|
3,812
|
122
|
Start
|
Low
|
| 238
|
Vehicle audio
|
3,805
|
122
|
C
|
Low
|
| 239
|
Ambisonics
|
3,784
|
122
|
B
|
Mid
|
| 240
|
Flexi disc
|
3,783
|
122
|
Start
|
Low
|
| 241
|
Moog Music
|
3,771
|
121
|
C
|
Mid
|
| 242
|
Squelch
|
3,766
|
121
|
Start
|
Unknown
|
| 243
|
Noise
|
3,762
|
121
|
B
|
Mid
|
| 244
|
Anti-aliasing
|
3,759
|
121
|
List
|
Mid
|
| 245
|
Dynamic range
|
3,713
|
119
|
C
|
Mid
|
| 246
|
Live television
|
3,698
|
119
|
Start
|
Mid
|
| 247
|
Studer
|
3,690
|
119
|
Start
|
Mid
|
| 248
|
Olympic Studios
|
3,681
|
118
|
C
|
Low
|
| 249
|
Gated reverb
|
3,667
|
118
|
C
|
Mid
|
| 250
|
Stock sound effect
|
3,661
|
118
|
Start
|
Low
|
| 251
|
Jabra (brand)
|
3,659
|
118
|
Start
|
Unknown
|
| 252
|
Chris Lord-Alge
|
3,604
|
116
|
Start
|
Mid
|
| 253
|
Hitsville U.S.A.
|
3,590
|
115
|
C
|
Mid
|
| 254
|
Phantom power
|
3,565
|
115
|
C
|
Mid
|
| 255
|
Compass Point Studios
|
3,553
|
114
|
Start
|
Mid
|
| 256
|
Preamplifier
|
3,550
|
114
|
Start
|
Mid
|
| 257
|
Audio feedback
|
3,537
|
114
|
C
|
High
|
| 258
|
Peavey Electronics
|
3,493
|
112
|
C
|
Mid
|
| 259
|
Grammy Award for Best Engineered Album, Non-Classical
|
3,489
|
112
|
List
|
Mid
|
| 260
|
Yamaha
|
3,487
|
112
|
NA
|
NA
|
| 261
|
Tom Dowd
|
3,472
|
112
|
Start
|
High
|
| 262
|
Compact Cassette tape types and formulations
|
3,427
|
110
|
C
|
Low
|
| 263
|
Bruce Fairbairn
|
3,413
|
110
|
C
|
Low
|
| 264
|
Programming (music)
|
3,409
|
109
|
C
|
Low
|
| 265
|
Lavalier microphone
|
3,386
|
109
|
Start
|
Mid
|
| 266
|
Open Sound Control
|
3,385
|
109
|
Start
|
Mid
|
| 267
|
Downsampling (signal processing)
|
3,343
|
107
|
Start
|
Low
|
| 268
|
Reverb effect
|
3,316
|
106
|
C
|
High
|
| 269
|
Scratching
|
3,309
|
106
|
C
|
Mid
|
| 270
|
T-Minus (producer)
|
3,301
|
106
|
Start
|
Low
|
| 271
|
Dolby noise-reduction system
|
3,288
|
106
|
B
|
Mid
|
| 272
|
Bitcrusher
|
3,280
|
105
|
Start
|
Low
|
| 273
|
Sweetwater Sound
|
3,264
|
105
|
B
|
High
|
| 274
|
Rolling Stones Mobile Studio
|
3,249
|
104
|
Start
|
Low
|
| 275
|
Gain (electronics)
|
3,227
|
104
|
C
|
High
|
| 276
|
5150 Studios
|
3,175
|
102
|
Start
|
Low
|
| 277
|
Cutoff frequency
|
3,146
|
101
|
C
|
Mid
|
| 278
|
PreSonus
|
3,138
|
101
|
Start
|
Low
|
| 279
|
Adobe Audition
|
3,120
|
100
|
Start
|
Mid
|
| 280
|
Audio mixing (recorded music)
|
3,113
|
100
|
C
|
High
|
| 281
|
ReplayGain
|
3,082
|
99
|
C
|
Mid
|
| 282
|
Sunset Sound Recorders
|
3,055
|
98
|
C
|
High
|
| 283
|
Acetate disc
|
3,046
|
98
|
Start
|
Mid
|
| 284
|
MPEG-1
|
3,036
|
97
|
B
|
Low
|
| 285
|
The Mansion (recording studio)
|
3,007
|
97
|
Start
|
Low
|
| 286
|
Monster Cable
|
3,005
|
96
|
GA
|
Low
|
| 287
|
Reason (software)
|
3,001
|
96
|
C
|
Mid
|
| 288
|
Sideman
|
2,981
|
96
|
Start
|
Mid
|
| 289
|
Unusual types of gramophone records
|
2,958
|
95
|
C
|
Low
|
| 290
|
Ardour (software)
|
2,955
|
95
|
Start
|
Low
|
| 291
|
Binaural recording
|
2,954
|
95
|
C
|
Mid
|
| 292
|
Sun Studio
|
2,918
|
94
|
C
|
Mid
|
| 293
|
Sound design
|
2,917
|
94
|
C
|
High
|
| 294
|
Filter (signal processing)
|
2,913
|
93
|
C
|
Mid
|
| 295
|
Magnetophon
|
2,909
|
93
|
C
|
High
|
| 296
|
Record sales
|
2,909
|
93
|
Start
|
Mid
|
| 297
|
Horn loudspeaker
|
2,901
|
93
|
B
|
High
|
| 298
|
Ocean Productions
|
2,898
|
93
|
Start
|
Low
|
| 299
|
International Standard Recording Code
|
2,893
|
93
|
Start
|
Mid
|
| 300
|
Yamaha YM2612
|
2,882
|
92
|
Start
|
Unknown
|
| 301
|
Audio Stream Input/Output
|
2,876
|
92
|
Start
|
Mid
|
| 302
|
Noise reduction
|
2,874
|
92
|
C
|
Mid
|
| 303
|
Anti-aliasing filter
|
2,873
|
92
|
C
|
Low
|
| 304
|
FL Studio Mobile
|
2,871
|
92
|
Start
|
Low
|
| 305
|
Altec Lansing
|
2,863
|
92
|
C
|
Mid
|
| 306
|
Frequency response
|
2,855
|
92
|
C
|
High
|
| 307
|
Brian Ahern
|
2,855
|
92
|
Start
|
Low
|
| 308
|
Hansa Tonstudio
|
2,851
|
91
|
Start
|
Low
|
| 309
|
Intercom
|
2,840
|
91
|
C
|
Mid
|
| 310
|
Delay (audio effect)
|
2,836
|
91
|
C
|
High
|
| 311
|
Audio Interchange File Format
|
2,832
|
91
|
C
|
Mid
|
| 312
|
Automatic content recognition
|
2,830
|
91
|
Start
|
Low
|
| 313
|
Edifier
|
2,823
|
91
|
Start
|
Low
|
| 314
|
Laser microphone
|
2,821
|
91
|
Start
|
Low
|
| 315
|
DVD-Audio
|
2,814
|
90
|
C
|
Mid
|
| 316
|
VU meter
|
2,814
|
90
|
C
|
High
|
| 317
|
Hip-hop production
|
2,808
|
90
|
C
|
Mid
|
| 318
|
RIAA equalization
|
2,792
|
90
|
C
|
Mid
|
| 319
|
Criteria Studios
|
2,787
|
89
|
B
|
Low
|
| 320
|
Sunn
|
2,786
|
89
|
Start
|
Low
|
| 321
|
Shure SM57
|
2,781
|
89
|
Start
|
Mid
|
| 322
|
7.1 surround sound
|
2,778
|
89
|
Start
|
High
|
| 323
|
Audio signal
|
2,778
|
89
|
Start
|
High
|
| 324
|
Production music
|
2,768
|
89
|
C
|
High
|
| 325
|
Bruce Swedien
|
2,765
|
89
|
Start
|
Low
|
| 326
|
American Sound Studio
|
2,761
|
89
|
C
|
Low
|
| 327
|
Cue sheet (computing)
|
2,760
|
89
|
Start
|
Low
|
| 328
|
Westlake Recording Studios
|
2,754
|
88
|
Start
|
Mid
|
| 329
|
Echoplex
|
2,741
|
88
|
C
|
Mid
|
| 330
|
Steinberg
|
2,739
|
88
|
B
|
Mid
|
| 331
|
SMPTE 2110
|
2,723
|
87
|
Start
|
Low
|
| 332
|
Phaser (effect)
|
2,714
|
87
|
B
|
Mid
|
| 333
|
AES3
|
2,696
|
86
|
C
|
High
|
| 334
|
Wire recording
|
2,690
|
86
|
C
|
Mid
|
| 335
|
Portastudio
|
2,680
|
86
|
C
|
Low
|
| 336
|
Band-stop filter
|
2,676
|
86
|
Start
|
Mid
|
| 337
|
Banana connector
|
2,664
|
85
|
Start
|
Mid
|
| 338
|
Digital biquad filter
|
2,663
|
85
|
C
|
Mid
|
| 339
|
GoldWave
|
2,658
|
85
|
Start
|
Low
|
| 340
|
Monaural sound
|
2,654
|
85
|
Start
|
Low
|
| 341
|
InMusic Brands
|
2,650
|
85
|
C
|
Low
|
| 342
|
Mains hum
|
2,643
|
85
|
Start
|
Mid
|
| 343
|
Master Quality Authenticated
|
2,639
|
85
|
C
|
Low
|
| 344
|
SMPTE timecode
|
2,636
|
85
|
C
|
High
|
| 345
|
Crosstalk
|
2,633
|
84
|
C
|
Low
|
| 346
|
Loudest band
|
2,627
|
84
|
Start
|
Unknown
|
| 347
|
TEAC Corporation
|
2,618
|
84
|
Start
|
Mid
|
| 348
|
FAME Studios
|
2,595
|
83
|
Start
|
Mid
|
| 349
|
Nagra
|
2,570
|
82
|
Start
|
Mid
|
| 350
|
Comparison of digital audio editors
|
2,563
|
82
|
B
|
High
|
| 351
|
Yamaha NS-10
|
2,549
|
82
|
GA
|
Mid
|
| 352
|
McIntosh Laboratory
|
2,541
|
81
|
Start
|
Mid
|
| 353
|
Audio power amplifier
|
2,535
|
81
|
C
|
High
|
| 354
|
Jungle City Studios
|
2,524
|
81
|
Stub
|
Low
|
| 355
|
The Manor Studio
|
2,518
|
81
|
Start
|
Low
|
| 356
|
Caribou Ranch
|
2,515
|
81
|
C
|
Mid
|
| 357
|
DVD-RAM
|
2,497
|
80
|
C
|
Low
|
| 358
|
44,100 Hz
|
2,483
|
80
|
C
|
Mid
|
| 359
|
Mini CD
|
2,457
|
79
|
Start
|
Low
|
| 360
|
DBFS
|
2,443
|
78
|
C
|
Mid
|
| 361
|
Terry Brown (music producer)
|
2,441
|
78
|
Start
|
Low
|
| 362
|
Real World Studios
|
2,436
|
78
|
Start
|
Low
|
| 363
|
Analog recording
|
2,435
|
78
|
Stub
|
Mid
|
| 364
|
Digital Compact Cassette
|
2,431
|
78
|
C
|
Low
|
| 365
|
LUFS
|
2,430
|
78
|
Start
|
Mid
|
| 366
|
Balanced audio
|
2,424
|
78
|
C
|
Top
|
| 367
|
ISO base media file format
|
2,410
|
77
|
C
|
Low
|
| 368
|
Master recording
|
2,398
|
77
|
Stub
|
Low
|
| 369
|
Grammy Award for Best Immersive Audio Album
|
2,390
|
77
|
List
|
Mid
|
| 370
|
Log-periodic antenna
|
2,380
|
76
|
Start
|
Low
|
| 371
|
MXM and Wolf Cousins
|
2,372
|
76
|
B
|
Unknown
|
| 372
|
Audio crossover
|
2,358
|
76
|
B
|
Top
|
| 373
|
Image-Line
|
2,358
|
76
|
Start
|
Low
|
| 374
|
Motion Picture Sound Editors
|
2,356
|
76
|
Start
|
Low
|
| 375
|
DTS-HD Master Audio
|
2,352
|
75
|
Start
|
Low
|
| 376
|
Dante (networking)
|
2,348
|
75
|
Start
|
Mid
|
| 377
|
Roland Sound Canvas
|
2,343
|
75
|
Unknown
|
Unknown
|
| 378
|
Directional antenna
|
2,329
|
75
|
Start
|
Low
|
| 379
|
BBC Radiophonic Workshop
|
2,317
|
74
|
C
|
Low
|
| 380
|
SAE Institute
|
2,317
|
74
|
Start
|
Mid
|
| 381
|
List of backmasked messages
|
2,317
|
74
|
List
|
Unknown
|
| 382
|
CD single
|
2,315
|
74
|
Start
|
Mid
|
| 383
|
Orange Amps
|
2,307
|
74
|
C
|
Low
|
| 384
|
Recording studio as an instrument
|
2,306
|
74
|
B
|
High
|
| 385
|
Wavetable synthesis
|
2,282
|
73
|
B
|
Low
|
| 386
|
Sarm Studios
|
2,259
|
72
|
Start
|
Low
|
| 387
|
Le Studio
|
2,257
|
72
|
Start
|
Low
|
| 388
|
Van Gelder Studio
|
2,254
|
72
|
Start
|
Low
|
| 389
|
Cassette deck
|
2,251
|
72
|
C
|
Mid
|
| 390
|
Audio and video interfaces and connectors
|
2,247
|
72
|
C
|
High
|
| 391
|
Double tracking
|
2,232
|
72
|
Start
|
Mid
|
| 392
|
Ocean Way Recording
|
2,228
|
71
|
Start
|
High
|
| 393
|
Chris Tsangarides
|
2,223
|
71
|
Start
|
Mid
|
| 394
|
Sound transmission class
|
2,219
|
71
|
C
|
Mid
|
| 395
|
Pitch shifting
|
2,219
|
71
|
C
|
Low
|
| 396
|
Hot mic
|
2,214
|
71
|
C
|
Low
|
| 397
|
Loudspeaker enclosure
|
2,207
|
71
|
C
|
Top
|
| 398
|
AES67
|
2,199
|
70
|
C
|
Mid
|
| 399
|
Comb filter
|
2,193
|
70
|
B
|
Mid
|
| 400
|
Audio signal processing
|
2,189
|
70
|
C
|
High
|
| 401
|
Sound level meter
|
2,168
|
69
|
B
|
Mid
|
| 402
|
Academy Award for Best Sound Editing
|
2,165
|
69
|
NA
|
High
|
| 403
|
Canadian Radio-television and Telecommunications Commission
|
2,162
|
69
|
B
|
Low
|
| 404
|
Tannoy
|
2,162
|
69
|
Start
|
Mid
|
| 405
|
Electronic drum
|
2,160
|
69
|
C
|
Mid
|
| 406
|
Electret microphone
|
2,157
|
69
|
Start
|
High
|
| 407
|
Walla
|
2,156
|
69
|
Start
|
Low
|
| 408
|
Clipping (audio)
|
2,150
|
69
|
C
|
Mid
|
| 409
|
Whip antenna
|
2,147
|
69
|
C
|
Low
|
| 410
|
Music visualization
|
2,147
|
69
|
Start
|
Low
|
| 411
|
Justin Varghese
|
2,128
|
68
|
Start
|
Low
|
| 412
|
TASCAM
|
2,121
|
68
|
Start
|
High
|
| 413
|
Sequential (company)
|
2,120
|
68
|
C
|
Low
|
| 414
|
Patch panel
|
2,110
|
68
|
Start
|
High
|
| 415
|
Tracktion Waveform
|
2,109
|
68
|
Start
|
Low
|
| 416
|
United Western Recorders
|
2,089
|
67
|
Start
|
Low
|
| 417
|
Digital recording
|
2,070
|
66
|
C
|
Top
|
| 418
|
Click track
|
2,065
|
66
|
C
|
Mid
|
| 419
|
Audio time stretching and pitch scaling
|
2,061
|
66
|
C
|
Low
|
| 420
|
Blue Microphones
|
2,059
|
66
|
Start
|
Low
|
| 421
|
Oversampling
|
2,053
|
66
|
C
|
Low
|
| 422
|
Field recording
|
2,047
|
66
|
Start
|
High
|
| 423
|
Conway Recording Studios
|
2,031
|
65
|
Start
|
Low
|
| 424
|
Cakewalk by BandLab
|
2,031
|
65
|
Start
|
Low
|
| 425
|
Reinhold Mack
|
2,030
|
65
|
Start
|
Low
|
| 426
|
Bearsville Studios
|
2,030
|
65
|
Start
|
Low
|
| 427
|
Solid State Logic
|
2,024
|
65
|
B
|
Mid
|
| 428
|
Crest factor
|
2,024
|
65
|
C
|
Mid
|
| 429
|
Chorus (audio effect)
|
2,023
|
65
|
Start
|
Mid
|
| 430
|
Digital filter
|
1,998
|
64
|
C
|
Top
|
| 431
|
EBU R 128
|
1,993
|
64
|
C
|
Low
|
| 432
|
Attenuator (electronics)
|
1,992
|
64
|
Start
|
Mid
|
| 433
|
Dun dun duuun!
|
1,990
|
64
|
Start
|
Low
|
| 434
|
George Marino
|
1,988
|
64
|
Start
|
Low
|
| 435
|
DJ mix
|
1,987
|
64
|
Start
|
Low
|
| 436
|
Elliot Scheiner
|
1,985
|
64
|
C
|
Low
|
| 437
|
Chung King Studios
|
1,954
|
63
|
Start
|
Low
|
| 438
|
Take
|
1,949
|
62
|
Start
|
Mid
|
| 439
|
A & R Recording
|
1,941
|
62
|
C
|
Low
|
| 440
|
Slew rate
|
1,921
|
61
|
Start
|
Mid
|
| 441
|
Greg P. Russell
|
1,914
|
61
|
Stub
|
Low
|
| 442
|
DualDisc
|
1,909
|
61
|
B
|
Mid
|
| 443
|
Beyerdynamic
|
1,907
|
61
|
Start
|
Mid
|
| 444
|
Woofer
|
1,902
|
61
|
Start
|
Mid
|
| 445
|
Bass reflex
|
1,901
|
61
|
C
|
Mid
|
| 446
|
Electronic filter
|
1,900
|
61
|
C
|
Mid
|
| 447
|
The Village (studio)
|
1,898
|
61
|
Start
|
Low
|
| 448
|
All-pass filter
|
1,897
|
61
|
C
|
Mid
|
| 449
|
Bitwig Studio
|
1,894
|
61
|
Start
|
Mid
|
| 450
|
Focusrite
|
1,883
|
60
|
Start
|
Low
|
| 451
|
LHDC (codec)
|
1,874
|
60
|
Start
|
Low
|
| 452
|
Audio Video Bridging
|
1,869
|
60
|
C
|
Mid
|
| 453
|
E-mu Systems
|
1,859
|
59
|
C
|
Low
|
| 454
|
Sigma Sound Studios
|
1,853
|
59
|
B
|
Low
|
| 455
|
Re-recording (music)
|
1,852
|
59
|
C
|
Low
|
| 456
|
Laser turntable
|
1,850
|
59
|
Start
|
Low
|
| 457
|
Sticky-shed syndrome
|
1,849
|
59
|
C
|
Mid
|
| 458
|
AV receiver
|
1,842
|
59
|
C
|
Low
|
| 459
|
Infinity Systems
|
1,840
|
59
|
Start
|
Low
|
| 460
|
Mountain Studios
|
1,840
|
59
|
Start
|
Low
|
| 461
|
Maida Vale Studios
|
1,837
|
59
|
Start
|
Low
|
| 462
|
Soundtrap
|
1,837
|
59
|
C
|
Low
|
| 463
|
Audio headset
|
1,835
|
59
|
C
|
Mid
|
| 464
|
Gold Star Studios
|
1,833
|
59
|
Start
|
Low
|
| 465
|
QSound
|
1,831
|
59
|
C
|
Low
|
| 466
|
DJ mixer
|
1,824
|
58
|
Start
|
Mid
|
| 467
|
Tuff Gong
|
1,820
|
58
|
Start
|
Low
|
| 468
|
Front of house
|
1,812
|
58
|
Start
|
Mid
|
| 469
|
Basing Street Studios
|
1,787
|
57
|
Start
|
Low
|
| 470
|
Phon
|
1,782
|
57
|
Start
|
Low
|
| 471
|
Parabolic microphone
|
1,781
|
57
|
Start
|
Mid
|
| 472
|
Dictation machine
|
1,778
|
57
|
C
|
High
|
| 473
|
JL Audio
|
1,778
|
57
|
Start
|
Mid
|
| 474
|
Renoise
|
1,774
|
57
|
Start
|
Low
|
| 475
|
Britannia Row Studios
|
1,757
|
56
|
Start
|
Low
|
| 476
|
Neumann U 47
|
1,757
|
56
|
Start
|
Mid
|
| 477
|
Manhattan Center
|
1,747
|
56
|
Start
|
Low
|
| 478
|
Sound Forge
|
1,740
|
56
|
Start
|
Mid
|
| 479
|
LANDR
|
1,739
|
56
|
Start
|
Low
|
| 480
|
History of broadcasting
|
1,734
|
55
|
C
|
High
|
| 481
|
Sound reinforcement system
|
1,729
|
55
|
B
|
Top
|
| 482
|
Acoustical engineering
|
1,727
|
55
|
B
|
Mid
|
| 483
|
Shielded cable
|
1,725
|
55
|
Start
|
Low
|
| 484
|
Capitol Studios
|
1,725
|
55
|
C
|
Mid
|
| 485
|
MiniDVD
|
1,716
|
55
|
Start
|
Mid
|
| 486
|
High Definition Compatible Digital
|
1,713
|
55
|
C
|
Low
|
| 487
|
Ribbon microphone
|
1,713
|
55
|
B
|
High
|
| 488
|
Low-frequency oscillation
|
1,710
|
55
|
Start
|
Mid
|
| 489
|
Academy Award for Technical Achievement
|
1,704
|
54
|
C
|
Top
|
| 490
|
Subtractive synthesis
|
1,703
|
54
|
Start
|
Mid
|
| 491
|
Al Schmitt
|
1,702
|
54
|
C
|
Mid
|
| 492
|
Karplus–Strong string synthesis
|
1,700
|
54
|
C
|
Low
|
| 493
|
Alesis
|
1,692
|
54
|
C
|
Mid
|
| 494
|
Shure SM7
|
1,684
|
54
|
Start
|
Mid
|
| 495
|
Tape head
|
1,683
|
54
|
Start
|
Mid
|
| 496
|
Magnetic cartridge
|
1,681
|
54
|
C
|
High
|
| 497
|
Dynaudio
|
1,665
|
53
|
Stub
|
Unknown
|
| 498
|
Oberheim Electronics
|
1,649
|
53
|
Start
|
Low
|
| 499
|
3D audio effect
|
1,648
|
53
|
Start
|
Low
|
| 500
|
MIDI controller
|
1,648
|
53
|
C
|
Mid
|