Welcome to TriggerTone — the searchable online guide to audio post production terminology.
For more than a century, those who work with audio have developed a vocabulary all their own - a lexicon where cans are worn over your ears, clipping has nothing to do with coupons, bias never refers to favoritism, sweetening contains no sweetener, a matrix does not star Keanu Reeves, and "wow" is one thing you never want to hear.
TriggerTone signals the start of your search through the multitude of terms used in audio post. Curious why motor boating has sunk your track or how an anomaly with a name as innocuous sounding as flutter could cause so many rejections? The definitions herein were written for professionals not necessarily familiar with the physics of sound or the mind numbing details of an audio engineering textbook. Rather, the goal of TriggerTone is to provide concise, clear interpretations of terms as they relate to audio post embellished with sound clips and illustrations where helpful.
Browse the most popular viewed terms.
A trigger tone is a 12kHz sine wave that was used to "trigger," or turn on, the surround channel of a discrete LCRS (Left channel, Center channel, Right channel, Surround channel) Cinemascope™ print. Early LCRS surround mixes for Cinemascope films contained very little surround
The term Quadrophonic, or Quadraphonic, either are correct, was coined in the early 1970s to describe a four-channel sound presentation used in the recording and broadcast industries. The speaker placement is frontLeft, frontRight, rearLeft and rearRight (fL,fR,rL,rR), with the listener sitting
An over-processed track suffers from what audio engineers might consider to be too much of a good thing. Any process designed to improve, repair, enhance, or otherwise advance the quality of an audio track can, if used in excess, have the reverse effect and start to diminish its overall quality.