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.
Modulating hiss refers to noise levels that noticeably rise and fall with program level. For example, a common occurrence of modulating hiss can be heard when noise levels rise around each spoken word of dialogue in a soundtrack.
Quintaphonic Stereo was a "one hit wonder" technology, with its sole motion picture release, Ken Russell's rock opera Tommy (1975). Quintaphonic Stereo, as the name implies, is a five-channel stereo presentation that offers full bandwidth stereo surrounds. The speaker placement is
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.