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.
Bias is a very high frequency signal that is incorporated in the recording of any magnetic medium. Magnetic recording equipment generates a bias current that is required to enable the magnetic oxide to record the audio portion of a signal - somewhat like an audio catalyst. The signal generated
EQ, or equalization, is the application of a boost or cut to specific frequencies in audio program. The term “EQ shift,” as used in a QC log or report, refers to a sudden audible change in the frequency content of a program. Take, for example, a film in which two characters are having a
Lt/Rt (Left total / Right total) stereo indicates two channels of program that exist as an encoded matrix of four to six discrete source channels. When decoded with Dolby® Pro-Logic, the two-channel matrix will play back as LCRS (left, center, right, surround). When decoded with Dolby® Pro-Logic