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.
The inherent noise of a recording medium, a noise floor typically sounds like hiss and differs with the makeup of different types and qualities of tape and film. For example, a consumer grade cassette tape has a higher noise floor than a professional 1/4” tape, and a high quality digital
An artifact is an unintended and undesirable by-product of a process or treatment which has been applied to an audio track in excess. Artifacts are NOT inherent in the source material; they are created or induced by a process, and in many cases are irreparable. Artifacting can occur regardless
Vari-speeding sound allows an audio engineer to deviate from (or to) a standard speed. It is the process of changing the speed of an audio track to match the speed of another audio track or video source. Vari-speeding is often used to correct speed variations due to rate conversion or