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.
7.1 Multi-channel Audio
7.1 refers to multi-channel audio intended to be monitored through eight channels: seven full frequency range (20Hz to 20KHz) channels and one frequency limited (below 120Hz) channel for the LFE (Low Frequency Effects), or Subwoofer track. 7.1 multi-channel audio has several theoretical channel
A sync-pop is a 1kHz tone that is exactly one film frame in duration, used for matching picture and sound negatives together. The sync-pop must occur exactly two seconds (or three feet) before the first frame of picture (FFOP) in a film reel. If the picture negative contains a standard Academy
Magnetic tape or film stores audio information via metal particles applied to one side of the tape or film. A record head applies a magnetic flux to those particles, which then orient themselves to represent the audio information. A playback head reads the magnetic flux stored on the tape to