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History of multitrack recordingMultitrack recordingDubbingAutomatic double trackingPunch in/outL cutRe-ampTape echoSurround soundAudio mixingStereoStem mixing and masteringAnalog recordingJ cutAudio engineerProduction sound mixerSound recording and reproductionSound reinforcement systemMultiple exposureAudio masteringReverse echoMulti-exposure hdr captureMixing engineerDouble exposureParallel compressionGapless playbackStereo imagingNoise shapingMastering engineerOverhead microphoneSound-on-filmReel-to-reel audio tape recordingAudio crossoverMultiplexingTelerecordingAmbiophonicsEcho chamberSound effectCompositingOut of phase stereoBlumlein pairTape recorderAudio-to-video synchronizationAmbisonicsFlangingAudio over ethernetRemixMixing consoleReverbAnalog signal processingSecond audio programActive noise controlAudio descriptionDynamic range compressionChroma keyReel-to-reel tapeDigital recordingAudio commentaryStereoscopyQuadraphonic soundFrequency-division multiplexingDigital subchannelPhotomontageTime-division multiplexing3d audio effectCrossfaderPlayoutGated reverbFront projection effectStudio monitorPlate reverb2d to 3d conversionEchoEcho suppression and cancellationFocus stackingPreamplifierAudio feedbackHolographySubtractive synthesisMagnetic tapeAzimuth recordingBiwiringTime shiftingOptical disc authoringFrippertronicsPhase vocoderMultiple-camera setupHidden trackHigh-resolution audioFilm transitionLoudspeaker time alignmentPost-productionComb filterFilter bankTone mappingMatrix decoderPre-echoModulationDigital compositingRolling shutter