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Dynamic range compression reduces the volume of loud sounds or amplifies quiet sounds by narrowing the dynamic range of an audio signal. This is important in mastering to achieve a balanced mix and ensure consistent playback across different listening systems.

Headroom is the amount of space between the peak level of an audio signal and the maximum level that a system can handle without distortion. Preserving headroom is essential in the mastering process to avoid clipping and to allow room for dynamic processing.

Stereo widening is the process of enhancing the stereo image of a track, making it sound wider and more expansive. Caution is needed to maintain phase coherence and ensure mono compatibility.

Phase coherence refers to the timing accuracy between different sound waves or signals to ensure they do not cancel each other out when combined. Good phase coherence is essential in mastering for preserving sound quality, particularly in the low end.

True peak limiting specifically addresses the issue of inter-sample peaks in digital audio, preventing the actual analog output from exceeding the set threshold, preventing potential clipping when the audio is converted to analog.

High-resolution audio refers to formats that exceed the standard CD quality in terms of bit depth and sample rate. Mastering with high-resolution audio can provide greater detail and clarity in the sound.

The mastering chain signal flow refers to the order in which processes like EQ, compression, and limiting are applied during mastering. The order can greatly affect the final sound character and dynamics of the track.

Loudness refers to how loud the final master of an audio track is perceived. Mastering aims for a target loudness level appropriate for the distribution platform while maintaining dynamic interest in the track.

Mastering for different mediums involves optimizing a master for various formats such as vinyl, CD, or digital streaming platforms. Each medium may have different requirements and limitations.

Tonal balance is the frequency distribution within a track that is well-proportioned and harmonious. Achieving a proper tonal balance is a fundamental goal in mastering to ensure the track sounds good on all playback systems.

ISRC (International Standard Recording Code) codes are used to uniquely identify recorded tracks for the purposes of royalty collection and rights management. Embedding ISRC codes is a standard part of the mastering process.

Reference tracks are professionally mastered tracks that are used as a standard for comparison during the mastering process. They help in achieving a consistent sound and level compared to well-known productions in the industry.

Limiting is a type of dynamic range compression that prevents an audio signal from exceeding a certain level. It is vital in mastering to maximize volume without causing digital clipping.

Mastering for vinyl involves special considerations, such as accommodating the physical limitations of the medium, ensuring proper bass mono compatibility, and avoiding sibilance, which can cause issues in the vinyl cutting process.

Equalization is the process of adjusting the balance between frequency components within an audio signal. In mastering, EQ is crucial for shaping the final tonal balance of the mix and correcting frequency imbalances.

Mastering reverb is used sparingly to add a sense of space and cohesiveness to the overall mix. It must be applied carefully to avoid washing out the track or causing muddiness.

Audio dithering is the process of adding low-level noise to a digital audio signal before reducing the bit depth. This technique minimizes quantization distortion and noise when converting higher bit-depth recordings to lower bit depths for distribution.

Mid/Side processing allows for separate manipulation of the middle (mono) information and the side (stereo) information of an audio signal. This technique can help to enhance stereo width and resolve issues in the center or sides of a mix.

Peak normalization adjusts the gain of an audio track to reach a target peak level. This ensures the track is as loud as possible without clipping, but does not necessarily achieve a consistent perceived loudness across multiple tracks.