Policy on Intellectual Property Right (IPR)
1 Introduction
2 Use Cases
2.1 Generating BWF Audio Files from Scratch
2.1.1 UC1.1: Common single group channel-based files
2.1.2 UC1.2: Common multiple group channel-based files
2.1.3 UC1.3: Non-common channel-based files
2.1.4 UC1.4: Transformation/scene-based files
2.1.5 UC1.5: Object-based files
2.1.6 UC1.6: Mixed files
2.2 Reading BWF Audio Files
2.2.1 UC2.1: Common single-group channel-based files
2.2.2 UC2.2: Common multiple group channel-based files
2.2.3 UC2.3: Non-common channel-based files
2.2.4 UC2.4: Transformation/scene-based files
2.2.5 UC2.5: Object-based files
2.2.6 UC2.6: Mixed files
2.3 Reading Non-ADM WAV Files
2.3.1 UC3.1: One-, two-, five- and six-channel files
2.3.2 UC3.2: Other numbers of channels
2.3.3 UC3.3: Multiple mono files
2.4 Generating BWF Files without information
2.4.1 UC4.1: Generating one-, two-, five- and six-channel
files
2.4.2 UC4.2: Generating other number of channels
3 Recommended Practices
3.1 Using Common Definitions
3.1.1 Using the Common Definitions when Reading an Audio
File
3.1.2 Using the Common Definitions when Writing an Audio
File
3.2 Element IDs
3.2.1 ID Prefixes
3.2.2 Hexadecimal Codes
3.2.3 Recommended ID Numbering for Related Elements
3.3 Audio Types
3.3.1 Format Types
3.4 <chna> chunk and IDs
3.4.1 Simple PCM Channel-based Files
3.4.2 PCM Object-based Files
3.4.3 Coded Audio Files
3.5 Defaults for Unknown Audio Inputs
3.5.1 Common Definition Approach
3.5.2 Wave Format Extensible Approach
3.5.3 Generating Other Metadata for Unknown Audio Inputs
3.6 Times and Durations
3.6.1 Timing Attributes
3.6.2 Block Sizes for Dynamic Objects
3.6.3 Dealing with Preambles
3.7 File Management
3.8 <fmt> Chunk Handling
3.9 Ensuring Streaming Compatibility
4 Worked Examples
4.1 5.1 and Stereo Combination
4.2 Object-Based with a Channel-Based Bed