I decided to run a quick test with Samplitude and got:
Although the second one was 32Float, it did not indicate that, although
Samplitude only gives me options: 16,24,32 Float.
I tried iZotope RX6 and it did not write a coding history, but, under
Originator, it put: "iZotope RX 6 Audio Editor"
Izotope also put in a UMID in the Originator Reference field.
So, if I were producing a filter program, I think what I'd do is APPEND
to the coding history so it might look like this:
Where the Lth and Rth refer to the threshold (reference tone) settings
used during the process, and since it is a process it has been suggested
to output 32 Float from 24 bit originals.
You know, when you start getting into this stuff at the "deep dive"
level, it gets complex in order to make it simple.
On 2018-08-07 1:38 AM, Corey Bailey wrote:
> Hi Richard,
> First of all: The EBU Technical Recommendation R98 is dated 1999 and I
> don't see any updates available. In 1999, I was digitizing at 16bit,
> 44.1 or 48K because that was available at the time (OK, 24bit was
> available for a major investment in hardware). Nowadays, I record
> everything at 32bit float, even the lower sample rates. AFIK, BWF will
> document whatever rate & depth you record at. I use iZotope RX for
> injest and it writes the metadata to BWF. At WB we used both ProTools
> and Pyramix and both did the same although everything was 24bit/48K.
> Perhaps I'm not understanding the question.
> Corey Bailey Audio Engineering
> On 8/6/2018 7:37 PM, Richard L. Hess wrote:
>> For the BEXT chunk, the highest bit depth permitted appears to be 24
>> bits. How does one code 32 bit fixed and 32 bit floating point? Are 32
>> and 32FP acceptable? Or 32Float?
>> Also, the standards for sampling frequency stop at 48000, but I assume
>> 96000, 192000, and 384000 are acceptable.
>> see: https://tech.ebu.ch/docs/r/r098.pdf
Richard L. Hess email: [log in to unmask]
Aurora, Ontario, Canada 647 479 2800
Quality tape transfers -- even from hard-to-play tapes.