CONTENTS

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     Simple matrix files
                  3.4.3     PCM object-based files
                  3.4.4     Coded audio files
        3.5     Defaults for unknown audio inputs
                  3.5.1     Common Definitions 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     Timing for Nested audioObjects
                  3.6.3     Block sizes for dynamic objects
                  3.6.4     Dealing with preambles
        3.7     File management
        3.8     <fmt> Chunk handling
        3.9     Ensuring streaming compatibility
       3.10     Interactivity and ensembles of audioObjects
                  3.10.1     Example of interaction with an ensemble of audioObjects
                  3.10.2     Behaviour of interaction with ensembles of audioObjects
       3.11     Multiple audioProgrammes
                  3.11.1     Using multiple audioProgrammes versus audioContents and audioObjects
                  3.11.2     Default audioProgramme
       3.12     Using the ‘importance’ parameters
                  3.12.1     The audioBlockFormat importance parameter
                  3.12.2     The audioPackFormat importance parameter
                  3.12.3     The audioObject importance parameter
                  3.12.4     Using an importance threshold
 4     Location of ADM metadata
        4.1     BW64 file specified in Recommendation ITU-R BS.2088
        4.2     A serial representation of the ADM (S-ADM) specified in Recommendation ITU-R BS.2125
 5     Worked examples
        5.1     5.1 and Stereo combination
        5.2     Object-based with a channel-based bed
        5.3     Sharing tracks from audioObjects to achieve different mixes
                  5.3.1     Basic example
                  5.3.2     Using time parameters in audioObjects for different mixes