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24-bit and 32-bit audio does not require dithering, as the noise level of the digital converter is always louder than the required level of any dither that might be applied. 24-bit audio could theoretically encode 144 dB of dynamic range, and 32-bit audio can achieve 192 dB, but this is almost impossible to achieve in the real world, as even ...
(comprises 48, 56 or 64 kbit/s audio and 16, 8 or 0 kbit/s auxiliary data) 14 bit 4 ms Yes No No No G.722.1: Modulated Lapped Transform (MDCT), Lossy (based on Siren Codec) 16 kHz 24, 32 kbit/s 16 bit 40 ms Yes No No No G.722.1C Modulated Lapped Transform (MDCT), Lossy (based on Siren Codec) 32 kHz 24, 32, 48 kbit/s 16 bit 40 ms Yes No No No
High-resolution audio (high-definition audio or HD audio) is a term for audio files with greater than 44.1 kHz sample rate or higher than 16-bit audio bit depth. It commonly refers to 96 or 192 kHz sample rates. However, 44.1 kHz/24-bit, 48 kHz/24-bit and 88.2 kHz/24-bit recordings also exist that are labeled HD audio.
Bit depth directly corresponds to the resolution of each sample in a set of digital audio data. Common examples of bit depth include CD quality audio, which is recorded at 16 bits, SACD with effective 20-bit resolution, and DVD-Audio, which can support up to 24-bit audio. Bit rate
Though a WAV file can contain compressed audio, the most common WAV audio format is uncompressed audio in the linear pulse-code modulation (LPCM) format. LPCM is also the standard audio coding format for audio CDs, which store two-channel LPCM audio sampled at 44.1 kHz with 16 bits per sample. Since LPCM is uncompressed and retains all of the ...
WavPack compression can compress (and losslessly restore) 8, 16, 24, and 32-bit fixed-point, and 32-bit floating-point PCM audio files in the .WAV file format. It can also handle DSD input in DSDIFF or DSF format. [2] It also supports surround sound streams and high sampling rates. Like other lossless compression schemes, the data reduction ...
A lossless audio coding format reduces the total data needed to represent a sound but can be de-coded to its original, uncompressed form. A lossy audio coding format additionally reduces the bit resolution of the sound on top of compression, which results in far less data at the cost of irretrievably lost information.
There was a long debate over the use of 16-bit (Sony) or 14-bit (Philips) quantization, and 44,056 or 44,100 samples/s (Sony) or approximately 44,000 samples/s (Philips). When the Sony/Philips task force designed the Compact Disc, Philips had already developed a 14-bit D/A converter (DAC), but Sony insisted on 16-bit. In the end Sony won, so 16 ...
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