Kolakube wrote:There are two types of Bit Depth Conversion. One is erm, just that (We will call it vanilla) and the other is POW-r So right at the offset im drowning in jargon. Before I even get to the dither page what Bit rate reduction would you recommend I use?
If we're talking Jargon, the correct term is word-length reduction... because you are reducing the word from 24 bits in length to 16 bits... But it's the 'word' as a whole that's getting shorted. So not 'bit depth' or 'bit rate'...
As for POW-r, it's juts a proprietary noise-shaped dither algorithm which effectively scoops noise from the region where our ears are most sensitive, and dumps it in areas where they're not -- up at the high end! So potentially a noise-shaped dither will sound subjectively quieter than a flat TPDF dither, but against that there is an increased risk of the raised high-frequency dither energy interacting with the programme material in an adverse way... To be honest, the differences are extremely subtle in most applications and really only become relevant if you're working with source material that has an extraordinarily large dynamic range.
This plot illustrates the noise spectrum of POW-r compared to standard TPDF (triangular) dither:
...both dither menus then have Noise Shaping. What can then be set too High Pass contour or Equal loudness contour or Off? What do you suggest?
I'd leave it set to Off. It would make no sense to further process POW-r as it's already psychoacoustically optimised.