32-bit Float - The Hype, The Hate & the Honest Truth

[@ulliel_]

being new to audio recording, I really appreciate your easy to understand way of explaining this. especially the part of worrying about the audio after recording and the benefits of using it. thank you!

[@jmalmsten]

Being realistic about it, all 32bit does for sound is to remove the need for a recording gain knob. Everything else stays the same. But yeah, it does speed things up tremendously when I can just pull out my M4 recorder, put the mic in a sensible place. And just hit record. Knowing that even if it's a bit too loud or soft in my headphones. As long as I don't exceed the limits of the microphone, and I am at a sensible spot physically. I got the recording. I'm basically restating this said in the video here. I am sold on it for sound recording. I still render final files at 16 bit 48 KHz, but having the ability to do 32 bit 192 KHz at recording when needed really helps to get the samples that go into those renders (I often squash and stretch things temporally in post so that's why I often go for 4x the sample rate).

I love 32 bit float so much, i can not believe that people say things like "it is not necessary" ... It changed my life. Every audio recording device should have that imo. especially cameras, even if you only use scratch audio you do not have to care about it anymore. This is a problemsolver and i love it

[@donnythompson9233]

While I don’t consider it to be a “necessity” in the controlled environment of the studio, I can absolutely see how 32 Bit Float’s extended dynamic range would be very useful for live recording scenarios, as well as for recording very dynamic music, such as orchestral - where the dynamics can change very quickly - such as a very soft solo flute or oboe, followed by the sudden Fortissimo of the full orchestra playing. And, as an afterthought, I can see it being very useful for recording Foley/sound effects as well.

[@jgooch99]

Does 32 bit float make up for mic placement, line noise, and environmental noise? No, but as someone who has mixed audio in a variety of environments having additional headroom is always a blessing. I once had to gain staged a bass player for -18 DB during soundcheck for a live event . On his first note his signal went up 25 db. On another day I was at a wedding and the DJ went from whisper to yelling and clipped the recording that was set below -18. While it is good to take the proper approach, 32 bit float is needed.

[@JohnDeCarteretElvis]

No, 32bit float doesn't make up for anything, other than offering a far greater dynamic range. In so doing ensures that it is almost impossible to clip the audio providing that is your interface is capable of recording at 32bit float. For example, if you cannot record through your at 32bit float, but your DAW can, recording at 32bit float in your DAW will not prevent clipping. It will clip before the material reaches the DAW.

[@olliwaa]

People who say 32 bit float is nonsense have never filmed a Karate Seminar with very quiet and then sudden very loud screaming, with literally no time to adjust your gain levels . Or plane and helicopter spotting is a very good other use case where 32bf saved me many times.

[@StefanHolmes]

I’m an absolute newbie to this but I bought myself a Rode NT-1 and was happy to discover it had 32-bit float, but was surprised to discover that whilst it uses a native USBC output to export that 32-bit signal, the “standard” audio interfaces don’t have USBC input. I bought a Motu M4, which is obviously not super modern, but does provide a high quality audio path. I can either use that and control the gain (which I do) or I can faff about with PC audio settings to use my mic via USB. What we are missing is really an audio interface that provides a combo jack and USB input on each channel.

[@bigcmoore]

People have been getting around for thousands of years with horses. We don't need automobiles.

[@KallusGarnet]

Horses are still better😂😂

[@averagerider92]

​@KallusGarnet who needs horses if you have 2 legs.

[@FlockofAngels]

Great video! 32-bit is great, I think it sounds MUCH better!

[@geobopeter]

There is only ONE reason to why 32 bit float should sound better and that is that there is virtually no, or microscopic, risk of over- and underload. The final track will still only have the 24bit dynamic range !!!

[@ZoomSoundLab]

Hey Wayne. Awesome video. Really fun to watch. Looking forward to seeing more!

[@TheNiteinjail]

... and with most video editing packages offering sync to waveforms ... so long as your camera has some audio it's like a single click to sync audio.

[@WayneRECs]

Right on! It's never been easier to automatically sync audio and video clips (even multiple clips) in a video editor!

[@ethnicalbert]

So I recorded some fireworks with zoom F3 in 32 float and they were clipping to FK... It was NOT the mics (expensive sennheiser mics which have recorded much louder sources with) and i dont know what went wrong. There was not extra headroom to recover the clipping in the files... is it the pre-amp on the f3?

[@WayneRECs]

Strange, what DAW or software are you editing your recordings in?

[@fast-red3590]

Well stated. I'm looking to get back into audio recording and considering a 32-bit float portable recorder or 24/32-bit interface to replace my old portable DAT. Even years ago, I always immediately converted my 16-bit recordings to 32-bit float for editing, and then the last step was to normalize and export at 16-bit (for burning CD). Post processing in 32-bit float guaranteed I wouldn't raise the noise floor or clip the audio and have to undo/revert. I mostly recorded acoustic music indoors and would be fine with 24-bit recording but I can really imagine the advantage with 32-bit of not having to trim the input gain along with all the other tasks when operating solo or having to anticipate loud sounds or adjust the gain for different mics when doing ambient sound recording.

[@p0werp0pster]

The draw for me is two-fold. I'm a one-man production team and while I have some experience recording audio, it's not in the context of making videos. I took a chance on the M3 because I thought it might save me some heartbreak down the line (I.e, it's relatively idiot-proof). Do I absolutely need it? No. But if I was say, a wedding videographer, I'd be inclined to use 32-bit float.

[@WayneRECs]

Hey Scott! Agreed! Does anyone need to record in 32-bit float? No. But now that it's more widely available for consumer use, if it fits in your workflow, there's really no harm in doing so. Especially when you only have one chance to get a recording (like at a wedding!).

[@GhostWriter_Music]

I correctly set levels on a zoom h6, in some projects I record in 16 bit, and others I use 24 bit because it gives bigger headroom. I'd much rather go on, no need for sound check, just get on with it and concentrate on boom placement.

[@johnnymiller3684]

32-bit float is going to be a game changer for the average podcaster/content creator. In particular, so much audio we hear online is clipped, for whatever reason, and 32-bit float is a great tool to help alleviate some of that. I personally skip over videos that are clipping withing seconds. Maybe I won't need to do that as much anymore and, ultimately, watch content that I otherwise wouldn't have watched.

[@WayneRECs]

Ha, I totally agree! I see 32-bit float unfurling to the masses with marketing focus on average podcasters and content creators. Kind of like how camera manufacturers market "vlogging" cameras to that same demographic. Elitist will turn up their noses saying things like "you don't need 32-bit float" but then will eventually see the usefulness of it and adopt it as another tool in their kit. But yeah, hopefully it just helps everyone produce a better sound (you know, like how everyone can shoot "cinematic" footage these days lol)

[@johnnymiller3684]

@@WayneRECs I'm from the generation where many thought that "mobile phones" were just an expensive, short-lived fad. Haha

[@johntwice2]

thank you sounds amazing but i wanted to now as far a sound quality on the pre amps how does it compare like zoom uac-232 vs audient 14 and so on in a recording studio scenario how good is the a/d converters compared thanks

[@WayneRECs]

Hey John! I've been using my UAC-232 everyday since receiving it and haven't had any issues. But if you want to get into the specifics, check out Julian Krause and his review here: kzbin.info/www/bejne/qWHKYYuOop6LgM0

[@ZombieDawg]

I just picked up a Zoom UAC-232 with the intention of replacing my Audient iD4- I've only been using it for about a week, and to my ears, I feel like the recordings sound a bit better straight from my mic (Lewitt 440 Pure) with no post processing. My main problem was in finding a DAW that supported 32bf in Windows (I usually use Audition, but it doesn't seem to support it yet- can record 32bf, but it's not 32-bit in the waveform editor. not sure if it's an Adobe issue or a Zoom driver issue)- Finally found that I can play with 32bf workflow in Reaper- so I've been using the demo version of that and I love it. Been recording my kids, and I used to have to ride the gain knob because they have no volume regulation. Now they can just go crazy and I can worry about fixing peaks in post. 32bf is revolutionary to this long-time amateur audio hobbyist.

[@mateoOC]

Question. So i’m the verge of getting the F3 and one of the uses would be recording DJ gigs in nightclubs. Sounds are extremely loud there so if the sound exceeds the SLP of the mic and will be distorted regardless of whether you record in 24 or 32bit float, what is the selling point for “recovering clipped audio” if the limitation lies on the microphone and not the recorder?

[@WayneRECs]

So in this case, if you're mic'ing a speaker cabinet (& not taking a direct line from the DJ), it would really come down to mic placement/distance. A speaker outputting a loud signal has the potential to exceed the max SPL of a mic with a low rating if that mic was placed directly in front of said speaker. But by moving the mic placement further away, that can prevent this from happening. If your microphone has a Pad (i.e. -20 db switch), engaging that can also help.

[@EricLefebvrePhotography]

Your use case is a bit of an outlier and you can get mics that have a higher spl rating. It's kind of like saying "aif we can't drive faster than 100km/h on then why cam card go faster.?" Well, sometimes you need to go faster (like passing a truck. It's situational. Saying recoverable audio is pointless because of one super specific scenario lacks foresight ... especially when a fix is easy (getting a mic with high SPL) and would be an issues even without 32bit. I have TONS of scenarios where 32 bit is SUPER useful. In a studio? Not so much. Doing production audio for film or TV? HELL YEA! :)

[@dragonstone6594]

I was looking to get an audio interface to record with my new guitar and wanted to be future proof with a 32bit recorder. Glad I discovered this. Theoretically I should also be able to manipulate the guitar sound in the DAW with a much higher degree of fidelity with the UAC-232's 32bit streaming too.

[@nathanksimpson]

Great detail in this video! I kept thinking "but you didn't mention this" and by the end of the video you mentioned almost all of them. There are two things you didn't discuss though. What about the downsides for multitrack recording 16-32 tracks of wav files at 32 bit 48k or sometimes 96k sample rates? This would be for applications like music or film production. That's where I think it's not that necessary (still not unwise to do, just not that necessary to have 32 bit). The second thing is that most wireless systems cannot transmit in 32 bit float so wireless lavs or wireless booms will not be able to take advantage of this on their transmission because it takes too much bandwidth. It's moot to record 32 bit float of a 24 bit wireless signal. At that point it really is a waste of storage space and you really do have to gain stage properly, manage your limiters and choose the right mic capsule.

[@WayneRECs]

Great points Nathan! I think I'm controlled environmments where multiple takes are being recorded that 32-bit floating point isn't really necessary and could cause a lot more work after the fact. And I took struggle with the bottleneck of devices that are nativel 16 or 24-bit. Or even the fact that the M3 only records in 32-bit float but doesn't output 32-bit (though there are many devices that that would work with anyway). I feel that 32-bit float is going to be more mainstream in the future, but it could be a rocky road of acceptance across the board...

[@nathanksimpson]

@@WayneRECs I had a chance to talk with Andrew from Deity and it feels like 32-bit wireless possible in the near future.

[@daotrandc]

I'm very happy with my Zoom F3 thanks to you. I was wondering what you devices would recommend if I wanted to record ourselves singing karaoke. I have a few family members asking me to help them ....but I don't know where to start. Have you done a video on this topic before?

[@uncle-english]

Happy to see you talking and recording and happy to see you enjoying it. That's above all. I think, recording with 32-bit float is a nice try. I can hit the record button and be a bit more carefree. For those who concern about storage space, we can always adjust the original recording to the right level and then convert it to a 24-bit or even 16-bit file. I know that sounds like a dumb idea. Yet without 32-bit float, you don't even have the opportunity to do so. Ok, as always, thank you for this great insight. I look forward to your next video. Hope to see you soon.

[@WayneRECs]

Thanks for your comment! You actually make a great point! Once you've made any adjustments to your 32-bit float file, converting it to 24 or 16-bit will free up space and the difference will be inaudible. I've heard it's common practice for professional recordists who record in 32-bit float to do this conversion to 24-bit before sending the files off to whomever needs them next. (Though I always end up buying a new external HD lol).

[@ww1www]

I got a Zoom F2 to try 32 bit and I liked it so much that I also got a Tascam X8. I might add further devices with 32 not float. I think it is very useful, especially if recording an event with several speakers talking in turns or at the same time or performances where you have no control over what is happening. For more controlled situations like talking head videos and even movie shoots, 24 bit is very well manageable. I believe that in no time cameras will also have 32 bit float audio on board. Rode's NT1 5th Gen made me a but surprised though, as it has 32bit USB but it is incompatible with smartphones which is something that would probably be more important than 32 bit for a studio mic. As for the M3: do I understand well that the replacement works fine, or you still have to put it out for more extensive testing? Was this video recorded with that mic or your new interface?

[@WayneRECs]

I was surprised by the NT1 5thG too! It's a cool concept, but as it's RODE's first foray into 32-bit floating point, I'm excited to see where they go from here. IMO, ZOOM and Tascam are leading in bringing 32-bit float to the masses (though the M2 & M4 feel like a slight miss). I recorded this entire video on my replacement M3 MicTrak and while I haven't really had the opportunity to do any thorough testing, it's sounded fine in all of my use up to now.

[@Dracomies]

Quick question! And btw I bought one too and I'm dying to test it out. It's not coming until about a week! :D Does it work in Audacity? I recall the Zoom F3 (in interface mode, not recorder mode) wouldn't work in 32 bit float in Audacity but it would work in Reaper. Wondering if that was addressed with this interface. Also yip agree with you on the SPL issue. I was intentionally yelling as loud as I could on the Videomic Go 2 and I blew out the SPL even when I had it plugged into the F3, F2 and F6 lel - found out later the damned thing only has a 110 SPL which is super duper little :P

[@ft_sakkinen]

Newest version of audacity supports 32bit files :)

[@WayneRECs]

Hey Dracomies! Thanks for your comment! I don't really use Audacity much but based on the Zoom UAC-232 compatibility document, the interface will work in Audacity, though they put the caveat that Audacity can't handle values that go above 0db. Zoom kinda addresses this in the UAC-232 manual, but basically Zoom says that it's best to set the UAC's "Input Level Slider" in their Mix Control app on the lower end so that in partially supported DAWs like Audacity, you don't exceed 0db (which can't be recovered). It kinda seems like you're only getting 1/2 the benefit of 32-bit float recording... Zoom also states this is the case for Adobe Audition, but in my older version of Audition, I was able to lower recordings that exceeded 0db fine.

[@Dracomies]

@@WayneRECs Oh bummer. So it's almost like 24 bit recording. Dang. Ok. Thanks for letting me know!! I may....end up returning this if that's the case :P

[@WayneRECs]

@@Dracomies oh, I think it also depends if you're running windows or macOS. The Audacity issue is only listed for windows (and potentially could be resolved in a future update)

[@Dracomies]

@@WayneRECs Ah thank you for letting me know! Damn I can't wait until I get this thing! :D

[@juan2luna]

Thank you so much for clarifying the point of 32 bit float !

[@briangrover873]

My question is does the 32 bit float prevent digital clipping in a live stream setting? I get that you can fix a recording that has clipping if you record through a 32 bit float interface; but will it prevent digital clipping live?

[@WayneRECs]

Hey Brian! Unfortunately, 32-bit floating point doesn't really apply to live or streaming situations.

[@briangrover873]

OK, thanks for the clarification

[@nathanksimpson]

There your best option is a limiter?

[@creemB]

There are various new technologies and information coming out that even people in the field have a hard time accepting, but the reality is that if you can't accept it, you will fall behind😵‍💫

[@SimplicityForGood]

So, a question.. I want one mic to do stand up , street interviews and singing, May a combination of the Insta 360 X3 with the new Zoom M2 work out for me? what will it be like for singing in comparison to street interviews? or am I better off with my old zoom H4n with for example an Lewitt Interviewer mic or Rode Go ll kit on a gh Lumix camera? hope someone can guide me further... found this channel really interesting!

[@alexanderkapsiotis8050]

zoom m2 will be more compact for your set up. If you are comfortable with h4n, stay that way.

[@Rounder-One]

Thank you. A wonderful and clear explanation of the opinions and facts for 32 bit. There are a lot of entrenched views on the subject from video professionals who are long in their careers without 32 bit, who seem to think that 32 bit is a shortcut to learning proper recording technique (-12db on the meter). Well yeah, I guess, but 32 bit doesn't mean not knowing about proper mic technique or recording environments, etc. My guess is that 32 bit will be the de facto standard in years to come, otherwise technological advancements in audio is dead.

[@WayneRECs]

Thanks for your insightful comment! I too think that there will be a shift to 32-bit float becoming more mainstream being integrated into more consumer products. But there's going to be a big divide between recording audio (with the ability to adjust in post) and streaming audio (which doesn't really have that ability). I also think legacy audio systems are more deeply entrenched so it will be interesting to see how (long it takes) to unfold. I think because there is no audible increase in fidelity (as opposed to video moving from 720p to 4k) that the motivation to evolve is just going to be slower.

[@djole02]

You can always use a 24bit interface at minimim gain and adjust everything in post.

[@KallusGarnet]

Depends on the interface

[@VJBEATS-bq2nb]

32bit float is the future like it or not. It will make any audio professional life easier, they just need to get out off the box and experiment with advanced technology that will only help you in the long run.

[@ft_sakkinen]

I agree, as one man band you need To have some sort of ways to ease production of work.. Last time when i was recording video, i was so focused on sounds, so i forgot to lower down my f-stops in camera. In post i noticed that, but sounds were good. Anything and everything what eases my workflow, i wanna have it to ease pressure of doing things. I bet in few years of time i've got knowlenge and skills to do stuff better, but before i reach that point - i bet i crash my head to wall several times =D

[@WayneRECs]

Lol, I think we've all been there! I have lots of footage where things are out of focus or overexposed! IMO, shortening the checklist before you hit record always makes for a smoother process!

[@ft_sakkinen]

@@WayneRECs yep, agreed on that one!

[@TonyBabarino]

Wayne, for the audio on this KZbin video, are you in fact using and recording on the LCT-440-Pure Large-Diaphragm Condenser Microphone?

[@WayneRECs]

Hey Tony! Actually the audio in this video was recorded internally on my ZOOM M3.

[@StaticCamperVan]

Thanks Wayne. Been interested in knowing more about 32 bit float

[@WayneRECs]

Thanks for your comment! I definitely think it's an area for solo content creators to explore. It's made my personal workflow significantly easier!

[@MichaelW.1980]

People tend to believe I hear things, that they want to hear. Because of that, any new tech ends up producing some people that believe to hear some differences that aren’t actually there. You can distort even a 32bit float recording, because the preamp input has a highest possible ceiling. Even if you don’t distort the microphone itself by being too loud, you can still distort the audio interface, if the output of the microphone is too high for the microphone input. That’s why some microphones and some audio interfaces include pad function, to quieter down the signal before it hits the preamp. It’s just that they can deal with a higher range of signals, as they make intelligent use of two preamps in parallel. To some extent you still need to consider gain before record. At least with low signal microphones, because with those you might end up with a higher noise floor, depending on where your signal sits, IF you have a quiet recording space.

[@benjipage719]

just wish I could find a F6 in stock :/

[@Tiigerr]

Yup, it's like people complaining that we don't need an automatic transmission in cars, just learn how to use a manual one. Like yeah people were fine driving that way for a long time but it doesn't mean an automatic isn't an improvement worth having. It's one less thing to worry about which frees you up to focus on something else. Some people resist advancement for some reason, it's weird.

[@JohnDeCarteretElvis]

I'd rather have a manual car over an automatic any day. Have you ever tried to push an automatic should you require a bump start, because it doesn't happen. I needed a car then and there once and the only car available was an automatic. Against my better judgement I bought it. I had to drive through a flooded area and a little while later the engine stopped. I was stopped at the top of a hill facing down a 3 mile stretch of road. A manual car, I could have bump started it without a problem. I couldn't do that with the automatic and had to call out the AA. Automatics might be good for the race track, but not for the roads when the chips are down. It's another reason that I don't want an electric car, same principle. As for audio, I always record at 96K 32bit float, even though my interface is currently only 24bit. It is advantageous when working in the DAW and when using 32bit effects and processing. It also future proofs your material further down the road and it is always best practise to record at the highest possible level. Up-Sampling your material when required offers nothing better than you had, just added digits of empty space. Whereas if you have that information contained in the original you obviously don't have to up-sample and you have a better quality of sound. Albeit, not everyone can hear it, but it's there. I could if I really wanted to push the boat out, record at 192K 24bit/32float. As I'm not exactly at the top of the ladder, it hardly seems worth it. But I have done so a few times. At the end of the day, it's what you feel comfortable with and what you feel is required. It's rather like 2" Tape over 1" Tape, each with the same track count. 2" is better, but at twice the cost. Was it worth recording on 2" Tape, you bet. Less crosstalk and better headroom and dynamics, along with a lower noise floor. And of cause best practise provided best results. And knowing your tools also pushes the boundries, whatever your medium.

[@bassblom]

in 2010 I was restoring 16mm broadcast film items.. a man in 1968 got the question how he thought about color tv.. his answer was it would not have an added value.

[@JOFFDON1]

Thank you for the awesome content! Can you tell me is the f3 as useful as a v/o interface as the UAC-232? Just checking whether f3 is the better buy or whether UAC-232 is better in studio? I would love your opinion before I spend all my money.

[@WayneRECs]

Hey Jonathan! Thanks for your comment and question! Here are my thoughts about the F3 and UAC-232 for VO. I've been using the UAC-232 for all of my vo work since I got it. It sounds great if your DAW is compatible with it's 32-bit float output and it's been great to have features like 1/4" outs for my monitors as well as an output volume knob and headphone jack. It basically is like any other interface except it can output 32-bit float (which is super convenient if your interface is located a distance away from your recording space/mic as you don't need to run back and forth to make gain adjustments. The F3 is a great device as a portable recorder, but it's function as an interface feels secondary to it's primary function of being a portable field recorder. I'd probably only recommend it for VO if you like to record your audio separately from your computer and then transfer the files into your DAW. This would be ideal in situations where your computer fan noise is so loud that you can't have it near your mic. Or if your recording space doesn't have an electrical outlet (like a closet) and you need a standalone device to record and power your mic. Either way, they should sound relatively the same (and 32-bit float IMO is the way to go for a solo VO talent).

[@JOFFDON1]

Thank you so much! It’s so kind of you to take the time to reply. Keep up the great content. ❤

[@ww1www]

Ah, and post production software should also support 32 bit float better. For example Davinci Resolve does support 32 bit, but it seriously limits how much you can increase the volume, and you have to do various tricks, like creating compund clips over compund clips over compund clips all of them with max volume boost just to raise the level to where it should be. With gain/levels set properly on set it is okay of course, but on an F2, it is not that trivial :)

[@Nickporter17]

Took 4:16 to start discussing 32 bit audio

[@ericreesor6761]

The big difference will be in the realm of dynamics in concert hall recording techniques. Up until now recording classical performers that use dynamics in detail has been a specialty that has been almost lost with low quality 16 bit dynamics. The worst is the use of rock style compression to equalize the levels of a symphony orchestra. The great recordings from the late 1950's and 60's had the sound of the rosin on the bow, today finally digital technology has finally caught up with what great mics can do. That is the difference, if the transients can be expressed from pianissimo all the way to fff and sfz accentuation is what it is supposed to be then finally we might see decent recordings of classical performances recorded to a far better standard and perhaps even distributed at higher bit rates instead of the compressed crap sold as digital down load crap these days.

[@EricLefebvrePhotography]

Preaching to the choir. Hwre is a good example. I'm doing sound design / foley for a clients ahoet film. Their sound guy didn't show up and the producer subbed in. Amongst the many other problems (bad mic placement, not asking for extra takes or wild lines after noisy takes, not doing ANY sound treatment ...) a lot of the takes ended up clipping. You can CLEARLY see it in the waveforms. Now my client is planning an ADR session. 32bit float would have saved him from that clipping (if not the other problems) and we might have been able to avoid ADR (I was able to tone down the reverb, isolate the dialogue, redo all the enviromental sounds with foley ... only one bit of dialogue was un recoverable due to a really loud motorcycle passing by).

[@WeiHoung]

Dude….why are you and I always getting the same gear at almost the same time lol… except you usually get it first. 😂

[@WayneRECs]

Lol, well we are doppelgangers!

[@WeiHoung]

@@WayneRECs true… 😅

[@precisionsoundworksstudio]

Good stuff!

[@onlymyopiniontech]

If you're perfect at walking a tight rope you never need a net, but wait..... I love "professionals" what they are really saying is, if you were as good as me you wouldn't need 32bit. For the rest of us that record outside a controlled environment there's 32bit. 😊

[@WayneRECs]

Lol, I think if your only job is to record audio, then 24-bit is all you need. But if you're the sound person, videographer, talent, wardrobe assistant and more, taking one thing off your plate can go a long way!

[@geobopeter]

I like that you try to explain the limits of the technology, but I am afraid only a fraction of you viewers get the essense of what you are saying - the SNR and max. SPL of your mics are still your limit. The dynamic range of you mic is still the minimum and maxumum of what you are able to record. I have been an electronics engineer for 45+ years and all my life I have been striving and struggling to increase the dynamic range of the analog part of the signal chain. btw - the precent format for 32bit float is wrong IMHO, it will not allow migration to increased dynamic range as technology progresses, it is stuck at 24bit actual dynamic range. It should had been a 26-28 bit mantissa part, there are no reason to have a 7bit exp. part that can give you +/- 700+ dB coverage. A scheme with +/-64dB and (provision ofr) 26 bit real dynamic range would had been a much better solution.

[@shawnmarko7131]

Watching some videos of people fiercly defending even 16bit 44k sound and validity etc. Idk the 32 bit float has fixed all my problems with ruining my own recordings, still seems miraculous!

[@Mike-qw6wt]

I record live music gigs & 32bit float is all my dreams come true

[@WayneRECs]

For sure! I can only imagine how much easier it is (especially when it comes to drums!)

[@Leo.m.robles]

can you get to the point quicker...

[@briangrover873]

a better car comparison would be "I don't need automatic transmission in my car"

[@hellopsp180]

32 bit float is the beans !

[@TechieViewVideo]

Another long monologue in a toilet... 😂😅

[@JohnDeCarteretElvis]

Man, please stop waffling and get to the point! It's not really that difficult to explain. But thanks for the video. 32bit float is great, but it can leave you with a lot of work if not used correctly. You should still follow normal audio recording protocol. It is ultimately a fail safe recording format for those sudden unexpected high overload sounds. Things such as noise to audio ratio still remain, it doesn't remove such factors. It is not idiot proof, so do not abandon normal practise.

[@geobopeter]

Finally someone that seems to have understod the facts of "depth of bits" - thanks @JohnDeCarteretElvis 👍

[@JohnDeCarteretElvis]

@@geobopeter Thanks for the compliment. Basically 32bit float as you likely already know simply means that it is almost impossible to mess up a digital recording. You have so much headroom that you just cannot clip it. But one thing that many forget, is the initial recording. Even while you are recording into your DAW if your interface is not a 32bit float interface, which is still fairly new to the market, you can clip it on the way in. Which defeats the object of running your DAW in 32bit float. Again, it boils down to protocol, best practise will always get you the best results, no matter what your setup. Having to save a recording is never as good as not having to do so. Even if all you save is time and effort.

[@StefanHolmes]

I’m an absolute newbie to this but I bought myself a Rode NT-1 and was happy to discover it had 32-bit float, but was surprised to discover that whilst it uses a native USBC output to export that 32-bit signal, the “standard” audio interfaces don’t have USBC input. I bought a Motu M4, which is obviously not super modern, but does provide a high quality audio path. I can either use that and control the gain (which I do) or I can faff about with PC audio settings to use my mic via USB. What we are missing is really an audio interface that provides a combo jack and USB input on each channel.