Why I Don’t Record In 32-Bit

Learn why I barely ever record in 32-bit, and why you might not want to either.
0:00 - Intro
00:21 - What Is Bit Depth?
1:39 - Audio vs Color Bit Depth
2:32- What's the Problem with 32-bit?
3:16- When SHOULD You Use It?
4:07- What Should You Do Instead?
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[@stereothrilla8374]

This is a great PSA. I am a 13 year IATSE sound mixer and work on the highest budget biggest shows you can think of. I prefer to record in 32 bit when possible, giving myself a safety net on these type of do or die shows to avoid ADR, especially when dealing with actors who are super dynamic in their performances. However, I always check with post and will often offer to batch mod for dailies when passing off the sound roll when editors are working on AVID systems. This technology becomes particularly handy when you have actors in a scene going from a soft conversation or whisper to a fight or shouting match.

[@axk]

This is the correct way to handle this in larger complex workflows. It’s surprisingly rare that location sound and post have the opportunity to communicate well in advance, so knowing what to expect across both disciplines gives everyone a huge advantage in anticipating issues and solving them before they actually exist.

[@zbyszekolko3998]

So how big is that additional headroom 32bit floating recording provides that you are able to consume? 2dB, 6dB?

[@albertogarcia7966]

@@zbyszekolko3998 the simple answer is: until the microphone itself reaches it’s max SPL. Every mic has a maximum pressure it can take, and the 32 bit capable recorders out these days are gain staged to accommodate the range of all of these. However the bottleneck is in the recorder’s ADC stage Not the 32 bit format. 24 can capture around 144 dB while the 32 bit format could technically record over 1000 dB of dynamic range. But the best 32 bit recorders on the market are only gain staged to handle around 144 dB

[@zbyszekolko3998]

@@albertogarcia7966 This is exactly what I ask. What is the additional headroom for a given recorder. A theoretical limit of 32bit float recording is not the case for recording analog sources and analog circuts are limited to their max input level. I don't care for +700dBFS signal made by a computer.

[@albertogarcia7966]

@@zbyszekolko3998 agreed! Nor do I require the useless extra headroom. So I do think they’re doing a great implementation of the hardware and software advances, even if their marketing language has been confusing to say the least.

[@zagorcuk1966]

In short, the title should be" Record in 32 bit to avoid clipping or noise and convert it to 24bit as soon as you can, before delivery"

[@grabandohistoriaschl307]

To long for be a title

[@BradPham]

@@grabandohistoriaschl307 Good title for a sequel.

[@mica.motion]

So, as expected it's a clickbait...

[@4sightfilmsLLC]

Actually no. The title on your channel, after you produced the content should be…Some of you really need to take a class or two on respect, etiquette, and communication.

[@SoundOfYourDestiny]

Yes, but instead, it says he doesn't record in it and compounds that FUD in the subtitle. WTF?

[@alex_montoya]

Working on the image side, it's so funny to me watching sound guys squirm before SLIGHTLY LARGER files.

[@axk]

As soon as filmmakers are willing to budget as much for sound as they are for picture, disk space limitations (and many other things) won’t be any issue.

[@elblopex]

@@axk yeahhh.. I don't think that's happening any time soon

[@TravisWadeKidd]

@@elblopex Insert soundguytears.wav here...

[@HelamanGile]

Exactly 😂 although I'm a sound guy and am perfectly fine with 500mb per minute

[@scottalanmiller]

Right? I never have 300Mb/s audio files ;)

[@KaidoLP]

I bought a F6 for theatre recordings, there are far more dynamic than the audience experiences. From whispering to shouting all in one uninterrupted 1+ hour take.

[@camsol]

As a run and gun film maker, 32bit float has saved countless events for me. One of the most revolutionary things for me.

[@JimLeonard]

There's a lot of misinformation here, which is surprising because Alex has conveyed good information in the past. Avid, Premiere, Final Cut, have all been able to load floating-point audio files for many years, so interoperability is not an issue. Also, floating-point audio stores a sample in 32 bits, which is only 33% larger than 24-bit audio, so it's not that big a deal in terms of additional storage utilization.

[@JanKlier]

There may be a difference whether they can load it and how they handle it internally. In my testing Avid loads a 32bit float file fine, but then converts it to 24bit fixed. You cannot adjust it to remove clipped audio anymore. It depends on how the data format of the internal processing engine. And that's a bigger change than adapting the import modules.

[@danielvilliers612]

Yep, more so for someone who also does video LOL. I mean, compare those megabytes to the day of the horror of clip audio etc

[@Vasudanin]

Its not really like that. In graphics you can have like 8-bit display or 10-bit display. Thats only 20%, yes? Well no. 8-bit color has up to 16,7 mln of colors, while 10-bit has over 1,02bln colors. 24-bit canr epresent up to 16,7 mln levels of amplitude. For 32-bit audio its over 4 bilion. The difference is huge - amount of information is horrendously bigger for 32-bit audio.

[@JimLeonard]

@@Vasudanin A single sample of 24-bit audio takes up 3 bytes, a single sample of 32-bit float takes up 4 bytes. 32-bit float takes up 33% more storage space on disk and in RAM. It's not "horrendously bigger", it's 33% bigger. If you're editing 10 hours of audio on a 10-year-old laptop, then sure, this could be a concern. But people don't work that way (or they scale their work to the tools they have available).

[@Vasudanin]

@@JimLeonard it's not about size of file, but about amount of data available.

[@tiscover]

Being on this industry for almost 20 years I can tell you one thing. if we had always listened to avid, we still would pay a 1000 bucks to export a AAF file. 32 bit float is one of the greatest things that happened in audio in the last 10 years - Avid should get there s**** together.

[@tomdchi12]

To further complicate things: It's important to keep in mind that "high dynamic range" audio capture is two parts: Yes, 32 bit float avoids the file format from limiting what can be captured, but you also need equipment that has multiple analog to digital converters (ADCs) staged to capture different loudness ranges like the Mix-Pre II units. A good, real-world ADC can't handle much more than 120dB of dynamic rage - which is a lot, but wether the source has a lot of range like a race car, or you aren't as skilled as Alex and you just didn't set the levels well (or didn't monitor them because you're a solo shooter), you can risk clipping. A product like the Rode Wireless Go 2 can output 32 bit float, but because it only has one stage of ADC, it can never record that wide dynamic range without either clipping at the high end or losing the signal in the noise floor at the low end. Converting a limited signal to the "larger range" of a 32 bit float format won't improve what was actually recorded.

[@danielvilliers612]

Preffer to have this limit and 30% more data than clipped audio any day.

[@hvtim]

True, and the range won't matter if there's clipping at the source (capsule). But most people looking into 32-bit float for recording are practicing professionals with high-quality recorders/mixers (with good ADCs), who just want to reduce their workload and reduce risk for clipping. If they set up the chain correctly, then 32-bit float is a no-brainer.

[@JGnLAU8OAWF6]

Do you even need higher than 24 bit depth if noise floor of preamps is usually way higher than least significant bit of 24 bit ADC? I think it may be just a waste of bit depth on noise. Or am i wrong about that?

[@simonpeck]

Thanks for the video! 32-bit float is a game-changer from a recording perspective, even if you need to drop it to 24-bit PCM later. I do take issue with the recommendation to throw away the 32-bit float files after the fact. They're only 33% larger than their 24-bit counterparts. The benefit of keeping them is that when the rest of the production chain finally catches up, you may be able to reap the benefits of that in remastering or reuse in a future project. Or, you may decide to mix something differently. Who knows what tools, techniques or capabilities the future may hold? I always keep my RAW files for photography, and as new RAW converters have come out, I've been able to reprocess old images in a way that makes them look so much better.

[@RAZIAR]

A good analogy in the photo world is RAW . It's good to have the dynamic range and the white balance choice , but you still gonna deliver a jpeg to a client . 32 bits should be use like raw for capture , and the jpeg is the 24 bits

[@markpullar8159]

That is what I was thinking.

[@markpullar8159]

After listening to this more I think more of what this is going to is that even when you take raw you still only give the client a high HighRes JPEG. It would seem like having the data is good for you but then you’ll have to give it in JPEG (24 bit).

[@christophermotta5691]

100% I was thinking the same thing, or RAW video capture for that matter. Which has to be converted, debayered, and a machine that can handle the files, etc. Personally, I love 32 bit sound recording, has saved my butt as a one-person band on many projects. I'm an operator, not a sound technician, and I lean on Log 422 10 bit or RAW capture because I'm capable and happy to manage the post-production. The same is true for the 32-bit recording. I like latitude and don't mind the post-work involved. But, I can see where this might be a severe problem in specific workflows or someone learning audio recording.

[@tom_k_d]

Delivery format in audio is 16bit (.mp3, compact disk...). 24 bit is equal to taking pics in raw. 32 bit is supposed to let you forget about gain staging while recording on top, but I debate the analogue side (mics, preamps) can match 32bit dynamics of the converters...

[@MovingThePicture]

32bit float audio is more equal to 32bit float EXR images.

[@TomKaszuba]

I record everything in 32bit now. I edit to taste in Reaper and then convert to 24bit and I’m good to go. Thanks for this video. All your content on this channel is extremely valuable.

[@gjkoolen]

You can also tell Reaper to record automatically in FLAC format. This is lossless and works great to keep file sizes small.

[@ropeyarn]

The evolution of audio from 8 to 12 to 16 to 18 to 24 and now 32 bits, has always been about less distortion and lower noise floor. My Zoom H6 only goes to 24 bits but I can stretch the dynamic range for more headroom by using their compressor.

[@ATTACKofthe6STRINGS]

the 32 bit float recording on the Sound Devices Mixer 3 ii is what allowed me to finally purchase a field recorder that wouldn't give me anxiety for recording my choir concerts. I'm fairly savvy on the photography/videography side of things, and my whole world has been music since I was a child, but the specific area of what audio capture device I need to record something like a concert was brand new to me. On top of that, I have ADHD. I'm a one man band who decided that I wanted to have good recordings of the concerts I participate in for when I want to remember these moments. Finding somebody who happened to be recording on a phone that manages to have the right audio is incredibly it or miss, and whether or not they upload the whole concert, just a part, or nothing at all, means that's not a reliable way to capture these memories. So I buy all of this equipment, and I personally set it up on the day of the concert, during whatever time exists between dress rehearsal and the moment of performance. The ADHD paralyzes me enough, with the fear of forgetting something important, or leaving something behind, or not having the correct gain settings, etc. I can deal with messed up video. I'd probably give up if I experience an amazing performance and some mistake I made messed up the audio I worked so hard to try to get. 32 bit means that I don't have to worry about that at all. It doesn't matter how loud or soft the music may be, how far away I've set it up, or if there were elements to the performance that I couldn't account for because they weren't addressed during the rehearsal. As long as I have set up and powered my recorder, the audio will be captured, and I can spend whatever time I need in post to bring it to where I need it to be. Now that I know better, I could probably work with 24 bit audio without being afraid I'll do something wrong, but 32 bit is what allowed me to have the peace of mind that, no matter what, I *will* capture the audio as long as I make sure that a small handful of things are taken care of, and is what allowed me to start recording my concerts with enough confidence to learn as I go.

[@WilliamMorrisMusic]

I feel like any disadvantages are pretty easy to overcome. Simple communication solves the workflow issue, if they're ok with 32-bit then no worries if they can't use it then record 32-bit and batch convert to 24-bit after any tweaks. I don't buy the extra storage issue, anyone working with video files will have adequate storage for audio regardless of bit depth, the files are still miniscule compared to video. I hope 32-bit is embraced across the board.

[@effectsworks2106]

I record mostly in 32bit. It's just so easy and it has saved me lots time (and lots of wasted audio). But I curate my library to 24bit and then delete my raw 32bit recordings.

[@1BabaSalam]

Thanks for sharing your experience. I think I’m gonna adopt that. 👍🏾

[@robnecronomicon1570]

@@1BabaSalam No problem!

[@angelo.farina]

I never, ever delete the original raw recordings!

[@Dancing_Alone_wRentals]

@@angelo.farina I'm starting to think that was also. A good friend in NY told me "storage is cheap". I could listen to hours of strangers talking and all it takes is one quick point, from a trusted friend, to make me think a bit. tHanks Angelo for your opinion too!

[@MasonHankins]

32 bit float is always worth recording in even if it gets downgraded later. The file size is not a problem considering professional cameras record a terabyte of footage every few minutes and there are so many bad directors who can’t seem to understand this and say cut. DAWs will eventually get upgraded to support this format if they haven’t already. There’s always going to be a limiting factor that prevents new technology from working most effectively but that shouldn’t stop you from investing for the future. Yeah if you have a Zoom F6 or any cheap device like that with 32bit float you most likely don’t know what you are doing and are using it as more of a safety. Professionals can more accurately gain stage, but every now and then theres still some guy in post that says it’s not loud enough or quiet enough so 32 bit float is a good way to solve this problem.

[@ChannelWright]

Frankly, the problem lies with Avid. If the popularity of 32 bit continues to grow (and I think it will) they will have to catch up - Avid is supposed to be a premium product, I’m surprised they didn’t get ahead of this.

[@ezrashanti]

Avid carbon is 32 bit and PT supports 32 bit float.

[@Sonoquilibrium]

My opinion about floating Point Recording is not just that you cannot clip, but I found it very useful (compared to 24-bit recording) when I record Bioacoustics (Surface, Plants, Trees), which are mostly very quiet sources. And in post, almost no noise is boosted compared to 24-bit recording. 32-bit recordings is made for recording extra high & extra low sound sources, for other loudness's 24-bit could be enough good (f.e. sounds of forest water, birds and similar). Of course this is just my opinion based on my experiences working with both bit depth recordings.

[@OpenGL4ever]

Do you use a condenser microphone or a dynamic microphone for these Bioacoustics recordings?

[@Sonoquilibrium]

@@OpenGL4ever In fact, when we speak about Bio Acoustic recordings, is a vast area of equipment. From Detectors to various mics (Contact, Hydrophones, Geophones, ..) and at the end devices able to make the signal conversion into sound. With microphones I use both, microphones which need phantom power and those without that need. When I record microorganisms underwater in Lakes, many times the signal jumps over the 0dB I prefer to use 32-bit recorders. Often I use also the XLR adapters to boost the signal, when the signal is too weak. If you had in mind something more specific a type of Bio Acoustic Recordings, I would be glad to address you with more specific answer.

[@OpenGL4ever]

@@Sonoquilibrium Thank you for your answer. I was just curious if dynamic microphones are sensitive enough to record such low noises. But it seems to be, that you have a wider range of noises, not only low ones.

[@Sonoquilibrium]

​@@OpenGL4ever Dynamic mics have more noise and they are not so sensible like condensers. If you wanna make a good recordings, I suggest you to use condensers or in these days are famous also electric condensers omni mics for their sensitivity.

[@OpenGL4ever]

@@Sonoquilibrium Thank you very much for your answer.

[@MindzEyz]

I personally don't know anyone who is interested in 32bit float for high gain clipping. For Events, Weddings and Funerals, I find it much more useful for bringing up the "quiet one", or the "crying one", without bringing up the noise floor. There's always the one who is afraid of the mic, or holding it in a way where they are difficult to hear. That is what excites me and those I've talked to about it. A lot of us have two channel recordings with one hot and one not to keep from the clipping disaster.

[@Namtao]

Programmer and producer here! Great video, but I think there's a small error, which might be confusing: 0:54 This graphic is 32 bit NON FLOAT (just regular 32 bit PCM) 0:58 This second graphic IS 32 bit float. moving from 16->24->32 should look like a linear increase on a dB scale (as in the first graphic) - but comparing to 32 bit FLOAT (or indeed any float format) should look WILDLY different, like off the scale - as in the second graphic. 32 bit PCM is not 32 bit float - you must always say 'float' when you mean float. Thanks! READ ON FOR NERD SHIT: Here' the bottom line: 16 bit can store 2^16 = 65,535 different values (ie 0-65k) 24 bit can store 2^24 = 16,777,216 different values (ie 0-16mil) 32 bits can store 2^32 = 4,294,967,296 different values (etc) 32 bit float can store about the same NUMBER of different values, but the RANGE is WILDLY increased to 3x10 to the power of 38: THAT'S 3 WITH 38 ZEROS 340282300000000000000000000000000000000 maximum! (3.40282347E38 if you want to be precise) It's an entirely different kind of number! Very wierd, but very useful for dynamic range. You absolutely CAN clip with 32 bit PCM, you absolutely CAN'T clip with 32 bit float - it's functionally infinite, as you can see. An over-simplified way to think about it is floating point numbers aren't one number, they're two numbers: a base, and an exponent. 2 to the power of 4, for instance, 2 and 4. That exponent allows the ENORMOUS range. If you want to dive into the maths, wikipedia is pretty good: en.wikipedia.org/wiki/Single-precision_floating-point_format I agree with your conclusions, however - once the dynamic range is normalised, save in your normal formats (you could use 24bit non float to usefully keep the bit depth, while maintaining compatibility with video editors, I believe) I edit my videos in Reaper, so I have no problem XD

[@DecentralizedWorld]

Interesting comment! Thanks for your detailed explanation!

[@paulpeck6141]

Great video Alex! You talked about how the post-processing workflow can be complicated when you record in 32 bit, but I would love to see some examples of how you actually edit those files. Maybe you could do a walk-through video of how to edit those 32 bit files, and how you could integrate them into a video timeline.

[@vonriesling]

It sounds to me like you SHOULD record in 32-Bit and then convert to 24 for downstream editing

[@aarongrooves]

I really appreciate your thoughts and examples. You inspired an analogy: in photography, pretty much all professionals shoot in RAW but rarely (if ever) deliver to consumers in RAW. Most end users are fine with jpeg. They might want png or bmp or if they're REALLY ambitious! For the end user, not only is RAW unnecessary; it's complicated and can lead to problems with just enjoying their photos. Similar with audio. 32-bit float is really for the audio engineers and recordists to do their behind-the-scenes work. For most, 16-bit is fine. 24-bit is for the ambitious listeners and audiophiles.

[@ernie548]

Depending on the D/A and how its done, 32-bit gives better room for error in filter use that will not create noise artifacts. The headroom is a bonus too, but the potential for lower noise is a big key.

[@DanielHodotcom]

Thank you for the advice!

[@eisenerez]

Every modern daw supports 32bit float or more. If yours doesn’t then change to a different one. 32 is always better since All the internal plug-in processing of every daw is done at 32bit float So working at 24 actually damages the sound when rendering multiple times. Which is a real world example. Converting to 24 or 16 should be left for mastering or as your last export. You can also read about it in some daw manuals like steinberg Cubase. Which supports 64 ✌️

[@craighoward5486]

So good. So useful. Real world info. Thanks Alex.

[@DannyDHidalgo]

Thank you for the info! I haven’t had issues with editing in Resolve with 32bit audio, but good to know.

[@Behnam_Moghaddam]

Thank you. Was just about to order the new Tascam Portacapture... what a timing! And after watching this, I still am going to buy that thing. I still could record 24 bit when I'm "the audio guy" but beeing a one man band for A AND V more often then not, it's a godsend. Just like continuous autofocus in camera: not really recommended if you have a focus puller :)

[@scottalanmiller]

Good way to look at 32bit recording vs. final usage. Appreciate it.

[@cineffect]

As a filmmaker I always record in dual tracks, one track few db below, this is easily possible with a multitrack recorder using a splitter.

[@angelomarchelletta]

This was super insightful and rare information. I have been looking everywhere for this thank you.

[@PC-oi3dw]

Great PSA Alex. Lately, my first technical question for sound gigs has been to contact the post or editing folks if 32-bit works with their rig. Always communicate what you're going to do. This might seem obvious for some but another PSA is that wireless Rx and Tx currently don't transmit in 32-bit so there's not much point if you're only recording with wireless lavs.

[@BrewReview]

Pro level wireless transmitters and receivers are typically analog. They don't HAVE a bit depth. In this situation, if you clip on the way in at the Tx source it won't matter what happens down the line at the recorder, it'll still be clipped. But since the analog signal goes through a DAC at the recorder, 32bit would still matter upon conversion assuming the signal from TX to rx is not clipped.

[@anthonypc1]

This helps me. Thanks Alex.

[@garycarswell81]

knickerbocker glory! Cheers for the video mate, it's just what I was looking for.

[@datalaforge]

Solid perspective. I've yet to exceed the capabilities of my 1st gen Mix Pre 3 recorder but it's good to know that I'm not really missing out. I really liked that comment on chain of custody. Our recent audio stem exchange taught me a lot about audio collaboration.

[@axk]

Those MixPre v1’s are awesome! Plenty in use at the major level for all kinds of stuff. And as another recordist in the comments mentioned…none of the “pro” level recorders have 32-bit (yet). It’s a nice failsafe, but not necessary in my opinion! Haha, was great to collaborate and get everything sounding great! The chain of custody is invaluable in tracking down where issues arise…which happens in every project of every size, no matter what. It’s all about quickly finding and fixing things!

[@traceysmiley7]

Thanks, Alex! I've always wondered about bit rates. As a pro video editor, your videos are helping me learn more about audio.

[@quietlyworking]

So useful! Thanks for your perspective.

[@danrichman1]

Very helpful. Thanks!

[@pshimmons]

awesome video that is very useful - Thank you!

[@EugeneMaynard]

Excellent workflow tip!👍🏾🙏🏾

[@Veypurr1]

This was a very informative video.

[@kmjansen]

Great explanation of bit depth as someone who majored in computer science

[@Steveoaudioandstuff]

Another area it can be useful is if you post-process the audio a lot, with multiple plugins, or if you're stretching the audio pitch or time. There's more information there for these processes to work with. Specific I know, but worth knowing.

[@rehfeldttw]

Really excellent advise here. I totally understand from a production flow point of view. Thanks for sharing this.

[@1BabaSalam]

Hi Alex, Thanks for another good video. Very informative, technical but down to the level of prosumers. Did you record this in 24bit or 32bit float and then converted down to 24bit? Thanks.

[@CodyEngelCodes]

Hey me again. This was a really informative video and made me realize 32 bit float isn't just a "set it and forget it" workflow like I thought it would be. Going to spend some time improving my audio recording workflow. It looks like you have a bit depth for beginners video, do you have any other videos you'd recommend watching for solo-creators?

[@happybirthdaypaulie8584]

Thanks for the sage wisdom, Alex! Question, are there any noteworthy cons to recording in 32 for content that’s audio exclusive or nearly so such as podcasting?

[@tadashimedia]

This was a great informative video! There’s not a ton of information about 32bit and I appreciate you for diving into this. Can you please make more videos explaining how to convert 32 bit to 24 but or programs to handle 32 bit? Thank you so much

[@BushMasterThermal]

Audio editing Programs and DAWs automatically handle 32 bit and work in 32bit in the background.

[@franztomandl51]

Adobe Audition should work!

[@l.knaturfilm9878]

Audacity! Und völlig kostenlos 😉👍

[@thomaszamolo]

Thanks a lot for this video. There’s a lot of talks out there and your opinion or view is always great. My question to you would be: I’m doing a lots of video documentation of stage performances and dance in particular. in many shows there’s often no music or parts of the show with no sound. The clients of course wants to hear the sound of the dancers like the steps, body and breathing bit of course it is so close to the silence in the room, I’m having difficulty to find the right settings with a normal recorder.. Also since we are usually behind the cameras and not monitoring the sound recorder I’ve been wondering if I should go over to 32float in order to catch everything and work it out in post. I’ve heard many different things when it comes to silence, floor noise or room noise and how is the best best to catch sound which is close to that room ambience. I get a little lost and can’t really find the right information or advice around. Right now I have the zoom 8 and the stereo rode tf 5 but I’m struggling to get a nice clean sound with a not too dirty and discret ambient room and a good separation with the noise the dancers would make on stage. If you have some advice, I thanks you already!!

[@michaelschnell5633]

Supposedly most DAWs will simply read 32 Bit Float files as input. The processing is 64 Bot Float,anyway. If you save files from the DAW, it does make sense to use 24 Bit Fixed, as it does not harm (after working on the file by Mixing and compressing. So you are compatible with everybody. Regarding file size: 32 Bit Float files are 1/3 bigger that 24 Bot files. so this does not matter much.

[@newmillennials]

Thanks!

[@aSimpleChat]

Good to know! Thank you!

[@attilabagiproductions]

Okay but could you sing Chop Suey?

[@axk]

WAKE UP

[@aseomg]

Awesome articulation of one aspect of 32bit float recording. Also, some good comments here that expand on your video! Luv videos like this!

[@caiokao]

Great video! But I have a question: If we record at 32-bit, using the correct equipment for it, but for some reason we clip the audio by surpassing the SPL of the microphone, this 32-bit won't matter at all, right?

[@axk]

Correct, at that point you’re over-modulating at the mic, so audio arriving at the recorder would already have distortion baked in.

[@caiokao]

@@axk Got it. Thank you!

[@curtisjudd]

I agree across the board with you on this. Thanks Alex!

[@REMY.C.]

The almighty Curtis agrees, video approved :-D Do you think a 32bits device would be useful for a total beginner who knows nothing about sound and wants to record voice overs and other sounds without having to worry that much about all the little things like setting up volumes therefore avoiding mistakes? This evening I was going to order the zoom h6 and a NTG when I saw in my feed the official zoom F3 announcement. I like the form factor size and was wondering if that 32bits can make it easier on me to record audio.

[@curtisjudd]

@@REMY.C. I would personally recommend everyone learn how to gain stage, or in other words, set appropriate input levels. It isn't that difficult, especially for predictable situations like voice over. On the recorders which record in 32-bit float with multiple converters per input AND have gain control, where you set the gain CHANGES the quality of the sound you end up recording. So there's still a case for learning to set gain appropriately. I hope that makes sense?

[@REMY.C.]

@@curtisjudd Thanks a lot for your precise answer, yes, it makes sense, learn the why/how to do it instead of relying blindly on the gear.

[@moltenpros]

@@curtisjudd It is difficult when the audio you are capturing can fluctuate. If you are in a controlled environment then you don't need it but it's best to have it and not need it and to not have it and totally mess up a project. Don't reject good technology, embrace it and use it as a tool in the box.

[@curtisjudd]

@@moltenpros I don’t reject it, I find that it is useful in a very limited number of situations. I also do not advocate for people to be lazy about gain staging.

[@adelaudio]

Alex, thanks alot for your valuable content. Please advice me a budget ambience recording setup for exterior city atmos. quality suitable for tv series, but the budget is tight. i thought of a stereo handheld recorder with less self noise than zoom h5. maybe olympus? the sony is to pricey to get me started. streets, pass bys, harbor. most general libraries don't match german BGs and when i spend a couple of hundred bucks on german city ambinaces, i might as well go out and record them on my own right?

[@SuChingYu]

thanks for the explanation!! the best!

[@waynosfotos]

So i have just ordered a X8 portacapture, for unassisted recording, basically set and forget. So if i record in 32 bit float it needs to be converted? Do you need a special app? Can this be done in the recorder? Is this another step in the sound process? I use Lumafusion. Cheers

[@PizzlesTechTime]

I have been using 32-bit float point for my Adobe premiere projects I wonder if I am needing to convert it.

[@VeganLinked]

I just bought the zoom F3 and I love that little beast. So I was a little excited to see what you were talking about and thankfully it has no relevance to me. Generally speaking I'm running gun so I don't have time to be tweaking levels. And my subjects are so unpredictable levels can change at any moment. And thus far all of my software works with it great. But it's cool to have a better understanding of it and you definitely did fill in the gaps from what I've been learning :)

[@StudioGalvan]

Thanks for the Thoughts. I am now persuaded to post process & send 24 bit files when farming out my audio/video wedding work (from my newly acquired Zoom F2 recorder).

[@psysword]

Good practical advice

[@PetrosofSparta]

I feel like for camera and video people the best analogy is shooting RAW or even shooting in a Log format. If you have the time to dial things in properly, you won't really need all that dynamic range, and for the most part, it's just going to cause more of a headache with extra steps in post. Only with audio (as far as I'm aware, I'm not an expert at all here with audio) there's no "conversion LUT" equivalent.

[@harpreetsinghmoga]

Good Information 👍

[@randyrektor]

I record talking head videos for KZbin with a SoundDevices MixPre 6II. I opt to record in 24-bit with the limiters set conservatively over using 32-bit. I've had people tell me "you're not getting your moneys worth with that recorder".. but in my case, 24-bit is already WAY more dynamic range than I need for dialogue, and I would argue that the analog limiters are far more 'valuable' than 32-bit (in most cases). The fact that recording in 32-bit adds extra steps in post makes it really hard to justify using. Great vid!

[@PM-yz8fx]

32 bit float audio is the future, and it will become the new standard, so, I think it's better to push it as hard as we can so that all the manufacturers will align to it. The good thing is that likely, once this is is done, I believe it will remain unchanged for at least another 50 years, in spite of the incredible technologies we'll see in the future, if we survive :). It's one of those advancements that reaches a plateau tied to the laws of physics, that much dynamic range doesn't exist in the real world, the technology exceeded what nature can do, at least on this planet, excluding cataclysmic events, assuming that somebody wants to be there to record them :)

[@reedleatherware]

COME BACK! WE MISS YOU! ♥️♥️

[@REMY.C.]

Thanks a lot for the video, it makes it clear, for a total sound noob like me, that 32bits is handy on the recording side, like would a RAW be for photo or video, but once it's captured and if the quality is pristine, there's no need to keep that "perfect" file and we could deliver a lower quality like a "tiff" i.e.

[@JustinEltoft]

32 bit float is amazing for live music recording. I'm confused at the title of this video because at 3:16 he says it's great on the capture side. Exactly. The output format is pretty easy to change whenever needed. Save as

[@thewatchmanstudios6257]

Recording at 32 bit floating point, doing any tweaks after going through the audio, delivering assists to the client at 24 bit. I’m not lazy, it’s not hard

[@YoungBlaze]

The bigger issue is that people think just because they dont clip the audio, they tend to distort the MIC CAPSULE , and thats where the issue really lies

[@go3002]

It'd be nice if you make a video on how to convert 32-bit to 24-bit properly, like those car situation you mentioned

[@petrub27]

when you export , you chose 24bit or 16 bit, very easy

[@dav]

Just ran into this with a Dolby Atmos mix on Logic Pro X which automatically converted some of my 24 bit tracks to 32 bit. Distrokid does not accept 32 bit, very frustrating. You seem to be the only person on the Internet to talk about this. Even the entire ADM BWF format in the Logic Pro X documentation have zero mention of this issue. Thank you.

[@dav]

Just want to confirm this video solved my issue that was plaguing me for the last 6 hours. I had 32 tracks and 3 of them were affected. You can imagine I was isolating each of the single tracks. Now my ADM BWF stays at 24 bit 🤯 The more you know. I'm also a very visual person, so the color gamut comparison is perfect. Another way to visualize it is with SDR vs HDR video content. Liked the video and subscribed!

[@axk]

Really glad this helped! Any changes to file formats and deliverables ends up causing a lot of headaches and weird issues that no one can fully anticipate, so I always recommend holding back on “upgrades” until the workflows are dialed in. Especially in the major studios, there are often 50+ people who will be affected by even small changes, so testing and communication is super important!

[@PizzlesTechTime]

I have a track with a lot of audio interference it is 32-bit float point but not sure the best way to fix it or just re-record it

[@paddlestandingup]

Alex, you're a great teacher.

[@ratadeldesierto760]

Sorry about my ignorance, could you make a video about 32 bit workflow or recommend a video to know how to convert properly 32 bit to 24? thank you very much!!

[@reread2549]

I used to sync up a Roland VS studio 100 SDHC recorder at 32 bit Floating point 96 kHz. It’s saved by bacon many times when sudden and unexpected hi SPL input was captured. I now record everything at 24-bit 48.1 kHz and then just dither 16 bit 44.1 if requested, A 24 bit at 48.1 is pretty much the capture rate everybody expects now for on location and in studio. Thanks for the video

[@michaeljamesmedia]

Somewhat related - what are the best settings to record audio into a mixer to avoid audio drift when syncing to video?

[@OINMAS]

I was worried when I saw the title to this video. 32-Bit Float sounded so cool when I heard about it. I'm glad this didn't discourage me from using 32-bit, I sill see it's value, but you've reminded me to think about it critically and logically. There's a creative application- for recording that extra dynamic range, but you have convinced me that it's not an essential evolution. It's just another tool in the box. I mean, you have to edit sound and picture anyway to get it to it's finished stage, and as others have mentioned, it's like applying a grade to a RAW video. Just a little extra post processing. But there is no point in doing it unnecessarily. It's easier not having to worry about setting the gain, but every creative or technical decision is better when it's properly considered and done for a reason! Set and remember! Thank you, Alex!

[@senpera]

Nice to know. How do I work on it in post to bring down to 24bits?

[@philipcaldwell3187]

Excellent discussion to help creators with a bigger picture well outside of their domain. This covers a basic concept I learned back in the day when one had to be a chemistry major to be a photographer if I wanted to control my content. Put in the effort to master how to pick your tools and resources that are capable of the most tricks without getting in the way of the task at hand. Then capture the maximum range of data with the best accuracy and precision possible so you have a much wider range of control of editing in the darkroom ... I meant the editing software. The more things change the more they stay the same. Learn the absolute limits of your tools and master using them with fast, efficient precision and accuracy. I do not miss the era of 13 steps of chemistry controlled with extreme purity and temperature control to find out what I captured.

[@christophergibson5831]

Can you talk about the dji dual channel microphone

[@juketrain]

DAWs like Cubase process 32-bit natively. It's been like that for years now, so using 32-bit in post shouldn't be an issue. I think the problem focuses more on the knowledge gap that exist between people working on audio and the people working on video editing. Closer collaboration between video editors and audio mixers, and knowledge about each other's workflows, would certainly make the production flow faster and better. If you are a video editor, think, Is this audio file on my desk, perhaps in 32-bit? And, if you are an audio mixer, think, Should I dump a bunch of 32-bit files on the editor's desk when no editing software is capable of handling those files?

[@officialloner88]

Very interesting

[@novaplius1]

Halo friends, need info. need recorder from wedding in restoran - wedding night after party and etc, i have rode video pro +, bass and high music very bad from wedding film in audio.... thanks

[@JosephMyLife]

I do motovlogging and use a zoom f2 with 32 bit, I have big problems with distortion even when bringing the audio levels down in Resolve. This audio thing seems to be the hardest part of editing since myself and my editor are at a loss on getting good clean audio.

[@axk]

I’d be willing to bet that’s more an issue with wind than it is with levels/input gain. What kind of mics are you using to record and where are you placing them?

[@JosephMyLife]

@@axk not much choice but the mic is in my helmet and very close to my mouth, Im using rode lav mic with a dead cat. When i talk a bit loud I’m getting a lot of distortion, after watching this video it makes me wonder if there is a setting for 32 bit float or if maybe i need to turn the gain down on the zoom recorder.

[@JosephMyLife]

@@axk Here is a time stamped sample of what I'm talking about and this is actually a bit better than what I usually get. kzbin.info/www/bejne/j2m1o4WOi9-Xba8

[@BanderaFilmsAndMusic]

I see you with the Lauten Audio LS208. Would you please compare it to the Neumann KMS105?

[@ENJOY97]

Funny, that is a question I have asked you on Instagram.... which field recorder can you recommend these days as the Sony field recorder does not get produced any more? The Tascam in your Thumbnail? THANKS A LOT.....

[@Amon_Rudh]

That's really informative! I've always kinda figured 'more bit depth must be better, probably' (like the recording frequency, it's good to a point) but alas diminishing returns strikes again. With the recording frequency, imo anything beyond 48kHz probably isn't necessary (at least in non-professional workflow situations) unless you really know it's useful.

[@axk]

That’s the subject of next week’s video!

[@Amon_Rudh]

@@axk cool, that'll be interesting! I've been doing live sound mixing for church stuff for about 15 years now (gotta get some sound doctrine :p ), and I've found all your videos really interesting and educational. I don't consider myself a pro by any means, though I have been thinking about getting into that sort of work.

[@rickymcc8624]

Hi, totally makes sense. I haven't yet personally recorded in 32 bit float although I believe my MixPre6ii has that capability. I'm just wondering if one did and then decided to downscale to 24 bit, what is considered the best or most effective and efficient workflow and software to achieve this. I'm by no means sure but recall reading that most video editing software does indeed struggle with 32 bit. I heard that DaVinci did but Premier was OK - or maybe it was the other way around? Any directional advice on a good workflow or workaround would be appreciated. Sorry if that's a dumb nube question - but right now I simply don't know what is the best methodology.

[@whirldlee6352]

What is the best, efficient conversion process for saving the 32-bit files to 24-bit files?

[@mrj6743]

Would you recommend the UR22c and a 3dio for recording pianos?

[@brennyC]

@Alex Knickerbocker What about 64-bit float which Studio One now provides? Would you be able to make a video about 64-bit floating point?

[@Squeeky_Wheel]

I guess where you are in the chain of production and post-production is key here. As a sound designer and someone in film post-production, 32bit Float is a game changer. And as I'm the only one having to directly use the audio files, there is no real downside to using 32bit Float: I can record with a lot more freedom in the recording process and not have to worry about it being incompatable for anyone else.

[@jameslanclos568]

I knew about the 24 bit-32 bit size thing, because I have a Zoom Livetrak L-20, yeah, 32 takes more room. The rest is new to me because I haven't yet uploaded anything or mixed anything on the laptop yet, nor have I made any music videos yet!

[@gcprost]

I have a Sound Devices Mix Pre 3 which I bought many years ago. I film live theatre, concerts and dance shows. The analogue limiters are excellent and I have never had any clipping. I don't have to screw around with the files. My Mix Pre 3 is the original without 32 bit float.

[@mikebrady2073]

Good to know.

[@soundvoyager457]

Good point though.