Why You Don't Need to Record in 32 Bit Float....

[@benjamindover4337]

90% of youtubers are unable to handle the responsibility of avoiding audio clipping.

[@FilmmakerIQ]

I feel like for some KZbinrs clipping the mic is a stylistic choice

[@unityoc]

This reminds me of worrying trends in other areas like photography - fixing things in post via saturation boost, depth of field manipulation, sky replacement etc. is rampant but putting the cart in front of the horse in my opinion! Thanks for this great video Jon.

[@sizzlereel3523]

Great breakdown. People have a hard time differentiating between what's technically possible and practical. Thanks.

[@petercofrancesco9812]

I find 32bit is helpful for theater video because often I can't get a sound check or a good one. So let's say they open the house early or the sound tech guy isn't there, busy, or has a high school student running the board. You say set it at -20db but if you have no audio to base what the peaks will be how are you going to do it? There's classical music like Tchaikovsky Nutcracker that has huge changes in volume. If you're unfamiliar with the music you'll have no idea what is the loudest section. Same for boundary floor mics how loud will a tap performance be, performers are generally not going to come out to do a sound check, even when they do sound checks for musicals often the performs are talking not singing full blast. The point is 32bit takes the worry out unmanned recordings. I can setup my boundary stage mics when I first arrive hit record, then move on to the rest of my setup. I can't tell you how many times I've done a sound check only to find out after the performance that the levels were significantly higher then when I tested and the signal got clipped.

[@FilmmakerIQ]

_I can't tell you how many times I've done a sound check only to find out after the performance that the levels were significantly higher then when I tested and the signal got clipped._ That's because you set your levels too high. You didn't follow the -20db headroom rule. Couple things I need to clear up for you. Giving yourself -20db headroom means you've been 100x MORE signal to go beyond. That's not just 100x more signal than the average... that's 100x more signal than the LOUDEST thing you expect. So a -20db headroom might have have 40db or more headroom for average levels... that's 10,000 times acoustic power. Plenty to work with. You mention boundary floor mics. That's pretty straight forward to set - with a -20db headroom there's virtually no way to clip naturally (unless they're kicking the mics - in that case, who cares if they clip at that point - even 32bit fp won't save you if you overload the mic circuitry). If you can't sound check with performers, just do your own sound check... walk in from and start clapping or making noise. Then dial yourself down and go a little extra conservatively. Now taking signal from a board... that's a bit different. Much easier to overload with electronics - but again the solution is simple - play conservatively. You HAVE to check the signal at SOME POINT (how would you even know it was outputting signal at all?) - aim low so that you're playing in the -30 to -20db range. It will literally take 3 seconds - you can even do this at the start of the show. You're used to see the bars fill up meter - you have to train yourself out of that - the bars should never go higher than -20db (most recorders put that about half way up the scale). 32 bit FP is fine if you have it. It won't be a detriment to use it... but you could do ALL of it with zero downside, if you record 24bit lower than what you think you have to.

[@neonmammals]

Great video. You’ve convinced me. I’ve always been worried about having the internal noise floor wreck recordings that are too low so have had the gain set high to over come that, but making the mistake of never actually testing it it to see what I could get away with. Your demonstration proved that was unfounded. Great stuff as usual.

[@TiagrajI]

Thank you. This is so clear. I always listened to 32bit depth due to all the marketing you read on audiophile forums. 24 bit is enough

[@rickh6963]

What the industry has accomplished is to give the hardware weenies another excuse why they can't make a film until they acquire this tech! ........ OH NO! I can't shoot my first really bad film until I get a RED 8K camera with 32bit floating point audio!!!! ..... Which probably saves us all from some really bad videos.

[@paulisaacs5980]

Another perspective ... Using limiters to prevent sudden extreme louds causing digital clipping has been standard practice for a long time. There has always been an understanding that provided you only use the limiters (good ones) sparingly, their side effects (distortion) will be minimal and acceptable. 32-bit float addresses the same problem that limiters are designed to address but with the added benefit that there is no side effect of distortion - surely that's not a bad thing. That's why limiters are not necessary when using 32-bit float.

[@FilmmakerIQ]

Never said it's a bad thing... However I don't see it as a huge benefit if you are already in the practice of using limiters in a sparing way. The limiters already provide the insurance against clipping which is hard to do if your average peaks are -20dBFS I think the problem is people set their audio levels far too high.

[@Muhbuu]

@@FilmmakerIQ I agree with you, that you could just lower your gain and thus have plenty of headroom for just about anything in 24-bit. However what about target loudness for audio delivery? R128 -23 LUFS or KZbins -16 LUFS, where you need the average dialogue in the audio files to be at a certain level dBFS? Further down the pipeline after the production sound recording, if the audio files are recorded at a much lower gain to secure a solid headroom while minimizing the utilization of input limiters, the editors etc. would have to either gain the audio files in the editing software or raise the calibrated listening level of their sound system, to properly hear the dialogue. The latter creating a false sense of audible loudness range compared to the average consumer playback setting. In 32-bit floating it seems you could record -23 or -16 LUFS "hot" without slamming the limiter or clipping, while still letting the editors avoid any riding of a volume fader? Maybe short of the limiter in the 16/24-bit DAC

[@FilmmakerIQ]

You normalize audio to the target loudness for delivery - it's that simple. This is regardless of what bit depth you record in. LUFs is not your concern when recording - no audio recorder even displays it. You're way way overthinking - 32bit float doesn't negate the need to normalize the audio in post - in fact, it essentially FORCES you to fix it in post because you're much more limited in setting your levels. As for 24bit with the headroom - yes, you will gain it up in post, no false sense of audible loudness needed. And the noise floor of 24 bit is so incredibly low that you can do a lot with it - you'll run into ambient noise long before you hit noise from the system itself. What 32 bit float solves is people NOT following the technique of recording with proper headroom.... which can be negated if you follow the technique.... of recording with proper headroom...

[@johncristy6901]

Coming at this as a computer engineer, the magic is mostly the extra 8 bits. That's what gives you more discrete values that can be represented. Anything else is an optimization. That gives you the headroom John Hess demonstrates can be found at 24-bits, but without trying. Floating point vs integer, bit count equal, does change the representation in one way. Where integers stop abruptly (clipping), floating point starts losing precision (distortion). Without excess bits, floating point would require the same tuning and headroom. It's higher precision trailing off to lower precision versus integers constant precision might be better in some use cases worse in others. I see it mentioned elsewhere that this is an advantage for audio and it theoretically is (more precision where it's needed perhaps), but it's hard to say if it's a real world advantage. That said, of all the top to bottom designed non-linear encodings (say the 8-bit encodings used in telephony), I don't think they'd have chosen what IEEE chose for it's general purpose floating point.

[@austinlindsay]

Great video! Love the work you out in to your demos here!

[@j7ndominica051]

So, how much dynamic range can these new recorders actually do? Seems insane. There is no microphone than can withstand loudness greater than 150 dB. I don't think you get 10^38 discrete levels, because the steps get bigger as the level increases. It's the same number of levels as in integer but they get redistributed unevenly. Think about it: you have 2^32 possibilities in the data word regardless what meaning you assign to it. The instantaneous precision is 25 bits, including the sign bit, 24 above and 24 below zero.

[@FilmmakerIQ]

After reading up more and more on it - it's 32bit float is just 24 bit float with an exponent to add a ton range. Because of the nature of audio, the larger skips in distance between steps at the extreme loud end don't really matter anyway. I would wager these recorders aren't any better than 120db dynamic range - IF that. They just use a recording format where the allocation of that dynamic range just doesn't matter.

[@kollegeturnschuh5181]

I use the MixPre-3 II for podcasting with remote guests (I ship the equipment to them), most times they are not tech savvy at all. So having it set to 32bit float it kinda makes it idiot proof as long as they are able to find the Record button :)

[@FilmmakerIQ]

Okay, I'll buy that argument. 32 bit float is for idiots :P

[@TylerDarlington]

Whether or not anyone disagrees or agrees with you, you make awesome videos with a well educated points of view. I appreciate your thought out arguments and your willingness to engage with your viewers. I appreciate the slight debate and it makes us, and I, smarter.

[@A-Mana]

I think the most useful two features of 32bit are 1- Can save your clip "in case" some distortion happened 2- can handle over processing better (just like RAW photo when editing) Maybe not super useful for some, but definitely an advancing in audio technology that I welcome.

[@FilmmakerIQ]

Yes you can save clipped audio but 32 bit float doesn't handle over processing better than 24 bit ( it's used in the processing step and then bumped back down to 24/16). It's not like RAW photo editing, the analogy doesn't hold up because digital audio goes through digital to analog conversion before it hits your ears. But if you're going to torture the analogy, 24 bit is already shooting RAW, 32 bit is just 24 bit but with the ability to capture a crazy range. Other than the never clipping bit, you will never be able to tell the difference between 24 bit and 32 bit recordings

[@bizylex]

Your technique and explanations are great and I agree that 32bit float is not necessary in most situations especially if you dial in your settings correctly. But with that in mind I asked the company I worked at to buy the zoom f2 LAVs because I am not always the one filming, sometimes it’s an intern or an employee that doesn’t have any idea about audio recording . We used to use a normal lapel recorder but they could never manage to get clean audio because they treated it as plug and play directly, with the 32 bit float, I use it as an idiot proof way of being sure that the low budget rushed corporate/marketing videos sound decent without requiring someone knowledgeable on « set ». This company was never going to put more effort in their content, and while it lacks any substance and quality at least they can manage decent audio thanks to 32 bit float (I don’t work there anymore but discovered the benefits for people who want a set it and forget it solution)

[@MrArtiisan]

finally someone says it

[@AllenCavedo]

Nicely done video. Good info and good demos. There are many 32 bit discussions out there but very few that demonstrate the dynamic range of 24 bit recording.

[@benjaminreed6816]

People don't seem to like common sense anymore. This is a great video. What are your recommendations for an affordable recorder with decent preamps? Started on a zoom h5 gets pretty noisy recording really quiet sounds.

[@FilmmakerIQ]

The question is what is your noise source? My experience is that the H4 is pretty decent from internal noise. Are you picking up environmental noise? Is the mic introducing noise itself? Is the cable solid?

[@cuentaparadeciridioteces3648]

The preams on the h5 are pretty decent, in my experience setting the gain to 6 is pretty much the limit before the noise of the recorder starts to become noticeable. The problem comes with mics that need a lot of gain, such as the xy mics included with the h5, in those cases you'll have to push the recorder above 6. Of course this isn't a problem if you're recording loud environments. If you want to buy something new, I'd say you get a MixPre 3/6 or a Zoom F4/F8, the step up in preams quality is notorious with those, unlike a H4 and an H6 for example.

[@jasonsmall5602]

32 bit float does not have more values than non-float. It has a higher range. There are still the same number of discrete values. Not all values in the range of float can be represented. There are holes.

[@FilmmakerIQ]

Someone else pointed that out. Added the error in the description

[@endokrin7897]

Gah! Too many smart people!! 😉👍

[@jasonsmall5602]

@@endokrin7897 nah, just educated in the subject matter.

[@Robkellysound]

I didn't realise I had missed this trend. When did 32 bit float become a recording format? Mixing is a different though, last I heard it was just a editing and mixing consideration.

[@FilmmakerIQ]

In 2019 a few of these devices dropped and now people are telling me it's game changing.

[@adagiotexas]

The whole point of these new 32 bit float recorders is that you DON'T have to do gain staging at all. If you are a run and gun, solo filmmaker, this takes a lot of burden off your shoulders.

[@FilmmakerIQ]

It's only useful in situations where you CAN'T - being a veteran run and gun solo filmmaker for years - gain staging isn't something that's hard to do.

[@John-e4p1x]

Adagio you dont get it. Take 1 minute on the set to set the levels, and its done. OR... do what? let the 32 bit uh... be whatever level it is... then spend hours later in poast listening to everything to normalize it??? What? Its like saying "the camera record raw, so I dont need to do anything on set! Just point and do it later!!!" you are srupid. John is right. By the way i own a few 32 bit recorders, made by sound devices. I never ise the 32 bit it would be a waste.

[@av6162]

Freakin' awesome. Thanks for restoring my understanding of audio levels. I'm trying to not be sold on getting NEW tech if established tried and true practices are still valid. Now back to finding a nicely used Sound Devices field mixer. Cheers!

[@yash1152]

hey, i am not into audio recording. but the levels and storage etc are a thing of my interest. so, are there other floating point values as well? like say 24 bit floating or something?? anyways, awesome video. it's good to have ppl breaking the marketting hypes.

[@FilmmakerIQ]

Yes there is but they're not as well implemented

[@yash1152]

@@FilmmakerIQ thanks for answering

[@RagHelen]

Good video. Thanks for the singing.

[@sergiomartinez5946]

I'm noticing a lot if people having misconceptions of 32bit float as being a "set it and forget it" miracle working format. You still have to make sure you're capturing a good signal. If I'm filming an interview and the mic is 50 feet away from the subject 32 bit float will NOT fix that.

[@gtrdrumsplayerduarte]

The most important stuff is noise floor from every component.

[@TiagrajI]

I can hear the neighbours doing aeronautic stuff at midnight and they mix spaghetti as well at that time 😂

[@ATTACKofthe6STRINGS]

Awesome video. I have a sound devices mixpre 3 I because 32 let’s me be absolutely lazy with my levels. As a solo guy who wanted a recorder for the choir concerts I participate in, often not having time to set levels as I’m doing all of this while preparing to perform as well, the piece of mind of knowing I “can’t” vet the levels wrong is what I was paying for. But, it is also nice to know that I don’t need 32 bit audio outside of that situation, since I’ll be able to set levels correctly and I can always learn better techniques to improve. I love your content!

[@FilmmakerIQ]

You won't have any issues with 24 bit and a choir if you set your levels the way I described. I've done it many times

[@ATTACKofthe6STRINGS]

@@FilmmakerIQ Oh I don’t doubt you one bit! The examples you gave and points you brought leave me with nothing to say besides “you’re right”. I’m honestly just personally acknowledging both the ignorance tax and ADHD tax I pay to avoid stressing myself into the aether, lol To the first point: when I first decided to record my choir concerts, I just didn’t know the things you taught me in this video. I was learning about 32-bit recording as I was making the decision about which recorder I wanted to buy. If I’d have known what showed here there’s s chance I would have made a better decision, or at least made the same one in a more informed way. That said, the reason I ended up going with 32-bit recorders was actually just to avoid stress. I knew I’d have to set up my equipment on my one time, on the day of my performance, in between whatever dress rehearsals or call times I had. I might not even get time to properly set anything up. With my ADHD diagnoses last year, and my previous experiences with high stress, fast-paced environments, I’m not sure I would have been able to commit to learning how to record location sound with a field recorder without the massively overengineered safety buffer of 32-bit recording. I was essentially about to learn to do it on my own without any mentors or guidance. The decision of which recorder to buy was, itself, a stressful experience because my brain was already running ahead to how I would feel if I failed to capture the moments I wanted to capture because I was just going through the learning process. Now that I know what you’ve taught me, I’ll be better informed if I need to make another purchase in the future, but I also know I have to pay the ADHD tax somewhere. Either I medicate (been working with a psychiatrist, and it’s been going well!) Or, I force my ADHD brain to slow down, which leads to me taking a much longer time to do something normal people do to avoid missing things normal people wouldn’t miss. Or, I just avoid the problem altogether with 32-bit recording. It doesn’t matter what I do, how much I learn, or how well I prepare, I almost always mess up something moderately important up, no natter how many times I’ve prepared and practiced. While I know now I never needed 32-bit, I paid the price for the piece of mind that there is nothing I can do to mess up the most important part of what I want to record. Thank you so much for putting out such amazing content! EDIT: fixed a typo

[@forbiddenera]

Two things I never see discussed with 32fp either is floating point precision errors, which I'm keenly aware of as a developer. Sure, you can represent a huge range of numbers but you can't represent every number in that range and the farther you get away from 0, the larger the gap between numbers. Try doing 0.1 + 0.2 in any fp32 representation, it doesn't equal 0.3 as you'd expect because fp32 can't represent 0.3, only 0.299999 or something ❤ as you say in your description, there's still only 4 billion values it can represent between that bajillion range actually a bit less because of the sign bit. The second is the precision of steps between different bit depths, eg how dBFS is mapped to dynamic range. There's no reason 16-bit audio couldn't represent 65536dB of dynamic range, if the step size between volume differences was 1dB; 16 bit with 96dB range has a 0.00024dB step difference, 24bit at 144dB range has a 0.0000014dB step difference, although that's partly because dB is log.

[@EquatorialVillager]

I think 32bit float is a tool. Just like autofocus is for cameras. Having it doesn't mean you get to ignore fundamentals and not having it doesn't mean you're severely limited. Eventually, most recorders will have it (32 bit float) and then we can go bicker about the next new feature someone dreams up. The most important takeaway from this video IMHO is for a new buyer trying to quantify how much benefit that single feature is worth today. If they are choosing from many of the latest options from Zoom, Sound devices, they may already have 32-bit float recording. If the previous/older/used model is available for significant $ less then that may be something worth looking at (depending on the other feature differences).

[@FilmmakerIQ]

I don't know if it will become universal because it seems to require additional hardware (a second ADC).

[@june5646]

I suppose he is going to say dont use 384khz next lol

[@FilmmakerIQ]

You can go back and watch my vids on sample rate...

[@qumaroshabbas7734]

Hey John I loved this I have recently started field recording for films and I had similar questions regarding 32 bit float I loved your feed and I agree to all of it

[@TheUglyGnome]

Answer: Because limitations of your analog circuit (mic preamp) becomes the problem even before the limitations of 24-bit digital audio.

[@FilmmakerIQ]

That's why they put more than one in there! Because you need two.

[@18thAvenuePodcast]

Thank you so much for this video! I’ve sub to your channel. I need to learn whatever you are willing to share about audio recordings! I am new to filmmaking, but been playing with cameras for a decade now, just never took audio serious until I decided to turn professional. So I am hear to learn. Love the video. I can tell what I have for gears if you had like!

[@nhwine]

Brilliant! Excellent explanation.

[@tenchudjmusic]

using amps at operating point is just better. That's what i learned in school, that's what i measured in the lab. I wrote 25 Pages about that 20years ago. 32bit will get standard for midlevel workhorse stuff, and gain riding will be done automatically by some ML-network.

[@briansotodo]

Thank you for this. Very helpful 👌

[@monty671]

Thanks for laying out the logic of this arguement.

[@Goat.Herder]

I find 32 bit float brilliant for my nature sound recordings. The problem with 24bit and quiet sounds is that if you raise the gain, you raise the noise, which doesn't happen with 32bit. In regards to clipping with 32bit, it can still happen if the sound is louder than your mics max SPL.

[@FilmmakerIQ]

That's not how it works. You raise the gain in 32 bit, you also raise the noise. Noise is forever present.

[@Goat.Herder]

@@FilmmakerIQ Set your levels incorrectly on a 24bit system and then fix them in post, now increase your levels more and the noise will seem worse because it's louder. Now do the same with 32bit and the noise remains the same.

[@FilmmakerIQ]

That's literally not how it works.... noise is noise - it's always present. I can't quantify what you're doing or even how you're describing it because I doubt you know what you're doing with sound. But I always record 24bit with a -20db headroom and boost in post - and I have no issues with noise.

[@landonp629]

@@FilmmakerIQ I'm no audio engineer, but Curtis Judd did a great video on 32-bit floating point (kzbin.info/www/bejne/inmoc4KXZbqIgNE) that I'd recommend checking out. Is 32-bit some magic noise reduction machine? No. Is it magic? No. However, it does stand as proven fact - as Curtis shows in that video before our eyes and ears - that improperly recording audio fairs MUCH better in 32-bit than 24-bit. If your levels are too low, and you boost that in post - you WILL be boosting whatever noise floor is there as well. It's just common sense. On the other hand, if you clip the audio in 24-bit - there is no saving it - period. Now you could use the argument - just shoot the audio perfect the first time and problem solved. And you'd be right on that. However, it is not always possible to catch every little issue, especially if you are a one-man camera and audio guy like me. But beyond any of this the real question is: WHY NOT record in 32-bit float? You say you don't NEED it - and that is true enough. You also don't NEED 4K video or RAW video, you don't NEED a calibrated studio display when doing color accurate work, etc. There are many things you don't NEED - but having those really doesn't seem like a crutch to me. I'd much rather have a larger 32-bit float recording that I can fix if I really need to, instead of having to call an actor back in for ADR to record something that clipped slightly in one spot. A real world personal example of this happened to me just a few weeks ago. Shooting a short film, and we had shot the take seven times and finally got the best version - one that we knew we couldn't possible get again. However, the boom op was a little too far away from the talent on that take - and the level was really really low in post. With my 32-bit audio I simply brought up the level, and problem solved.

[@FilmmakerIQ]

I've seen Curtis's video and I don't think there's anything in there that differs with ANYTHING I said. Absolutely nothing. But your comment contains a serious lack of understanding of how audio works. Your real world example demonstrates it in spades - your level was really really low... you raised it. You could have done that just as easily in 24 bit and gotten the EXACT SAME RESULTS... because the first 24bits of 32 bit float... is 24 bit!!! - the ONLY advantage 32bit is going beyond those first 24 bits... which is clipping... Yes, you can clip 24 bit, but if you set levels properly with -20dB of headroom (which to the inexperienced will look like setting the audio too low) clipping is virtually a none-issue. Yes it raises the noise floor but in terms of "quantization noise" but it's negligible (24bit already affords like 90 dB of range - even if you boost audio by 30 dB - the quantization noise won't be any louder than generic background noise) And in terms of "ambient noise" (noise that's in the room as you record it) - the bit depth contributes absolutely nothing to it. Lastly, I'm so tired of the "you can't do it as a "one-man camera and audio guy" - DID YOU EVEN WATCH THE VIDEO???? I've been one man camera and audio guy for 20 years... I do it literally everyday. I'm literally handing you the secret to never clip and your response is - well just spend money and consume the latest product...

[@Veptis]

My experience with shopping audio equipment is that as soon as you settle on one item, be it headphones, microphones, interfaces, recorders whatever. Reading or watching more than 3 reviews you will always find some good reason to change your decision and in the end - i give up. But yes, I don't want to buy a 7 year old Zoom H6 anymore. I want something new with 32bir float capability. Which also would make the main issues with the H4 invalid (no physical gain dials)

[@FilmmakerIQ]

Solution, stop reading reviews! I've grown absolutely sick of the review culture partly because it is so incestuously linked to marketing. Most reviews are just some light experience with the product by someone who didn't have to pay for it. Using the gear you actually pay for over and over again for years is a totally different experience

[@Veptis]

@@FilmmakerIQ the solution for me ended up not buying any new audio equipment. I have to base my purchase decision on something, and I don't want it to be marketing. Headphones are strongly subjective, so I won't buy any which I haven't tried. But interfaces or recorders are more than just comparing specs between models and vendors. If reviews aren't trustworthy, comparisons should be. And if I base my purchase decisions on someone's long time experience - that's perhaps more biased as someone spending a bit of time with a handful of devices. The perfect mentor rarely exists.

[@EduardoRohdeEras]

Great video, great content. Thanks!

[@epambos]

Excellent and informative video! But float point audio IS a saviour, the price is worth saving clipped audio due to a mishappening. 😊

[@FilmmakerIQ]

I haven't clipped anything in years. So how is the price worth it?

[@migssotto]

@@FilmmakerIQ probably not worth it for you, but you can’t speak for everyone else and say clipped audio can’t/doesn’t happen occasionally. Sure it’s very rare in professional settings but mistakes aren’t impossible. So it’s nice to have a safety net :)

[@FilmmakerIQ]

24 bit IS the safety net.

[@epambos]

I am referring exactly to the rare occurances where someone mis-sets the gain setting! This stops being an issue...

[@FilmmakerIQ]

I get it but unless you're working with people with no clue what they're doing and you can't given them a basic instruction, that's buying insurance for a meteorite strike.

[@krazygyal]

I record interviews at music festivals and after concerts very often with a handheld mic. Most of the time I have to cut out my own voice because I talk too close to the mic unconsciously or the artist suddenly starts singing much louder than when he just speaks 😂 As I currently use a mic plugged in my phone, I was considering upgrading to a zoom h6 but now that I found out about 32-bit float recording I really hesitate. I never or very rarely record in treated environment and there is always (unexpected) noise in festivals.

[@FilmmakerIQ]

People have been recording handheld mics at festivals long before 32 bit float... The H6 is fine, just gain down so that when you speak really close it doesn't go above -20db. Then boost it in post. If you do go 32 bit route you won't be able to gain at all and then you'll just have to cut the loud parts in post.

[@krazygyal]

@@FilmmakerIQ I know that but I occasionally have sound clipping because I have no idea about how loud artists are going to get when they gonna start singing and I don't ask them to sing, sometimes they just do to illustrate their statements. When the organizers say you have ten minutes to do the interview because other people are waiting those ten minutes include setting up your gear introducing yourself and doing the interview lol. It's not like a planned recording session and I don't feel like saying: Please, stop, we're going to shoot that part over again it loses spontaneity. So the F3 looks like a nice option for me as it is portable, and in case one part of my recording is clipping I can always fix it. I am glad to know some people never ever struggle with audio clipping, but it is not my case. It happens to me sometimes.

[@FilmmakerIQ]

GAIN DOWN! (And employ limiter) Peaks at -25dB if your want. Experience will guide you, if you're noticing they're mumbling during a sound check, aim your peaks lower than -25dB. You saw me scream at the mic in my demo and not clip with talking at -20dB. The only way to clip is I'd they eat the mic, and at some point you have to just accept that's the resulting sound.

[@diplomatfromspace]

Heard That...!!!!!! 20bd headroom and limiter activated!!!

[@Railfandepot]

From an old radio guy. 100% dead-on.

[@frubo_ssg]

GREAT video. Thanks.

[@robfriedrich2822]

What do you think about sampling frequency about 96 kHz?

[@FilmmakerIQ]

Used to do it... But not so much anymore. The previous video talked about sample rate. 96khz gives lots for filtering out ultrasonic noise, but 48 khz is plenty fine for most recordings.

[@curlyhead4545]

if I'm not mistaken you could raise the level of your whispers to match the saw with no distortion if you recorded in 32-bit FP.

[@FilmmakerIQ]

You are mistaken. None of the recorders I own are capable of 32bit float (you can see the format on screens themselves). Edit: I misunderstood you... Yes you could with 32 bit FP.... But it wouldn't be any better than 24bit. I mean it really is 24 bit with an exponent.

[@marlonmartins82]

the question is, if we raise the whisper part to -6db , show much the noise floor would be 24b vs 32b?

[@2by3]

@@marlonmartins82 no audio equipment reaches even the 24bit -144dB noise floor. Max achievable is around -125dB.

[@FilmmakerIQ]

I don't know exactly where the electronic noise floor (quantization noise) would be, but the ambient room noise (computer fans and neighbors spraying something) is already crowding that whisper. No bit depth will alter that relationship.

[@TomKaszuba]

I like your style.

[@Lesterandsons]

What about 64 float bits in software... It seems best adc are limited to 21 clean bits (linearity, noise and distortion free). I suppose 3 remaining bits are noise plus distortion. I suppose mic and preamp don't go so low.

[@FilmmakerIQ]

64 bit float isn't a thing in this application as 32 bit float is already overkill. To accomplish 32 bit float, they actually link up 2 ADCs.

[@Lesterandsons]

@@FilmmakerIQ I understand, 64 is used in software to avoid dégradations to signal. I suppose we are limited by thermal noise components now. We need 0 kelvins to improve quality 😊

[@toddcamnyc]

My question is: if 32 bit float has 1500 dB of dynamic range, why not offer a different version of 32 bit float where instead of each division of loudness being twice as loud as the last one, maybe chop it into smaller divisions like 10% louder? You’d still have 150 dB of range, but with finer, more accurate sampling.

[@FilmmakerIQ]

The 1500 dB is sort of marketing nonsense... It's not really a thing. But the heart of your question is - you're getting at what the opposite of what a compressor does. It basically changes the ratio of what the actual readings are with what is recorded. insead of a compressor - you're looking at an "expander". The problem is now you have an audio recording that you would need to AUTOMATICALLY compress to counteract that expander - everything would be way too loud if you drop it into an editor. Bu that's just a waste of processing power... Which brings us into audio sampling theory. The problem is a lot of people think of audio sampling like video resolution sampling - the higher the resolution the smoother the final result. But that's forgetting that there's digital to analog conversion happening when you play sound out of your computer. There are no stair steps when the audio is recreated in the speakers - the sound you hear is smooth analog waves. Audio isn't pixels, it's closer to vector points because they define actual physical movement in space. So increasing the sampling detail beyond even 16 bit would yield almost no benefit at all... except improving what's called "quantization noise". That's the noise generated by the error between the actual value of what's being recorded and what that value gets "quantized" at. With 16bit that noise is -96dB - with 24bit it's -144dB - which is softer than the noise of the electronics involved. So in summary - by expanding the audio - you're not actually getting more accuracy (there's a story about how 32 bit float isn't more _accurate_ than 24 bit, just just has a bigger range - I didn't understand that as well when I made this video), you're just putting a lot more empty values between sampling points... and with 24 bit you already have enough accuracy that the noise is below that of even the internal electronics. In a pithy conclusion - you actually don't want to be anywhere near something that has a 150dB swing of sound pressure... Most microphones don't go above 120dB SPL.

[@toddcamnyc]

@@FilmmakerIQ now you’ve got me thinking. My Zoom F6 recordings sound fantastic. I guess there’s no need to “improve” on what already works. I recently recorded a parade and someone blasted off a confetti canon 5 feet from my mic. No clipping!

[@FilmmakerIQ]

Yeah the Zoom F series is just fantastic. That's really why I felt I needed to make this video - you can already do so much with what's already out there.

[@shawn-singh]

Actually, I had the same question when I was learning about bit depths and decibels, and I finally understood that the idea of "increased dynamic range" and "increased resolution" are actually the same thing. We usually think of dynamic range as the range between quiet and loud. So we naturally talk about the range between the loudest and quietest meaningful sound that we want to hear, but we can also talk about the strength of the meaningful signal compared to how quiet the errors are - it's the same loud vs quiet concept. Noise floor is exactly caused by the error between digital samples and the intended original analog signal. And you can think of noise floor as unintended audio signal that has some level relative to the meaningful audio signal. So saying that 24-bit has a dynamic range of -140 dBFS is saying that you have less error, i.e. more resolution, than a noise floor at -96 dBFS. The idea of "increasing resolution within a limited dynamic range" isn't really mathematically a thing at all. I hope this makes sense!

[@MrJemabaris]

Love this!

[@bennettwilliams_]

Proper gain staging, 24 bit, nice analog preamps and limiters, you won’t clip

[@jefgirdler7232]

Animated sing-screaming John Hess is best John Hess

[@fabienbourgeais1573]

Yep !

[@michaelmourek3879]

Funny - I want to record a Motorcycle - up close - the dB level is off the chart.. You can't do IT - I can WOW

[@FilmmakerIQ]

Turn your gain down.... Why is that concept so hard to comprehend?

[@michaelmourek3879]

@@FilmmakerIQ Funny - louder is better - 32 bit float - no distortion

[@FilmmakerIQ]

Turn it up in post... why is this concept so difficult?

[@michaelmourek3879]

@@FilmmakerIQ FU - I am recording outside your range - for all the animals - you can't hear it. My dog and cat love it

[@michaelmourek3879]

@@FilmmakerIQ I am recording for Tigers, Lions, and Bears - my dog loves my music. You can't hear a dog whistle- my dog is coming. FU

[@waterknot1]

dBfs is not power it is voltage. dBspl has no direct correlation to dBfs. Doubling of voltage and doubling of power are different relationships.

[@FilmmakerIQ]

dBFS is not voltage, it's a digital scale with the clipping point at 0dB. There is a direct correlation between dBSPL and dBFS (even though dBFS is relative to the clipping point and dBSPL is grounded in a real world sound pressure value), it may not be a direct 1:1 (I imagine it can be any ratio) but there IS a direct correlation ( I means that's the definition of recording audio... Recording changes in sound pressure)

[@waterknot1]

@@FilmmakerIQ Yes, I misspoke regarding correlation, but dBFS is the digital scale which is derived from a voltage dBu. dBSPL is dependent on the on the Power system. Doubling of power is 6dB, Doubling of Voltage is a 3dB. Doubling of voltage is in fact quadrupling power. The problem of SPL is dependent on actual power and efficiency of the monitor system. So the relationship is actually arbitrary. While you can calibrate a monitor system to have a direct relationship between dBFS and dBSPL, that correlation will not be the same for every system. You cannot derive dBSPL directly from a dBFS value without first knowing the details of the power delivery system.

[@FilmmakerIQ]

I agree, but I'm not sure what your complaint was in the beginning... I'm not deriving dBSPL, but using dBSPL to create real world analogies in terms of range

[@waterknot1]

@@FilmmakerIQ Not a complaint so much as attempting to clarify. The presentation on Decibels could lead people to believe that the math always works the same no matter to what you are referring. I know that is not your intention.✌🏻

[@brothertheo2677]

This audiophile appreciates your efforts. These guys embracing 32-bit float, how good is their mics? I am reminded of the people who buy $10,000 speakers and place them in a room with terrible acoustics.

[@michaelmourek3879]

Recording a Harley Motorcycle - you will wind up with distortion- at 32 float - no distortion

[@FilmmakerIQ]

Turn your gain down....

[@michaelmourek3879]

@@FilmmakerIQ Funny - Kid Rock and Ted Nugget are coming to PCB. Florida next week - it is Bike Week with very LOUD Motorcycles- no distortion with my Tascam X8 - good TEST

[@gummoman]

Men, you buy me a 32 bit floating. 😀👌🔊💥

[@schitlipz]

John, this is neurotic insanity. The obsession with these sound details is weird. Thinking pragmatically is easier on the mind. Try this; if it sounds good, then it's good. Otherwise you're caught in the cause-and-effect chain from impulse to transducer and the electronics thereafter. As a technologist I'm telling you with authority to not be anxious about it. Perhaps I'm being a little facetious, but the "audio wars" don't make sense, man. Somebody must be pulling somebody's leg. It's gotta be like an industry joke or something. Hope you had a pleasant New Year. It was lame here. I might have heard a firecracker. It sounded like needles in my ears.

[@FilmmakerIQ]

Just trying to put some sense into the world...

[@schitlipz]

(My bad. I commented before I finished viewing. As usual, you show it as it is).

[@FilmmakerIQ]

Your initial reaction is how I feel about every audiophile video I've seen. But I wanted to steelman the argument.

[@aspiringmaster3209]

All I can say is that even if clipping is extremely, extremely rare, it can happen in 24 bit recording. 32 bit float eliminates it, especially if you follow your rules. Sure 99 times out of 100, if you are an experienced sound tech, you will not have clipping, but you cannot tell me that that one time that it's happened it wasn't cringe worthy. I would rather be safe. Also, because I am not as experienced as you are, I would prefer to be protected from my own ignorance. It reminds me of the time that I tried to get an old school DJ to move to computer from cd's. He wouldn't do it until he saw me DJ a show without having to run back to the system every 5 minutes about a year later. It saves time and energy, but if you have been using that energy for that many years, it is so second nature that it doesn't even feel like there is any wasted time. 32 bit float may only save a few seconds, but in a giant production, seconds can add up for everyone.

[@FilmmakerIQ]

Not 99 out of 100... It's 100 out of a 100. You can't follow my rules with 32bit as most those recorders eleminate setting gain. If you're not as "experienced" as you say, saving those precious seconds means nothing, it just means you continue wasting those seconds being bad at your job... Why, if you claim to be an "aspiring master", are you so afraid to learn the craft? Edit one last thing... If you think saving seconds on a "big production" is a thing... That just means you don't know how big productions operate. The working joke is "hurry up and wait"

[@michaelmourek3879]

Music recording need HOTTER - with a very clean pre amps like with the Tascam x8

[@focuspulling]

Ugh, another click-bait title. The technology is extremely cheap now; this is like ranting about 720p being good enough resolution, and that some 720p content looks better than 1080p content because of the way it was shot. Obvio! Folks, just upgrade to 32-bit float as soon as possible, as soon as you can afford it. Case closed.

[@FilmmakerIQ]

watch the video.... it's toasted!

[@focuspulling]

@@FilmmakerIQ change the headline - how to properly engineer a recording is a totally separate topic

[@FilmmakerIQ]

No, the title is exactly what I'm talking about.

[@adamlane6453]

@@FilmmakerIQ B-b-but, aren't they *all* toasted?

[@FilmmakerIQ]

@Adam Lane Other videos are poison - mine is toasted.

[@michaelneal900]

32 bit float is like inserting imaginary audio. lol.

[@alonsocorralzamacona6004]

Nobody listen to this advice. It's outdated information and wrong. Google more about the subject, 32 float rec is the ultimate tool for noise and clip correction.

[@FilmmakerIQ]

#idiot

[@alonsocorralzamacona6004]

@@FilmmakerIQ I didn’t call anyone names, your work is valuable to the world. I’m actually an audio expert. Did Audio Engineering @berklee. I’m sorry if I offended you sir, I’m just stating facts.

[@FilmmakerIQ]

Your comment suggests you have no idea what you're talking about regarding the topic or my video. You just sound like a shill for manufacturers telling people to Google and read marketing materials. You haven't countered anything I said in this video. You have produced no evidence of having any expertise in audio if you're telling people to not bother setting levels because it's "outdated and wrong" Sorry but I'm also stating facts. #idiot

[@michaelmourek3879]

Louder CD's sell - so I boost the single

[@lorenzo4708]

I'm all for this argument when talking about recording mainly dialogue, because the human voice, as you have presented with your test, has a very predictable range. Sorry, but that "I haven't clipped in over 20 years" argument does not work when you go more in-depth on sound effect recordings made with very sensitive (or multiple) microphones, and piezos. Especially taking proximity effect into consideration when trying to capture rare and spontaneous performances out of braking glass, metal hits, train pass bys, fireworks, inside of car engines, waiting for a lion decide to roar with two hands on a boom pole and many other tasks where you can't physically manage the levels or predict the peak of the source. In other words, it's not always possible to properly "budget" the dynamic range in those cases. Have all of those items been recorded in 24bit? Yes. Ask any of those engineers and I'll bet even the most experienced ones have lost some valuable and unique takes due to unexpected clipping and they would definitely say that 32bit would be worth not having to go back in time or loosing fidelity with a de-clipper. You might say this is hypothetical but that is the target audience for the Sound Devices advertisement video, IMHO. And KZbinrs that have no idea of what they're doing nor do they care about sound (in Zoom's case). Yes, you should set your levels properly, but my point is, no one is perfect and no situation is set in stone. Using a tool because of the safety net it provides does not mean you don't know what you're doing and does not excuse you from learning the proper techniques as well. Just because a hammer works perfectly fine it doesn't mean you can't use a nail gun if you feel like it as long as you get the job done. I know, bad analogy. In the end, you'll only get one chance at recording that Nuclear explosion, so why not increase your odds of getting it right? Just my two cents... but who am I anyway? Maybe I just don't know how to set my levels, or I'm butthurt because you did not validate my new purchase. lol, it's late.

[@elephantgrass631]

💯 like you said, it’s risk reduction. And if reducing risk means that you have one less thing to worry which will improve your performance of capture, then use it. Using 24 but instead of 32bit float doesn’t make you the better audio recordist, it just inflates your ego. 32 Bit files also don’t destroy your CPU, require a server room of hard drives, and crazy hardware to process. There’s no better time to let go of one more thing in the solo capture process. 32 bit has proven we don’t need to go any high in bit depth now unless some weird 4D sound capture that would exponentially benefit us greatly were to present itself. Maybe In the future? Until then, there’s no need for 48 bit float after what is being discussed here.

[@FilmmakerIQ]

Ask any experienced engineer and I GUARANTEE they have NEVER clipped due to the technical limits of 24 bit. It's not that the human voice has a predictable range, it's that 24 bit has a range that a substantial portion of what's even physically possible. But the real proof is 32 bit float feature wasn't introduced on the top of the line audio devices first and trickled down to the cheaper devices. It was introduced on the lower end first. Because if you have experience, it solves no problem. And it doesn't reduce risk at all if you actually do some basic things.

[@elephantgrass631]

@@FilmmakerIQ And if you don’t have experience you should feel bad about using 32 bit? There are a lot of beginners out there who wished they had a Time Machine that could get that burnt take back while they were practicing. The fact that you could still burn a take sucks so eliminating that possibility helps. Sure it may be easy to most for setting levels, but for those that are starting out, 32bit is a great way to hone in while you get a safety net.

[@FilmmakerIQ]

Point me where in the video I said you should feel bad. Once you learn the simple basic technics, 32 bit float offers no benefit.

[@elephantgrass631]

@@FilmmakerIQ Let me guess, if you have to rely on 32 bit, you shouldn't be doing any audio recording right? "Ask any experienced engineer and I GUARANTEE they have NEVER clipped due to the technical limits of 24 bit." Good for them. I hope they feel better about themselves and can now slap the "pro" moniker on their participation trophy. 32 bit offers a safety net. A welcome one for more people who are starting out to get into this and/or just aren't as interested in audio but know that they have to capture it, knowing the chances of getting a burnt take are pretty much nil. We've finally hit the limit when it comes to audio capture. This is a good thing. Let it happen.

[@foljs5858]

"A problem I don't have and you don't have either if you follow these basic techniques". With 32bit float we won't have the problem even if we don't follow these techniques. That's the advantage. One less technical issue to worry about while being creative.

[@FilmmakerIQ]

That's not how it works. That's like saying you don't need to look through the viewfinder or monitor... One less technical thing to worry about... Being creative is about mastering the technical. It isn't one less thing to worry about because I don't worry about it.

[@foljs5858]

@@FilmmakerIQ "That's like saying you don't need to look through the viewfinder or monitor" Nope, because the latter is a creative action (you determinine the framing, lighting, etc). Whereas fiddling to find a suitable audio level because the recorder will clip is just a technical chore because of hardware limitation. Not something creative. By not looking through the viewfinder or monitor means you lose the choice of framing. Whereas by not fiddling with input levels and using 32bit you don't lose anything. "Being creative is about mastering the technical." No, being creative requires mastering the essential technical. The rest is what is called in engineering "accidental complexity" (useless work) as opposed to essential complexity that is required for the task. When something is not required anymore (because technology can do it as good) it stops being essential complexity, and becomes busywork. Note that this is not the same as setting e.g. focus manually, because that's an artistic choice (and you can't undo bad or unwanted autofocus results). Whereas not fiddling with audio levels and using 32bit you don't lose any artistic choice - just the busy work. So, given the availability of 32 FP setting manual levels is more like having to pull a lever to be able to take a new picture - something that made sense in the analog film camera where it rolled the film to the next position, but is useless now.

[@FilmmakerIQ]

Viewfinder isn't just a creative action. You're also checking exposure beyond just creatively adjusting the lighting. Monitoring audio also isn't JUST a technical chore - you're also listening for mic placement and making sure everything is sounding like it should. And in the process, you just set the levels. It takes 10 seconds. Quite literally the easiest thing you do when recording audio. If you consider essential diligence in the job of capturing video and audio "busy work" - then you really don't have enough mastery to be creative. Then I get it - 32 bit FP is for people who don't know what they're doing.

[@dolphinuppercut]

@@FilmmakerIQ I totally hear what you're saying, we would like everyone to be considerate of the technical components so that they can use those techniques in pursuit of quality or creativity, not only moving their own art forward, but pushing the limits of mastery within the community. The main argument of the video is also strong, that no one needs to feel pressured to spend this money if they only need to make small adjustments to their technique. I think we can all agree that we shouldn't be gatekeeping "creativity" with "mastery of technical knowledge." Obviously we don't need to be masters of any skillset to be creative, and the act of creativity itself lends itself the the growth of diverse skillsets. I know you're not trying to gatekeep, just reminding you to be sensitive to that as a leader within our artistic community. Mastery is subjective anyway. Another thing we can all agree on, 32-bit floating point is a tiny level of abstraction in the progression of audio technology and sound art. We can consider it to be one more tool to make sound art more ACCESSIBLE. Technically speaking, no one NEEDS things like non-linear editting (NLE) or DAWs to be creative, everyone is free to go back to reel-to-reel if that's fun for them. As a matter of fact, no one NEEDS recorded media at all. We can perform acoustically, and that's fantastic. Conversely, we agree, no one NEEDS to know how to perform acoustically, or how to do reel-to-reel to excel with NLE and DAWs. Would it be helpful to know those skills? Absolutely. Necessary for creativity? Obviously not. Just to quickly point out, small optimizations can make a considerable impact in cost, resources, and/or time in the big picture. 32-bit floating point can be considered one such small optimization. On a personal level, the more optimized a process becomes, the more time we have within our lifetimes to create ART. We have barely a concept of the future of technology, for all we know, some new technology may come out in the future that practically eliminates gain knobs, noise floors. When new tech is cheap and plentiful, all of our tutorials, all of our textbooks, they'll all be antiquated.

[@dolphinuppercut]

And also quick reminder for everyone, we DO in fact have existing technologies making camera monitoring (viewfinders) more optimized: Motion tracking (Ronin 4d), auto-focus, high dynamic range, 360º cameras, depth detection, and light field cameras (Lytros) are all examples of such tools that visual artists can choose to use. We can also be creative without using a viewfinder at all. One could pursue "the art of photography without using a viewfinder" as their chosen field, if that's fun for them. The statement "being creative is about mastering the technical," I don't think we really mean that. Being creative involves technique, but ultimately only relies on the act of creation.

[@Friedeggonheadchan]

This video definitely includes one of the best layman's explanations of what floating point numbers are, but there's one detail incorrect. A single precision (32-bit) IEEE 745 floating point value can *not* represent 3.4028235 × 10^38 possible values, but instead that is the _maximum range_ of a number. Like amount of bits in the name implies, the amount of _possible values_ is the same as 32-bit fixed point, roughly 4 billion (technically a less due to details in the standard but similar amount regardless). This is an important distinction since like the explanation... explains, the values themselves are logarithmically spaced along the number line, with the gaps between subsequent values increasing as the values themselves increase.

[@FilmmakerIQ]

Thank you! Added my error to the description

[@bricsuc]

@@FilmmakerIQ The timing of this error is unfortunate because it's so close to the beginning of the video. It distracted me for a while (a depressing side effect of having a computer science degree). The thing is that your message in the rest of the video is really important---emphasizing stuff like mic placement and testing. I mean, you wouldn't point your camera at the ground and expect it to shoot anything but the ground...

[@endokrin7897]

If you ask me, these manufacturers are hyping this up a BIT too much. 😁🤣👍

[@QuantumFirefly]

Okay, I'll byte. How much more?

[@Humcrush]

No thrashing or trashing, but I still think you unduly discount the benefit of one less thing to worry about. Removing one factor, gain, doesn't mean you automatically become lazy about every other aspect of capturing good location sound. In truth, it frees one to better focus on placement, etc. if one so chooses. As a director, something I try to install in co-workers is that mediocrity isn't evil. Mediocre is a good baseline platform from which to launch towards greatness, because when you fail, you only fall back to "good enough", not the whole way down to smacking the floor of unusable.

[@Humcrush]

PS. In video, extra bit-depth comes at a pretty steep file size cost, so there needs to be a pretty damn good reason to burn through the extra storage 12-bit or 16-bit would require over 10-bit. For audio, though, the file size difference between a 16-bit and 32-bit float recording is not really meaningful. Which is to say, there's not really much reason to NOT capture 32-bit float if your recorder offers it.

[@FilmmakerIQ]

I clearly don't see it as "freeing" at all. I don't see how turning a knob slightly takes attention away from placing a mic -it's all part of the same package of doing the job. That you would suggest that it does feels like you're advocating laziness. It's not just mediocre, it's you don't care. But the merchants will gladly take your credit card number to tell you otherwise.

[@Humcrush]

@@FilmmakerIQ Sure I care about getting good audio, but I also have to get a good image and most importantly I have to get a good performance. I rely on a tripod to keep my camera steady...is that lazy? If a 32-bit recorder allows me to devote even 0.5% more of my brainpower on the day to an actor instead of a piece of gear, then that's a win.

[@FilmmakerIQ]

False assumptions and analogies. IF your recorder allows it - I'm not saying you shouldn't use it - said so in the video. But I don't see it deriving any benefit or freeing at all and I certainly don't see it as justification to spend the money if you don't have to. But really, 0.5% more brainpower to turn a knob? I'm sorry but that's not a win, that's just making up bullshit excuses.

[@Humcrush]

@@FilmmakerIQ You say "I'm not saying people shouldn't use it", but then you're implying they are lazy if they take advantage of it. You seem to be drawing a false equivalency between not caring about managing gain, and not caring about final audio quality. Those two things are only connected because of a technical limitation in a previous generation of equipment. I used to have to care about how film was processed in order to care about color. Now I don't. Does that mean I don't care a lot about the color of my films?

[@DaveTexas]

Man, things have REALLY changed since the days when I was using a Nagra tape deck to record location sound…

[@trav3ls]

As always, absolutely fantastic. Sounds fine. There is also a point that no microphone, no analog-to-digital-converter is able to capture dynamic range corresponding with bit depth higher than 24. Also as a computer scientist, I would like to point out, that 32-bit float actually can represent same number of distinct bit combinations as 32-bit fixed point. Or actually less distinct numbers, because there are multiple ways of representing i.e. 0 (with mantissa of 0, your exponen and sign bits don't carry information about different real numbers). There is wider range of numbers, but 32-bit fixed number can represent ALL the mathematically possible integers within its range, 32-bit float can't. You have only so many bits in your mantissa after all - increasing your exponent does not increase accuracy of your mantissa. Therefore: 32 bit float has actually FEWER possible values. (only: wider range of those values).

[@FilmmakerIQ]

You are correct about 32 bit float! In regards to how no ADC is capable of the range of 24 bit... That's why they use TWO ADCs for 32 bit float :D

[@Vlachos91]

In 24 bit when you record at lower levels, the signal over noise ratio isn't as good. This is really easy to test : Record a constant sound that doesn't change (fan, 1000hz from a phone...). Set the gain so it peaks just below 0 dBFS then stop the sound and keep recordind for a couple seconds. Then repeat the process with the gain set much lower (let's say -40dBFS). Finally, boost the second recording so the level of the recorded sound matches the first one, and then compare the "silent" portions. Results : the noise is much louder when the gain is set lower.

[@FilmmakerIQ]

40dB is pretty significant drop but even then you still have about 80dB till you get to the true bit depth noise floor. In my video experiments with the buzz saw I only went up 30dB get the whisper audible. You're suggesting baking peaks 10x softer than my whisper. But you're going to be swimming in ambient noise long before you get to quantization noise. I doubt your experiment would be able to distinguish that... Still the point I make stands, set your gain lower than you think with peaks around -20dB

[@Vlachos91]

@@FilmmakerIQ I ran the test again with 4 different recodings : Just below 0 dBFS, -10 dBFS, -20 and -30. 0 dB file : -71.1 dB RMS Noise floor -10 dB file : -70.6 dB RMS Noise floor -20 dB file : -69.9 dB RMS Noise floor -30 dB file : -67.4 dB RMS Noise floor This may not seem like a huge diffrence, but it is a very audible change. You can mosly hear the difference in the -20 and -30 dB files. Here's a link so you can listen : drive.google.com/drive/folders/1lDZluzcZgseekxGj2GYqH_NcOjXl8AK0?usp=sharing This test was done with a Presonus Quantum 2626. Results may vary depending on your audio interface/recorder. I might run the test again when I receive the Zoom F6 and compare 24 bit with 32 bit float.

[@FilmmakerIQ]

I don't see or hear any audible difference in your files - between -67.4dB and -71.1dB - less than 4dB difference of already nothingness? Plus - there's no way of verifying your precision in measurements. Those minor changes could be anything...

[@Vlachos91]

@@FilmmakerIQ There is a very clear and audible difference. If you can't hear it, this might be where your flawed opinion stems from. I could repeat the test multiple times, the results would be the same, as long as the room tone, mic position and level of the sound source doesn't change. In this test I made sure the only changing parameter was the gain setting. This added noise is pretty easy to deal with in post for spoken word but is still not ideal. Where it is the most detremental I think, is for field recording : A de-noiser will attenuate the noise induced by the recoding device, but will also reduce the ambiant noise (that you actually want to keep). This is why 32 Bit float can be useful. It is true that in most cases it doesn't offer a clear benefit. But there are times where it really does.

[@FilmmakerIQ]

Okay it took me a while get where you're going with this. But you're numbers aren't lying. 3dB down at the -67dB after you've already gain boosted it 30 dB... That's close to rounding errors. And my recommendation of 20dB leaves you calculation at 1 dB loss... Nah that's not credible. I don't hear a difference and given sound's proclivity to bias, I'm better you really could tell if I blinded you and recorded my version of the test. I think you've made more a case for how strong 24 bit already is.

[@noisetheorem]

I remember when 24 bit came along and everyone said we didn’t need to worry about setting levels. Now it’s 32 bit float. Guess what? We’ll still need to worry about setting levels properly. If you don’t, you’re hurting every process after recording.

[@FilmmakerIQ]

Well with 32bit float, they make it harder to set levels. On the F6 the dials stop working and you have to go into the menus to adjust things!!

[@jonasschloegl]

Honestly... I'm not really interessted in audiorecording but this video was really interesting, and now I'm questioning my self. Thanks for this really cool 24 minutes

[@Calculon559]

32-bit float is absolutely essential for audio editing thinks to the basically infinite noise floor, but yeah, for recording purposes it's nice to have but 24-bit is enough as long as you know what you're doing.

[@mlem567]

huh this technology should be great for my asmr metal headbanger channel

[@EvilErwin23]

I'm not an expert, but for me the 32 bit floating point recording sounds for me like they solved a problem no one had with a solution thats basicly "to take a sledgehammer to crack a nut". Next they invent a new "Ultra-RAW"-Image format for cameras and say: "Look, with this you don't need to set the aperture anymore. You shoot and set the brightness of the picture in post-production. And now you don't have to worry about any random flash of light anymore."

[@ginglyst]

a new "Ultra-RAW" image format isn't required. Even with today's RAW format you can ignore exposure settings and still get the same results in post. Two prerequisites though: as long as you expose within the dynamic range of the image sensor and if you have the imagesensor characteristics data (obtaining that information is not so straight forward) So in real life it's just easier to set exposure correctly and tweak the RAW-files in post.

[@EvilErwin23]

@@ginglyst I was trying to make this point: With 32 bit floating point recording they replaced a work step you do before you record with a work step you do in post production. You gain the security that your recording doesn't clip but it would not clip in 99.99% of all cases if you do your first work step corectly.

[@FilmmakerIQ]

"ignore exposure settings and still get the same results in post" That's just flat out wrong and you explained why in your next sentence :P

[@ginglyst]

@@FilmmakerIQ oooh flat out wrong, you calling me out on that one?

[@FilmmakerIQ]

You called yourself out on it :P

[@pgmorrow]

I'm currently doing the dialogue edit on a travel show with audio that was apparently recorded on the cameras. No sound person was involved during the production. The limiters are getting slammed in almost every scene. It would would have been nice to have either an audio professional in the field, or technology that didn't depend on limiters.

[@FilmmakerIQ]

No technology prevents user error.

[@SliceoflifeVR]

@@FilmmakerIQ That makes absolutely no sense. 32 bit float would have prevented this users error (in this case they didnt set gain correctly during filming) The post production limiters wouldnt have even needed to be used. So yes, technology can prevent user error.

[@FilmmakerIQ]

​@@SliceoflifeVR there would just be another user error waiting to happen. Why are you so naive when it comes to technology?

[@SliceoflifeVR]

@@FilmmakerIQ The idea is to prevent the error from being recorded forever. Once it is recorded and clipped, there is no recovery from that error with 24 bit. With 32 bit, you can indeed recover from the initial error, as the information is still there. It is clearly superior to record in 32 bit float, as it prevents this error. As a "Run and gun" producer myself, 32 bit float is an invaluable asset to have in the field. In order to capture genuine interactions with people as they happen, you require the ability to hit record once, and not have to set the gain high or low on the fly depending on how loud the next random person is going to speak. Maybe one day when you are a more experienced filmmaker you will understand the importance of each of the tools technology provides us. Including the importance of 32 bit float.

[@mjaada]

You don't "NEED" to shoot in RAW either...

[@FilmmakerIQ]

You also don't "NEED" to watch the video or understand the concept to comment...

[@Sayphonik]

32 bit float is great because you dont have to worry as much about clipping a signal and allows you to do what you need in post production. This is most useful for really loud sounds, gunshots, sudden signal spikes, etc. When you have high budget shoots going on, it’s a pretty good safety net if location sound is going to be used in post production. Also would like to add that it can record extremely low noises as well so overall dynamics is just much more clear, which you can amplify in post production if needed.

[@FilmmakerIQ]

You really should watch the video... 32 bit isn't more clear than 24 bit. It's actually 24bit with overhead protection. Which is overkill anyways

[@MikhailNikonov-r7o]

​@@FilmmakerIQ , look at it this way: by setting your gain in expectation of very high possible signal, you're borrowing from your signal's resolution; you're sacrificing decibels from full dynamic range of your 24 bit recording to safeguard yourself against clipping, but at expense of dynamic range given to quieter sounds. Or, taking your test with loud and quiet sounds in a same take... Suppose you have a scream, which is, say, 110dB - and then you have a whisper which is, suppose, 20dB, you're recording in 24 bits and you're setting your gain so that your scream would be just shy of clipping. All good and well, and your 110dB scream will map onto 16777216 possible levels. But then, you record a whisper, which, by amplitude, is 90dB quieter, and the maximum amplitude of your whisper's curve will be mapped to sample with value of 16777216 / 31622 = 530. So, you have values 0 through 530 to represent your whole whisper - or, put differently, you're effectively recording your whisper as 9-bit audio (which, if you'll think of amplifying your whisper later, will give you the expected 9-bit quality and quantization noise floor). Granted, 32-bit float isn't a silver bullet, miracles don't exist, and - not even mentioning that it's harder to technically implement - it won't let you record loud and quiet sounds *simultaneously*, can't take recording of whisper overlapped by a kettle's whistling, then filter out the kettle and get your perfect whisper; won't work like that, 32-bit float is a way to represent bigger numbers, but not any more precise numbers compared to 24-bit - so, whisper on top of a huge sine wave will still be represented by the precious few trailing bits of mantissa. But if you record loud and quiet sound one after another, it pretty much lets you record them with same bit resolution, and it's a pretty neat trick in my book - not for all applications, but, say, for voiceover work, for audiobook narration when you could use a high quality whisper right after nice loud scream (without resorting to fake "quiet screaming", which never really feels natural).

[@FilmmakerIQ]

@@MikhailNikonov-r7o It's a mistake to think of sampling depth as "resolution". It doesn't work that way because audio is transformed from digital BACK into analog when you listen to it. So whether you dedicate one bit or 10 bits to describing a sine wave, the analog result is identical. Also a scream is not 110dB.

[@MikhailNikonov-r7o]

@@FilmmakerIQ , I'll agree that scream isn't probably 110dB, but that's beside the point, the numbers were taken just to illustrate the fact that by expecting very loud spikes of signal (and reserving your dynamic range for them) you inevitably sacrifice the amount of bits you use to represent quiet signals. About the resolution part, however, I'll have to disagree. ^^ When you transform audio from digital to analog, your conversion is subject to quantization error, which in essence defines your signal to quantization noise ratio (which is 20*log10(sqr(1.5)*2^b)). You may be thinking of 1-bit ADCs and audio streams, but don't let those fool you, those are entirely different things and convert sampling frequency into increased bit depth during conversion, so, speaking roughly, a PWM signal where amplitude is encoded into fill rate and not extra levels of digital signal. If 8-bit audio was able to produce signals identical to 16-bit (with phase correctness), we would've lived in an entirely different world today. ^^ Quantization noise is not something depending on conversion back to analog signal; quantization noise is created in the process of converting analog to digital representation, once you digitized the signal at given resolution, you're stuck with that SNR limit from that point on.

[@djp_video]

I might have missed it, but I don't think you even mentioned that even 24-bit exceeds the dynamic range of any real-world microphones out there. Going to 32-bit for recording is just wasting storage and processing power.

[@FilmmakerIQ]

I agree with the sentiment but the issue with that argument is recording levels are not tied to real world sound pressure levels. Also 32 bit float is actually very computationally efficient (it's from 1985 after all) and the space needed isn't really that much in the grand scheme of things. But you are right that 24bit already exceeds pretty much every other part of the audio equation. So much so that in order to derive benefit from 32 bit they have to link TWO digital to analog converters!! :D

[@CUTproductionsLtd]

Your scientific videos of filmmaking are great and entertaining and I've learnt a lot about exposure I never knew. I'd just like to point out that this particular video whilst obviously common sense and true, for recording of dialogue and music, perhaps misses one fundamental point of where and why 32bit float might be used in a professional context, no matter the skill, talent of the recordist and quality of the digital recorder. In recording SFX (or for scientific analytical recordings perhaps) you might want to record such a wide dynamic range, wider than our own even, as to make it almost impossible to cover that with compression, limiting or gain-staging even with 24bit: For example soft rain during a thunderstorm with terrific lightning. Any recording chain will of course still be limited ultimately by microphone and ADC DR but given sufficient SPL ability, padding and technology such as multiple analog-to-digital converters, you can record this huge DR, where 24bit might not without distortion and or noise. Obviously 32bit float in prosumer recorders, is intended to appeal to the non or semi professional recordist and professional recording will normally be with gain-staged 24bit, working to proper head room standards such as -18/20db, but the ultimate DR of the final medium (usually much lower than people assume, for our comfort and intelligibility, even with classical music) requires often neither and is not necessarily the only reason to use such techniques in the first place.

[@FilmmakerIQ]

That is such an edge use case that it's ludicrous to consider. You are talking about soft rain with an incredibly close lightning strike... Close enough to physically hurt you... For scientific analysis maybe (even then these recorders may not pass scientific muster), but not for anything with an aesthetic purpose. Those extremely rare edge cases are really not worth discussing. If you need it, then you know why you need it. But for the 99.9% of users, you accomplish the same thing with proper gain staging.

[@CUTproductionsLtd]

@@FilmmakerIQ Nonetheless this is one of the abilities of 32bit float recording as opposed to processing. I mentioned SFX recording and in brackets 'perhaps' scientific recording, which in truth is not my area. You don't need to be dangerously close to lightning for it to exceed the DR of 24bit - what is 'ludicrous' is to imply I was suggesting that. Your claim, in the title of your video, is 'You don't need 32 Float..." without qualification, such as, 'for indie fiction filmmaking', and having been a professional location sound recordist and dubbing mixer in film and TV, I'm saying you are not right, in all cases and I know of professional sound designers and SFX recordists, who are using 32bit float to record SFX for filmmaking, for the case reasons I exampled. Similarly, for example, there could be many unpredictable wide DR news, documentary and broadcast scenarios where 32bit float could be very useful and the ability to bring sound out afterwards that might be lost otherwise - not everybody is shooting controlled fiction, even indies. Already I would think this exceeds 0.1% use for 32bit float recording you suggest. You could say you don't need 24bit.... too, for your definition, which I could easily make a case for on your terms also, 16bit is fine - then we can dismiss any new innovations as unnecessary gimmicks because we don't own them. 32bit float is not just about not having to set levels because you are too lazy or don't know how. It's like saying you don't need to shoot in raw, you can shoot in Prores and expose properly, like professionals have done for years, which is equally true - new technology offers greater flexibility for both the amateur and professional - In the interests of full disclosure and due diligent research, I would of mentioned, if only in passing, that in your explanation, unless you have a clickbait reason for such a dogmatic position and title, then I understand.

[@FilmmakerIQ]

You still miss the point in that 24 is ALREADY the insurance against clipping in uncontroled situation. 24bit IS the RAW high dynamic range. As for the lightning strike, yes you do need to be dangerously close. Thunder in close proximity is 120dB, 24bit is capable of 144dB. But that also depends on how you gain the signal. My whole problem with the rain and thunder scenario (which others keep bringing up), is it's not realistic. You either want to record the rain or you record the thunder in close proximity. There's no real practical use where you want both in there full and original volumes. BTW you never shoot LOG in news or broadcast, because you don't have time for grading in turn around. So you'd stay in a broadcast color standard with limited DR. Anyhow, as for SFX guys, I'm sure that case use and situations where they ACTUALLY see benefit is probably less than 0.1% of the TOTAL use among all people of these recorders. As I said, if you really need it, you'll know why. Otherwise, you don't need it. That's not just click bait, that's from experience and understanding how this stuff works. 32 but float isn't innovation, it's marketing. I already own F8N and the 32bit float in the latest version would add nothing beyond what I'm doing with 24 bit. And I've only used it once in a controlled setting, every other use was a set and forget scenario capturing whatever people in front of the mics decide to do. Anyhow, I'm just repeating everything I said in the video, so if you want a better understanding of my position, watch the video with less bias, really listen to try to understand the argument.

[@ovi.1000]

Hi John, Great explanation! I'd expand a bit the kind of advantage for 32bit float. Your suggestion for 24bit recording, to lower the gain to -20dB to avoid clipping (then raise the gain in post) works perfectly with high fidelity equipment that has lower self noise. Using a not so good microphone or input device that it has higher self noise, setting from the beginning a higher input level to (-10dB to -6dB) it mitigates better the self-noise instead, it increases the risk of clipping. In my opinion, this kind of situation could take advantage of using 32bit float. Please, let me know if you agree with this.

[@FilmmakerIQ]

Nope. ;) Recording -20dB would also record the microphone's "self noise" down -20 dB. Anything coming from the mic will be completely unaffected in terms of noise. The recorder's own self noise would be the only thing at stake here. But even old beaten up recorders have EXTREMELY low noise especially if they are capable of recording 24 bit. If you purchase a recorder capable of 32 bit, it's going to be even lower than that. From a practical stand point, not worth thinking about. So you'd get practically zero benefit on the noise front recording 24 vs 32 bit front. All you're getting is clipping protection. 32bit just pushes the gain staging process to post instead of at the time of recording. You're going to have to turn down the signal when you see it clip with 32 instead of raising the signal with 24 bit and recording at -20dB. The ratio between recorded signal to noise stays the same in both scenarios.

[@ovi.1000]

Thanks for reply. You're right about self noise. I have Zoom H1N and I have to test it with less gain (as you said it) and no limiter instead. I found the limiter introducing noticeable noise. BTW, I discovered I have as well a device which records 32 bit FIXED Point - It is a GoPro9. I haven't yet tested how much self noise it has.

[@FilmmakerIQ]

I can't find any evidence that GoPro 9 shoots 32bit fixed. How did you find that out?

[@ovi.1000]

@@FilmmakerIQ Subject: "GoPro 9 shoots 32bit fixed" First, about setting from GoPro Hero-9 Black, user manual, p. 143: "Tech Specs: Protune / RAW AUDIO This setting creates a separate .wav file for your video, in addition to the standard .mp4 audio track. You can select the level of processing to apply to the RAW audio track. RAW Setting -> Off (default) No separate .wav file is created. RAW Setting -> Low: Applies minimal processing. Ideal if you want to apply audio processing in post-production." When I open the file in Audition, I can see: - Source Format: Waveform Audio 32-bit integer / That should be 32-bit fixed - Bit depth: 32 (float) / I suppose this is the processing format chosen by Audition to open and process the file, once it was accepted and recognized.

[@FilmmakerIQ]

Kind of annoying that the manual doesn't say... But I guess it makes sense to record 32bit on something that practially has no audio gain control - 32 bit float would be overkill (and require another ADC)

[@fluphybunny930]

24 is enough, 32 is better. You use the best that is available.

[@FilmmakerIQ]

Idiotic reasoning. If 24 is enough, why would 32 be better? You don't gain any advantage after "enough" because that's the definition of "enough"

[@JuanTheBone]

​@@FilmmakerIQ "I don't need it so neither should you!" Survivor ship bias much? At the end of the day people just have different strengths, maybe as a solo shooter you don't need this but it doesn't mean other can't greatly benefit from it. Yeah you should still learn proper technique blah blah, of course you should learn to properly expose your image but its pretty dumb to reject new technology with some advantages just cause current technology works good enough. 32bit offers advantages over 24, you need to give an argument as to WHY you shouldn't use it over 24. Like if we magically removed 24 recorders from the world what would we lose that 32 wouldn't be able to do. Would a world force to use 32 recorders be worse besides "people not learning things correctly like I did"?

[@FilmmakerIQ]

@@JuanTheBone that's not survivorship bias. I literally showed you a technique that can be learned in about 10 seconds that will prevent you from clipping using existing equipment that will produce 100% the desired outcome... But no I'm the bad guy, fork over your money for the brand new product because... I don't know.... You just want to be a b**** to consumerism?

[@nikhilchoudhary2137]

This video is so good

[@meck10101]

The problem is when you boost those dynamic changes (the quiet ones) you also boost the noise floor and the unwanted sounds so you should also consider getting a mic/recorder that can handle such quiet sounds without noise!

[@FilmmakerIQ]

24 bit's quantization noise floor is extremely low - you won't notice it at all if you follow the approach I laid out. Ambient noise floor is a function mic placement - no recorder will fix that.

[@stivosaurus]

Just wait until the audio nerds found out that 64 bit floats are a thing!

[@jorge.rubiales]

I work recording interviews that aren't staged nor scripted, and under no circumstance I can make a guest repeat an aswer. So I have to be on top of my game every second of the gig, and if something happens I would rather have those extra 10db for safety (I'm talking +10 because you're really working the limits of the microphone, not the converters anymore). Some people give you a false sense of security during soundcheck, and when they get emotional they start overmodulating their voices. Also, I wouldn't use a limiter on a recording of this kind, never. That just imposes your criteria over the post guys, and it will not be appreciated (you're basically choosing the recording dynamic range for them). Nice video though, and really for a lot of dialogue uses (specially if scripted or non-critical applications) 24-bit with decent enough preamps-cable-mics is more than enough to get clean recordings.

[@FilmmakerIQ]

My bread and butter are interviews and I guarantee you that 24bit is plenty if you practice the headroom I talked about. Nothing I shared is only for controlled environment. Essentially if you can't make 24 bit work it's because you're setting your levels way too hot. The limiter is only a last resort, if you're crossing 18db of headroom to actually engage the limiter it's probably not going to be a good take but at least you have something useable.

[@RJasonKlein]

This was very useful information for my newbie skill level, and presented in a detailed, yet easy to understand, way. Thank you!

[@sergiomartinez5946]

I just bought the Rode Wireless Pro because I needed a ecorder. I think for the price it's a good deal with everything it comes with and had timecode! One of the reasons I bought though is because it has 32bit float. I plan to do a lot of "one man band" recording. Though my strength is film I still am familiar with audio settings. When I record I plan to set audio levels correctly as I always do. However I'll be glad to have 32bit float for those uncertain times. I see this as a tool not a crutch. I'm hoping people understand this. That's one thing I think is a bit of a downside to technology getting better. While it makes things "idiot proof" it turns people into idiots because they don't understand the basics of whatever it is they are trying to do. Bad capture is bad capture even if you have 32 bit float. It's the same as people thinking you never have to have good lighting because youe camera is shooting in a RAW format. Your image will still look bad. Speaking of idiots, you've opened this one's eyes to how much dynamic range a typical 24bit recording can capture. Time to brush up on my audio technique. I want to add that tbe Rode Pro records 32bit Float to the unit itself. I'm connecting it to my camera and recording audio straight to my camera (which won't be 32bit float) which is why I would want to set levels correctly. I would only use the 32bit float recording from the units themselves only if I really screwed the pooch on my audio levels.

[@FilmmakerIQ]

I was under the impression that RODE GO II was 32bit float.. it is not. That was slightly misleading in their ads as it can convert to a 32bit file but not actually record at 32 bit. The Pro version can record at 32bit. Recording at 24bit is still useful. Most mics including the one on the Rode Go are only capable up to 120dB SPL. 24bit can cover 144dB... So the entire range of what that mic can do is already covered by 24 bit!

[@RavikantRai21490]

@@FilmmakerIQ So then John, this confuses me. Because if the clipping can happen right at the mic level, what even is the point of 32 bit float recorder with mics like that? And, assuming you have a mic that can do even better than that, you still hit the 144 db limitation of current mics, right? So....I still fail to see how 32 bit can "save" you in any scenario. This is kinda confusing to me even more now.

[@FilmmakerIQ]

That is right - you clip at the mic level, 32 bit float won't save you.

[@Da_Man_1221]

Man, I Love your videos because they work to move past people's instinctual understanding of how filmmaking works and then explain the reality of what's going on. The sale of "never set your levels again!" should really be, "Now you can chose when to set your levels!" The step of level setting hasn't been removed with 32bf; it's just made it more flexible. It also doesn't magically make the talents and knowledge of an audio engineer irrelevant. The properly positioned microphone planted in poinsettias pointed at the piccolo player playing perfectly will always be preferred over Fredrick farting at the far fringes of the foyer with faith that he'll the floating bits will bear a bountiful bouquet of beautiful recordings to be bequeathed to his buddies boldly on Facebook......pineapple. Good technique will carry you farther than any digital commodity.

[@sergiomartinez5946]

I agree. Marketing something as "idiot proof" only breeds more idiots.

[@elvisripley]

I deliver 32 bit a lot so it shows up in the editing software loud and all software has more range to lower audio level and not as much to raise it. A lot of faders go from +12 of gain and -60 to -♾ of cut. You can always boost with a compressor or gain plugin but it is nice to just turn it down a bit if needed.

[@sokolum]

Always thought every 3db doubles the output.

[@IDKOKIDK]

as far as signal, not as far as hearing. try it now, change the volume by 3db, it doesn't sound twice as loud or soft

[@FilmmakerIQ]

My mistake, 3dB is double the power - 6dB is double the amplitude (which means 4x the power)

[@mr88cet]

@@FilmmakerIQ, yes, so doubling the amplitude gives a 6dB increase in power. There appears to be (surprise surprise) several definitions of dB going around, whether they are defined as log10 of power ratio or log10 of amplitude ratio.

[@axelbouffier348]

In a nutshell, there is nothing more to add👍

[@John-e4p1x]

Youre right. But the 24 year olds from reddit in your comments will tell you differently.

[@FilmmakerIQ]

Hail Corporate as they used to say

[@John-e4p1x]

@@FilmmakerIQ Youre awesome. Was just watching your audio video from 7 years ago.

[@John-e4p1x]

@@FilmmakerIQ Though to be fair you almost convinced me 32 is good when you did your whisper and clip test... very cool! Still...

[@FilmmakerIQ]

That test was 24 bit...

[@John-e4p1x]

@@FilmmakerIQ Sorry I'm on set with Denis Villeneuve must have missed that part. Denis says Hi!

[@DanielHodotcom]

Thank you for this incredible presentation! I've been an audio engineer for decades and have been looking into portable recorders (enticed by the 32-bit float technology). You explain everything so clearly!

[@zwheels654]

This basically confirms my suspicion. Essentially, I have the same cushion using a -6db safety track and my recorder is almost 10 years old. But, it does everything I need it to for my productions. Why change it?

[@FilmmakerIQ]

Well -6dB isn't the same cushion as -20dB but if it works for what you're doing, keep doing it.

[@zwheels654]

@@FilmmakerIQ Agreed. That -6db is for the safety track, while I target my peaks on my main track for -12db. So that gives me almost a -20db pad but makes for a little less editing in post as the main levels are closer to what I'll actually be using them at.

[@helmanfrow]

This video sums up the remarks I leave in the comment section of every other video touting the marvels of 32-bit float. I suppose I could simply link to this video but I do so enjoy my pre-bedtime troll.

[@TheREAPERBlog]

oh hey! 👋

[@helmanfrow]

@@TheREAPERBlog Well, fancy meeting you here!