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Boss/Roland have been using 32bit float in the their effects pedals for at least 10 years

lower noise floor and no clipping, but you pay for that with audiofile sizes. prolly make sense for live music, especially something with very quite parts. for in the box edm stuff 44.1/16 is plenty enough

I love it when musicians talk about computer science. As usual the marketing department chose to misuse a technical term because it sounded cool not because it was accurate at all for what it was describing and thus "32 bit float" somehow became an "audiofile" buzzword...even though this is all about sampling and compression. The real issue is everything is optimized for MP3 and Mp4 and all the 32bit float formats are proprietary.

It's interesting that half a year after you posted this video, ZOOM released their essential series 32-bit recorders with NO gain controls. I jumped into 32-bit float (Tascam X8) because I'm a solo musician and record all my live sessions. I have enough to do without having to run a soundcheck and try to get optimum levels. 32-bit allows me to just hit record and not worry about if the recording is too loud or too soft. I was fine with 24-bit for years, but sometimes the levels weren't set well (I had to guess) and the recordings were way in the red, making them unusable. 32-bit gives me a usable recording as long as I don't overload the front end.

I am confused, just casually saying to normalize the audio like its nothing. Isn't normalization similar to compression? Its bringing up the quiet parts and bringing down peaks? Thats going to change the sound? If it didnt change the sound then it would just be gain and not called normalization.

Some equipment can do all formate with little bit off warm

Went going do new system 32 bit then 24bit further music

24bits louder then 32bit may be more head room shut push it to limit so try 32bits 96khz all way up same with 24bit

Great video. I'm going to say the problem with 32-bit is that we lack a device that can handle say - 12 channels. Presonus new interface has 8 channels at 32, which is great - but then I have a bottle neck with all my outboard ADAT gear. I felt if Presonus made two interfaces that you could mate for a total of 16 inputs at 32 bit float.

It is different

Equipment shut have opition to listen to it any formate 16 to 32 bit

2024 shut have all type up to the people if won't to listen to it

320 bits 32bit

DAWs use 32 bit internally anyway.

I am a professional classical violinist, but I also have a business doing live concert recordings of classical ensembles. On occasion, I end up recording a concert on which I also perform. When that happens, I can't just sit out in the venue during the dress rehearsal to work on levels. The best I can hope for is a few moments at the beginning of rehearsal where the conductor will have the orchestra play one of the louder sections of the concert while I frantically set levels. After rehearsal, I would then go home, listen back and make notes about what I needed to do differently for the concert the following night. Still, I always had that "did I leave the oven on" type of feeling on stage wondering if I got the gain staging right. After all, the dress rehearsal doesn't account for the audience clapping or the performers getting extra amped up for the concert. This is especially true of vocalists, who rarely sing in full voice during the dress rehearsal. The obvious solution, of course, would be to not record concerts on which I also perform, but then I would make half as much! Then, 32-bit float entered the picture. I replaced my Zoom F8 with the F8n Pro and have not had that feeling since. Turn it on, hit record and the levels are perfect every time. This also comes very much in handy when I am not performing. I no longer have any fear when accepting recording gigs on short notice. I can walk into a venue, spend all of my pre-concert time assessing the room and deciding on a stereo mic technique and not waste a single second worrying about gain staging. As for the sound quality, I have recorded, mixed and mastered nearly 100 live classical performances and I cannot hear even the slightest decrease in fidelity when using 32-bit float. If you hear a noise floor, it's your mic, simple as that. And Beethoven's Symphony no 9 with 100 voices is not loud enough to clip the inputs when mic'd properly. Just stop with all of the caveats. If you're not recording Falcon Heavy launches, then you are going to be fine. If you are skeptical about taking the leap, think of it this way. When I first started doing concert recordings I used a 8U rack with a 24-channel mixer bolted to the top and recorded everything on a Roland VSR-880 hard disk recorder. All of that functionality, and immensely more, is now packed into my little F8n Pro. Now, do you think I have any nostalgia for the good old days of pushing 100 pounds of equipment all around town? Hell no! And I won't miss worrying about gain staging when I only have one chance to get the recording right. I am an enthusiastic convert to 32-bit float and I will never go back.

I’ve always worked in 24 bit and I’ve never had a problem when I’m in the studio alone. BUT I often record people that have no to little experience speaking or singing into a microphone and I’ve had to do many takes over because someone thought when they suddenly scream they have to get closer to the mic to accentuate that -- and whoops ruined… I assume I should try working in 32 bit (considering to buy the SSL 12) to enable a 32 bit workflow…

Your killing me with that groove. You have demonstrated what everyone always says in these videos; what really matters is the performance' lol Great video man thanks!

You can hear the distortion on the back end of transients for 32-bit float. Specifically zero in on the snare and hat sounds. They aren’t as crisp. This is a known issue with the dual ADC that was only recently patched by Sound Devices. I have not seen any sort of fix from Zoom yet.

32 does sound a bit more dynamic (open)

Great explanation! It reminds me of the early days of digital stills photography (late 90s). As a co-chair of the Digital & Advances Imaging committee for the Professional Photographers of America we were introducing and teaching thousands of our members and non members about the new tech. Almost without exception, we heard “digital will never replace film”. As you said it was fear of the unknown new tech and workflow. Try to find a place to develop film now. As I transitioned into cinematography, the film and television industry went through the same “digital will never replace film” denials 10-12 years later. Some of it is protectionism and resistance to change as you said. Ten years from now only the die hard OGs will be clinging to their antiquated 24 bit recorders and looking for people to repair them.

Thx for the explanation. I mainly use the SD Mixpre6ii for voice. The levels are set in pre with the limiters activated in 24/48kHz. Saved a lot of processing time in post and a lot of HD-space. 32-bits came in handy when the sound of thunder and rain was needed and when I was filming on a construction site. Those situations were unique and it was handy to be better save than sorry. At that moment a time saver for shure.

I'd like to know more about your dual F6 12 channel recorder setup and what you think about the results.

i think 32bit float is great. the only concern i have is what some people pointed out; pushing work to post can disrupt existing workflows. i work in radio broadcast as an audio engineer, and the recent introduction of izotope RX and supertone clear made for some pretty grueling experiences where reporters asked me to fix their shitty reverbant (and sometimes clipped) field recordings, because they know we can do that, to an extend. if we had 32bit float some issues we have now wouldn't be there, but i feel like reporters would care even less about standards that make sense beyond the old tape noise floor logic. having the tools to fix things in post is nice but doing it right from the start is often very easy, especially if the workflows for it are long established. if i end up freelancing as a videographer again, i would probably consider using 32bit float, because i'm on my own and i save time by fixing it in post. at my job, there is no time to fix it in post because it's going on air in 5 minutes. different workflow :D

Could you please share your opinion which one have better talking sound? Btw XLR or USB?

When I record my acoustic guitar with the Zoom H4 essential (about 12" from the neck/body joint) and bring the Zoom file into Reaper, the signal level is so low I have to boost that channel to its max (+24db) to get peaks anywhere near 0db. Is this normal, Am I missing something?

your LINK : Links are affiliated to help support the channel. DOES NOT WORK !! Duuuh !

Great vid. Just bought a Zoom H6essential, and this one of the few pro-32bit Float essays out there. I embrace the future.

Thanks a ton for a short and detailed overview between the two cords. Exactly what I was looking for. Great job!

just picked this mic up over the blue yeti. blue yet was a great intro to mic's however i noticed it's not ideal for how close you need to be to get that "crisp" voice sound and i like the design of the mv7.... from what i understand XLR is to be used if you have a studio quality or in general good "preamp" or if you need to mix your audio between interfaces like discord or stream with music/game, I on the other hand just wanna sound good when I play games on my computer. The yeti for the longest time, friends tell me I'm "low" in the chat and I am not an audio guy and im not sure why these things can't and shouldn't just be "plug and play" hearing the mv7 out of the box and with the app is extremely user friendly and im exited to try it.

Hi Simon absolutely love your demo here on the amazing kms 105, it's an excellent in a live situation but what I have noticed is a strange fizzling sound when I bring up the level fader on my digital desk which is presonus 16:4:2, my powered speakers are the RCF 935a series, excellent but like I said putting on more level, what happens is a piercing frequency, not loud but the ears can feel it, can you you explain what's happening here, and what this feedback issue is thanks

great video, what camera are you using, it looks really nice, I am a beginner, so i do not know what camera is the best for making videos

Hello sir! What would you recommend to try if I connect headphones and only hear myself and not the computer audio? Even when I switch output settings to the MV7 headphones it doesn't outputs the sound out of the headphones. Any ideas? Thanks!

The Aliexpress couterfait is as good as the original, i have 4 of them. Great, great, great mic. Thanks, china

The best analog stage is barely 20 bits (122 dB) signal to noise ratio, the claim of 1528 dB is complete BS. 32 bit linear is theoretically 194.4 dB.

I have a weird question. When did you buy this specific Oktava? The logo on the side is not the common or typical logo version you see in most reviews from the past 6 years or more. The reason I ask is because I just bought one with the SAME logo style as yours. In a video I saw that was 5 years old, the UA-camr said it was the "current version" of the mic, yet most of that mics from that time have a different logo. I am very confused why so few of the MK-012s have THIS specific logo. Would you happen to have any insight on that? It's a variable I cannot account for and its messing with my head. 😜Thanks!

sorry dude but the sound of your audio isn't a very good example of the Neumann KMS105.. it sounds distorted here on my Genelecs..

i got the mv7 with the audio box go and it only goes out one speaker. do you know how i can fix that?

As soon as the video started, I couldn't help but notice your audio is clipped to shit. 32-bit float would have helped you. :)

I use the KMS 104+ for recordings I make for my clients during our session. My practice room is untreated, but with the KMS 104+ it almost sounds studio like. Especially clients with a recording background are enthusiastic about the quality. I record with a MixPre II. I also have the KMS 105 and the e965. These two sound and behave very similar. I prefer the 104+ because it gives my voice more of the hypnotic lower end.

I found your post about the 32-bit recording recently so, sorry for my delayed comment. You made quite good content. In short, I’ve 5 points in my mind. (1) Firstly, it s speculative to say that the equalisation and normalisation are so fast and take "10 seconds" or so. For drums recording, obviously yes, but when you're recording environmental sounds, for example, you cannot avoid extremely high peaks randomly recorded. Then the post-production takes significantly more than 10 sec and the final quality would be questionable. (2) You said nothing about the file size which is at least 30% larger compared to the other encodings because of the high amount of data. Actually this is a significant consideration, especially when you're creating sound library - on every 3 Gb you are loosing 1Gb compared to 24-bit (consider a library or project of 1TB or more with all draft recordings and intermediate sessions). (3) The quality of the sound practically remains the same, so 32-bit recording doesn't bring any benefit here. (4) You said nothing about the wave form and sound pressure coming from your input devices and how all imperfections are recorded in 32-bit, and how devices with dynamic range much lower then the recording capacity are performing and recorded. (5) This point is a bit provocative, but anyway, why the clipping is always a bad thing? There workflows, for example, where the clipping is used as markers... 32-bit recording has its benefits as 24-bit and 16-bit as well... Doesn't matter what technology you're using - the answer is not black-and-white for sure. May be the key dilemma is „think before“ or „think after“ your recordings, or „do not think at all“. Like in the real life :)

I’ve recently started doing more solo acoustic gigs. I bought one of these, a Fender Acoustasonic and a Turbosound column PA system. The entire sound is nothing short of amazing. It’s a great time to be a working musician.

Thanks a lot, please do the Oktava follow up to this video

Use it live pretty much every week at gigs but it lives on the mic-stand. However, it's hit the ground from 1.5m up at least 5 times (accidentally of course), and still works beautifully. This microphone is simply sublime for vocals. Thanks for creating the video =)

This video is incredibly useful. Well done

how would i connect my shure mv7 to my ifi zen dac v2 to hear myself?

Thanks for the detailed good quality video

I bought this for my home studio due all the mics I've tested, this mic sounded so nice. And if you put on my ssl 2+ with their 4k button on, its sounds almost close to a nice recording booth.

Great video. Thanks for the help! Watched this to figure out if this mic would work for a podcast we are launching and you helped me answer some specific questions!

such a great video, thank you so much for sharing this with us!

I need a hybrid between the Lauten Audio LS-208 and this KMS 105. Lauten has the idea right but it just doesn't sound like the Neumann.