32 Bit Float Audio - Real World Advantage With Zoom F3

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In this video:
I demonstrate how 32 bit audio works and how it saved my bacon doing a binaural recording of the Bryson City Great Smoky Mountains Railroad train.
I show my workflow in Vegas Pro and Audacity.
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Music clip from RUclips Music Library - Phase Three by Huma-Huma
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[@TMS5100]

It's an interesting approach, a sort of HDR for audio to compensate for sloppiness in the field recording. But you're going to have to deal with massive nonlinearity and distortion from such a design. The real question is what is the actual performance of the ADCs in that thing, and if they have the performance to back up this setup. Zoom doesn't publish the numbers. Might be worth a teardown to find out.

[@alext8828]

Always the best videos.

[@antibrevity]

For readers that might not be familiar with range compression, audio engineers will often use compression to keep peak volumes, often short transients, from exceeding clipping without creating obvious volume changes to listeners. Audacity has such a compressor effect, but your video editor might as well. When overdone, it collapses audio contrast in the same way as is done with popular music genres to make everything a consistent, albeit boring, loudness, but if done carefully it can allow good dynamic range without obvious fades or buckets.
Volume compression works by triggering a variable-ratio remapping above a specified level. For example, you might say that all audio above -12dB is de-amplified at a 4:1 ratio such that a 4dB increase in input volume results in a 1dB increase in output volume. If you imagine a 45-degree (1:1) line of volume with input on the X axis and output on the Y axis, this creates a knee at -12dB and a lower slope above that point, much like a Curves layer might in image editing. You can thus cram more input volume change into less output volume change.
This reduces the overall volume as a first step, but there's a checkbox in Audacity to "make-up gain for 0dB" (normalize) afterward. This brings up the noise floor, but Audacity has a threshold for that as well to avoid amplifying noise, though it's unclear exactly how this works as it means that there must be a "stretch" at the lower end to offset the "compression" at the top end. I leave the noise floor set to a low value to avoid artifacts from such stretching; it's not a problem to raise a -120dB noise floor when producing a 16-bit, dithered output (dithering is intentional noise introduced when downsampling to avoid distortion and your tools probably do this automatically).
It's possible that your video editor is actually applying some sort of automatic compression effect when you drag down the level during particular segments, but I don't know what it's actually doing. Compression is generally done to entire tracks to fit the dynamics into a desirable range without obvious fades. This sacrifices the true volume of the loudest portions to maintain the consistency of the background and average portions.

[@tshev]

Have you tried using compression effect in order get the same result?

[@joehubler4965]

Let us know if you are okay, you have been gone awhile

[@AxelWerner]

This is audiophile mambojumbo, just like monster cable and audiophile grade electrolyte caps. Snake oil. For highest def. Audio and prolonged erection.

[@cmuller1441]

Yes some audiofool stuff. 2*16bit ADCs doesn't match a 32bit ADC...

[@landspide]

🤣

[@anthonynicholls8010]

✌️✌️

[@Haamedtm]

Is the power supply project still in progress?

[@cmuller1441]

I doubt that the LSB of the upper 16bit ADC really matches the MSB of the lower one. Just because a 16 bit ADC doesn't really provide 16bits "quality" because of non linearities noise and other defects. So I bet there's a significant overlap and their system doesn't really provide 32 bits of dynamic range but probably around 24 bits at best. What happens if a sound saturates the low ADC but is still not that loud and only triggers the lowest bits of the upper ADC? You are sampling with a very few number of bits...
The question is why don't use a 32 ADC directly ?
Ex: PCM1820 costs a few $

[@JGnLAU8OAWF6]

Noise level of those recorders is too high even for 24 bit recording.

[@landspide]

maybe something like kryton from red drawf would be better ;)