32 bit audio interfaces/ ultra low NOISE FLOOR

[icarus88]

High gain in the analog domain could end up (theoretically) anywhere between -144dbfs and 0dbfs once it crosses the AD stage. You're conflating multiple things.

Theoretically it may be as you say, but for me below -20 is not high gain. This is a personal opinion.

By the way, the headphone volume is full,no amplifier no speaker

 

[silky smoove]

At first I thought the same as you, there was no pedal or anything else, when I recorded at -25 the bass sound was so low that I did not like it at all, I repeat this is a matter of personal preference.

I've said this in multiple of your threads: If it's too low, simply turn it up somewhere in the chain. This could be on the bass, pedals, interface, or in the box via channel gain, channel fader, plugins, etc. You're referencing -25 (presumably dbfs) as if it's some final and unchanging value. At -25dbfs you're ~119db above the noise floor, which leaves you an incredible amount of room to simply turn it up.

 

[icarus88]

I've said this in multiple of your threads: If it's too low, simply turn it up somewhere in the chain. This could be on the bass, pedals, interface, or in the box via channel gain, channel fader, plugins, etc. You're referencing -25 (presumably dbfs) as if it's some final and unchanging value. At -25dbfs you're ~119db above the noise floor, which leaves you an incredible amount of room to simply turn it up.

I did it from daw but it made the background noise louder because there was no analog pedal. I directed the signal to the isolated area (battery powered pedal) and eliminated the ground loop. (With USB isolator)

Pedal and interface ok. i have done it already.


background noise is on the analog side, not the digital side.We have to consider this when adjusting the gain.

I don't want to hear about a noise gate, it's just a simple signal blocker, it can't help with background noise while you're playing.

Increasing the gain is not such a simple process, especially for home users like me who do not have professional equipment.

 

[DanAdams]

I've been following the Zoom recorders. The "floating" 32 bit thing is fantastic for recording exceptionally unexpected dynamics that dont usually happen when recording music.
In film making, actors sometimes scream or clap unexpectedly, sudden laughter, doors slam, etc. the microphones are moving, and everything is less predictable in varied locations. Distance between the mics and the source is also constantly changing with boom mics.
I feel like the tech is great for that, as one little peak can make an ADR session needed, require the work of a skilled editor, or waste an entire crew's time. Extra takes can be very costly in several ways.
In a controlled studio with music it won't do much for you.

 

[icarus88]

I don't get any background noise between -5 and -10 even more ( no noise gates, no filters, no softwares)I can prove it to anyone who wants it.

 

[Brian Patterson]

I’m still waiting to find a situation where music recording requires a dynamic range greater than the 144db offered by 24-bit conversion. To date I’ve never heard it. Since gain staging at input is a very simple task to do correctly, a 24-bit fixed point converter will do just fine, and doesn’t restrict you to a comparatively small handful of converter options. Additionally, post process scaling of the recorded output requires a different set of tools and skills than what’s commonly available in commercial DAWs. This can be remedied with some experience, but I’d rather invest in an experience cost for something that has an actual benefit.

Perhaps it has a use case in audio for film where you’re recording the sound of a hummingbird and then a car explodes in the background, but beyond that type of extreme outlier, the drawbacks handily outpace the benefits.

I think the point is you don't have to babysit the gain control - from soft to loud it captures without monitoring or readjusting anything. Correct me if I've got this wrong....

I'm curious how post is impacted by 32 Float - can Logic Pro deal with it, for example?

 

[silky smoove]

I think the point is you don't have to babysit the gain control - from soft to loud it captures without monitoring or readjusting anything. Correct me if I've got this wrong....

I'm curious how post is impacted by 32 Float - can Logic Pro deal with it, for example?

That’s the promise of 32-bit float, but my point remains. What musically useful source exceeds 144db of dynamic range? If the answer is none, which it is in all but the most esoteric contexts, then you should never have to babysit the gain control. Set gain correctly while tracking and get on with making music. For capturing audio for film it has an application. For music… I’m still waiting to hear music with the kind of dynamic range needed to benefit.

Logic, and most DAWs have operated internally in a 32-bit floating point environment for years, and most now operate in 64-bit float internally. The architecture is there, but I’ve not seen the post processing scalar controls needed to achieve the supposed benefit of 32-bit file format recording.