Is There a Difference? 24-bit vs 32-bit Float Audio Recording Quality
In this episode, we critically listen to some sound samples recorded at 24-bit and 32-bit float depths to compare and contrast their respective audio qualities- and find out if there’s a serious difference between the two. Then we discuss other factors that can help you make the highest quality recordings no matter your chosen bit depth.
If you’d like to learn how to make great dialogue audio for your film and video projects, please have a look at my courses including processing dialogue audio in Adobe Audition and DaVinci Resolve/Fairlight, recording sound, how to use the Zoom F4, F6, F8, and F8n, and how to get the most from the Sound Devices MixPre series of recorders. Our latest courses cover Sound for Live Streaming with the ATEM Mini and an Intro to Izotope RX.
Support my work creating videos by donating at Ko-Fi.com.
Gear used or mentioned in this episode. The links below are Amazon.com, B&H Photo, Sweetwater, DVEStore, Perfect Circuit, Trew Audio or other affiliate links. As an affiliate, I earn from qualifying purchases:
- RODE NT1 5th Generation Large Diaphragm Condenser Studio Microphone — B&H, Sweetwater, Amazon
- SoundDevices MixPre II Series Audio Recorders — B&H, Sweetwater, Trew Audio, Amazon
- Zoom F6 Field Recorder/Mixer — B&H, Sweetwater, Amazon
- Zoom F3 32-bit Float Audio Recorder — B&H, Sweetwater, DVEStore, Amazon
- Zoom F8n Pro 32-bit Float Audio Recorder — B&H, Sweetwater, Amazon
- SHURE SM7B Cardioid Dynamic Microphone — B&H, Sweetwater, Amazon
- SHURE SM57 Cardioid Dynamic Microphone — B&H, Sweetwater, Amazon
- DPA Microphones 4017B Shotgun Microphone — B&H, Sweetwater, Amazon
- Amaran 200x S LED light — B&H, Amazon, Aputure
- Aputure Light Dome II soft box — Aputure, B&H, Amazon
- Aputure Spotlight Mount — Aputure, B&H, DVE Store, Amazon
- Rosco Prismatic Glass Gobo in Cool Lavender — B&H
- Canon C70 Cinema Camera — B&H
- Canon RF 24-70 f/2.8 lens — B&H, Amazon
- Panasonic GH5 camera — B&H, Amazon
- Panasonic 12-35mm f/2.8 II lens — B&H, Amazon
The intro and outro music for this episode is from Musicbed - “Dynamo” by Virgil Arles. Take your films to the next level with music from Musicbed. Sign up for a free account to listen for yourself.
Copyright 2023, Curtis Judd
My YouTube Audio Workflow: Get Quality Sound for Your Videos
In this episode, we run through my workflow for recording sound for my YouTube videos from start to finish - production to post production.
More detailed videos on the various steps:
Boom camera-top shotgun mic from a microphone stand
Compress and loudness normalize
Free Sound Only plugin from Alex4D to create audio crossfades.
If you’d like to learn how to make great dialogue audio for your film and video projects, please have a look at my courses including processing dialogue audio in Adobe Audition and DaVinci Resolve/Fairlight, recording sound, how to use the Zoom F4, F6, F8, and F8n, and how to get the most from the Sound Devices MixPre series of recorders. Our latest course is Sound for Live Streaming with the ATEM Mini.
Support my work creating videos by donating at Ko-fi.com
Gear used or mentioned in this episode. The links below are Amazon.com, B&H Photo, Sweetwater, DVEStore, or other affiliate links. As an affiliate, I earn from qualifying purchases:
- Producer’s Choice Sound Blankets
- Audio Technica AT875R shotgun microphone - B&H, Amazon
- Sound Devices MixPre series recorders - B&H, Sweetwater, DVEStore, Amazon
- ZOOM F series recorders - B&H, Sweetwater
- Tascam DR-60DmkII budget recorder - B&H, Amazon
- Sound Devices 888 - B&H, Sweetwater
- Impact C-stand - B&H, Amazon
- RODE Boom pole - Amazon
- Boom pole clip, to hold the boom pole in the c-stand - Amazon
- Aputure COB120d II for the key light - Aputure, B&H, DVE Store, Amazon
- Aputure Nova P300C for the b-roll - Aputure, B&H, DVE Store
- Amaran 100D for the background light - Aputure, B&H, DVE Store, Amazon
- Aputure Spotlight Mount for the pattern on the back wall - Aputure, B&H, DVE Store, Amazon
- Blackmagic Design Pocket Cinema Camera 6K - B&H, DVE Store, Amazon
- Signa EF 24-70 f/2.8 DG OS ART lens - B&H, Amazon
Take your films to the next level with music from Musicbed. Sign up for a free account to listen for yourself.
Copyright 2021, Curtis Judd
Learning to Record Acoustic Instruments - RODE TF-5 and Harp with Riley Johnson
In this week’s Sound for Video Session, I put my very first efforts at recording acoustic harp on display to illustrate that the best learning happens when you do a bit of research, then go try to do it yourself.
Hear more of Riley Johnson’s music over at Bandcamp.
Please consider my sound, post processing, and recording classes.
Gear used to record this episode:
RODE TF-5 Cardioid Condenser Microphone - Used to record the reverb dialogue sample
Shure SM7B Dynamic Broadcast Microphone - My voiceover
Sound Devices 633 Audio Recorder
Copyright 2019 by Curtis Judd
Ethics statement: Some of the links above are affiliate links which means that if you click on them and buy, I get a small commission. You don't pay more by clicking these links than if you just went to the retailer’s web site on your own. I use the proceeds to buy additional gear to review and help you improve your sound, lighting, and video. Thanks for your support!
Record Live Event Sound from a Mixing Board
How do you record sound from a mixing board at a live event? Here are the basics!
Recorders I’ve used and that can record line level from a mixing board (links to B&H, Amazon, or DVeStore):
Zoom H4n Pro (use 1/4” input only)
Zoom H5 (use 1/4” input only)
Zoom H6 (use 1/4” input only)
Tascam DR-60DmkII
Tascam DR-70D
Tascam DR-701D
Zoom F4 (use 1/4” input only)
Zoom F8 (use 1/4” input only)
Sound Devices MixPre-3
Sound Devices MixPre-6
Sound Devices MixPre-10T
Sound Devices 633
XLR Female to 1/4” TRS Cable (XLR connects to mixing board, 1/4” to your recorder. Good choice for Zoom recorders)
XLR to XLR Cable (do NOT use this cable for Zoom recorders)
Radial Engineering Ice Cube Line Isolator/Transformer (need 2 for stereo mixes, one for mono)
Blackmagic design Ursa Mini Pro Cinema Camera - used for the talking head shots in this episode
Sigma ART 24-70mm f/2.8 OS Lens (Canon EF Mount for the Ursa Mini Pro)
Panasonic GH5 - Used for some of the product shots
Panasonic 12-35mm f/2.8 OIS Lens - incredibly versatile lens that is on the GH5 most of the time
There are more sophisticated live show recording techniques. We discussed some of these with Mike Stranks here:
Copyright 2018 by Curtis Judd
Music - MzA by Cary Judd, used with permission
Sound for Video Session: Recording Dialogue in Mono vs Stereo vs Surround
Should you record your dialogue audio in mono, stereo, or surround?
Short answer: Record dialogue in mono to save yourself a lot of headaches. You can still use a lavalier and a boom for each person, but in your final mix, generally just use one or the other mic (i.e., use the lavalier as the backup just in case the boom track has a problem for that particular dialogue line).
Why record mono? Phase issues are much more likely to arise in stereo and surround recordings. This can result in constructive or destructive interference - comb filtering. It doesn't sound good.
Huh? Are you serious? What about every movie that has been produced in stereo or surround in the last several decades? They actually record 99% of the dialogue in mono and then mix that into the overall stereo or surround mix. And in most cases, they mix the dialogue to the center front speaker in a surround mix or equally to both speakers (center) on a stereo mix.
Links for the articles we looked at on constructive and destructive interference as well as comb filtering:
https://www.nde-ed.org/EducationResources/HighSchool/Sound/interference.htm
http://www.phys.uconn.edu/~gibson/Notes/Section5_2/Sec5_2.htm
http://www.audioholics.com/loudspeaker-design/comb-filtering
Sound for Video Session: Preventing Noise When Recording
Last session we talked about the sources of noise and how to measure it. This week covered a few strategies for reducing noise while recording: Sound blankets and high pass filters.
Sound for Video Help Session: Noise Sources and Measuring
This week we spent a while talking about the potential sources of noise in audio recordings and how to measure it using Adobe Audition. When I first started recording audio, I didn't realize how important the recording location was to ensuring a clean recording. One of the biggest things you can do to reduce noise in your recording is to either find the right location or hang sound blankets (or any blanket that will dampen audio reflections off of the walls).
But here we also talk about signal chains and where noise can creep into your recording along that signal chain. While the noise performance of your microphone and preamplifier are important considerations, they're not the only consideration so don't stress too much about those. Make an informed decision before buying but then move on and don't stress if your noise floor sits at around -60dB.
Most of the new recorders and microphones will easily get you into this realm, even prosumer mics and recorders. Let me know if you have any specific questions on which may be a good fit for your particular situation.
Next week we'll cover options for reducing noise.
Interview with Location Sound Recordist Scott Vanderbilt
If you've ever wondered what its like to be a location sound recordist/mixer for film, here's an opportunity to get the perspective of Scott Vanderbilt. He records sound for feature and short films, commercials, and corporate pieces. He's based in Los Angeles and has some good insights for those trying to improve their sound recordings for film.
