There's no doubt that it works well. My video was mainly to remind and inform the viewer that the "old way" is still the industry standard. There is a lot of extra work with 32bit float. However, you can be almost guaranteed to get what you need. I like having the choice and knowing the difference. What kind of work do you do with your recorder. Would you please tell me a little about your post production workflow?
@@RobertHamm A lot of the takeaway I got from your video is that you end up with huge file sizes that always require some kind of post-processing prior to use. I think that's totally fair. I'm an amateur who uses multi-mic setups for acoustic instrumental recording. My workflow is simple enough where I could play a clip at the volume ceiling and set a gain. But I've neglected to do so on several occasions, and on others have been a bit too aggressive staging the gain as high as possible, and have come away with a clipped take that needs to be redone. For me, it's been so much easier to use a 32bf recorder, know for sure while playing that I won't get into a situation where there is recorder clipping, and I actually have more latitude in post to normalize the peaks and pull up the valleys if needed. Most of the time the recordings are a few hundred MB, so easily manageable. For those monitoring gain real-time, can you always anticipate what your talent/subject will do such that you can adjust the gain to head off clipping? I've always assumed you're playing catch-up with what is actually happening at the mic, and if you are going to be focused on monitoring gain throughout the entire recording session, you might as well just use 32bf, know you don't have to worry about it, and be able to focus your attention somewhere else? At least, that's how it works out in my mind's eye :)
I don't know what device you are reffering to. My Model 12 is up to24-bit at 48kHz sample. The new H1e is 32 bit 96kHz only. My older H1n is 24 bit and 96Khz max with multiple additional lower resolutions.
