#46
|
||||
|
||||
Quote:
I also have not tried changing the impedance either but will try that also especially when plugging my electrics straight in From that page :: With four ADCs per channel and pristine 32-bit precision throughout its gain structure, Carbon captures clean, natural-sounding audio without coloration. And with Variable Z built in, you can optimize or alter the tone of any microphone or instrument by simply adjusting input impedance.
__________________
Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 |
#47
|
|||
|
|||
Quote:
Here’s another way to look at it: Remember that trick where you record the same input at two gain levels, the second one at a lower level for safety in case of clipping? That is basically what 32 bit float recording is doing, except in a slicker way. No, it isn’t breaking the laws of physics. No, it isn’t giving you a lower noise floor than is possible with 24 bit recording at any particular moment. Yes, it does let you set the ultimate levels after the recording is already done. With Carbon, it is taking this idea even further, with four ADCs (rather than the two of the F6 or MixPre). It sounds like it is probably very good! |
#48
|
||||
|
||||
Quote:
Ya I think that two level trick is back there in my RAM somewhere As noted I have not tried recording in 32 float yet .But I can say with some confidence the mic pre's and sound of the Carbon are exceptional, there is a kind of "right there in room presence" to it that I never noticed before , that IMO is the best sound of any of the systems I have had (As well it should be for the price ) ( not that many systems really ) but does include an Apogee Rosetta 200 and an Avid Omni which were pretty decent on their own. And is the reason I am toying with the idea of selling my A-Designs MP2A (which I never thought would happen)
__________________
Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 |
#49
|
|||
|
|||
Quote:
__________________
Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#50
|
|||
|
|||
The Zoom F6 and 32 bit recording
The Zoom F6 functions as a wonderful USB audio interface with up to six inputs in 24 bit mode.
You can also record 32 bit float audio as a backup when you do this. This backup has a much wider dynamic range in case you get that perfect performance but it accidentally gets recorded to low or with clipping. The monitor mixing capabilities are really good and they can be controlled from their app. Last edited by lkingston; 06-07-2022 at 05:44 PM. |
#51
|
||||
|
||||
multiple ADC's and 32-bit float interaction?
It seems most of this thread is focusing primarily on 32-bit float and its most useful benefits such as in field recordings. There have been a few references to these designs using multiple ADC's per channel (i.e. the F6 has two ADC's per channel), but I don't believe there's been explanation of how the multiple ADC's and 32-bit float work together. For example, are the ADC full scale levels fixed, adjusted prior to recording, or automatically and dynamically adjusted in real time during recording?
__________________
Chuck 2012 Carruth 12-fret 000 in Pernambuco and Adi 2010 Poling Sierra in Cuban Mahogany and Lutz 2015 Posch 13-fret 00 in Indian Rosewood and Adi |