#audio-engineering — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #audio-engineering, aggregated by home.social.
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Yesterday, I tried the #Zoom #M3 #microphone / #recorder on my camera.
Today I noticed I had the stereo width set to 120°. So I decided to try the #MidSide raw files and adjust the stereo width in post.
The M3 always stores 32bit float WAV stereo at the setting used, and additionally a “RAW” file without processing, a 32bit WAV in which left channel is mid, right channel is side.
At first, I used a plugin called MS2ST. Didn't work properly, actually I don't know what it was trying to do. Now using good old #SteveHarris “Matrix: MS to Stereo” which does it!
I am learning that the result sounds a lot different than what I have heard being there myself. Part of it is that the M3 is just two cheap shitty mics in one chassis together with a recorder. The position of the mic on the camera also is not great. And I'm also not sure if it really uses an omni mic for the mid channel.
Yet for anything serious I'd do a multi-track recording anyways.
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Yesterday, I tried the #Zoom #M3 #microphone / #recorder on my camera.
Today I noticed I had the stereo width set to 120°. So I decided to try the #MidSide raw files and adjust the stereo width in post.
The M3 always stores 32bit float WAV stereo at the setting used, and additionally a “RAW” file without processing, a 32bit WAV in which left channel is mid, right channel is side.
At first, I used a plugin called MS2ST. Didn't work properly, actually I don't know what it was trying to do. Now using good old #SteveHarris “Matrix: MS to Stereo” which does it!
I am learning that the result sounds a lot different than what I have heard being there myself. Part of it is that the M3 is just two cheap shitty mics in one chassis together with a recorder. The position of the mic on the camera also is not great. And I'm also not sure if it really uses an omni mic for the mid channel.
Yet for anything serious I'd do a multi-track recording anyways.
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Hallo ich hab eine Frage. Ich hab die Tage ein Konzert aufgenommen, 40 Spuren Audio mit einer Wing über USB an ein MacBook mit Reaper.
Das Problem ist, dass die Aufnahme zwar gut aussah, aber alle paar Sekunden fehlen ca. 0.5 Sekunden Audio. Fehlen nicht im Sinne von "Stille", sondern als hätte wer die weggeschnitten. Eine Fehlermeldung kam während der Aufnahme nicht. Hatte ich so noch nie.
Meine Vermutung ist, dass der USB C auf A Adapter, den ich benutzt habe, Verursacher war, weil es leider kein einfacher physischer Adapter war, sondern ein kompletter Hub. Zwar nur mit einem Gerät dran, aber trotzdem.
Habt ihr von sowas schonmal gehört? Soll ich in Zukunft solche Adapter vermeiden und am besten ein USB B auf C Kabel nehmen? USB Ausgang der Wing lieber komplett vermeiden und per Dante Virtual Soundcard mitschneiden? Wobei ich dann natürlich auch einen USB-Adapter für Ethernet anschließen muss...
#askfedi #DuckDuckFedi #audioengineering
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Hallo ich hab eine Frage. Ich hab die Tage ein Konzert aufgenommen, 40 Spuren Audio mit einer Wing über USB an ein MacBook mit Reaper.
Das Problem ist, dass die Aufnahme zwar gut aussah, aber alle paar Sekunden fehlen ca. 0.5 Sekunden Audio. Fehlen nicht im Sinne von "Stille", sondern als hätte wer die weggeschnitten. Eine Fehlermeldung kam während der Aufnahme nicht. Hatte ich so noch nie.
Meine Vermutung ist, dass der USB C auf A Adapter, den ich benutzt habe, Verursacher war, weil es leider kein einfacher physischer Adapter war, sondern ein kompletter Hub. Zwar nur mit einem Gerät dran, aber trotzdem.
Habt ihr von sowas schonmal gehört? Soll ich in Zukunft solche Adapter vermeiden und am besten ein USB B auf C Kabel nehmen? USB Ausgang der Wing lieber komplett vermeiden und per Dante Virtual Soundcard mitschneiden? Wobei ich dann natürlich auch einen USB-Adapter für Ethernet anschließen muss...
#askfedi #DuckDuckFedi #audioengineering
:BoostOK: -
🧵 entering rabbit hole of 32bit floating point ADCs now. *swoooosh*
So, apparently 32bit float ADCs do not exist. This is why it is no use reading the advertisement lyrics of #Zoom or #Tascam here.
How it's done is that the electronics uses two 24bit int ADCs wired together, one for low gain, and one for high gain. One source* says, these are combined to 32bit int audio with a dynamic range of 192dB.
So, 32bit float audio is not a miracle cure. Every high-end 24bit preamp/ADC by RME or similar will still outperform any cheap 32bit float thingie – if set to the correct gain setting.
Which exactly is the point why in #FieldRecording, people like 32bit floating point… because if you've got only one shot at the airplane taking off, you can't do a correct gain setting in advance. So you'd better live with a little more noise than with clipping.
One source: https://www.boomlibrary.com/blog/demystifying-32-bit-float-audio/
Another one / *: (German): https://www.amazona.de/workshop-32-bit-float-audio-im-ueberblick/
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Introducing you to Peter Enis, my new cheap 32bit floating point field recorder.
Actually I haven't used 32bit float ADCs at all so far. In theory, these have a dynamic range of around 1680dB.
Yet 24bit int has a dynamic range of 144dB and to my knowledge there is no audio interface / ADC that actually provides this range. Because very quiet signals will drown in preamp noise and the mud of low integer resolution, while very loud signals will clip the converters.
32bit float audio as a data format could solve this, as very quiet and very loud signals all have the same precision, yet I doubt physics allows preamps with a noise floor at -1680dB.
So how are these cheap recorders doing the trick with the actual dynamic range? I'd really love to know.
The promise is obvious: No gain control needed, just run and gun, and it will never ever go into clipping.
I used to do #FieldRecording long time ago; https://freesound.org/people/DrNI/
#ZoomM3 #ZoomRecorder #Zoom #Recorder #Tontechnik #Atmoaufnahme #Audioengineering