Hi Nathan. The videos you have made are incredible, they are full of information. I would like to ask you a question, since I have been searching for information on the internet but at least at the moment there is not much... Is the Schoeps CMD42 microphone compatible with the Zoom F6 recorder? I want to purchase a Sanken CO-100k soon, but watching your videos I have doubts about which way to go. Sorry if it's a bit of a boring question. Thank you and keep up the great work
Hi Nathan, wonderful concise video! - Can you provide any more insightful links/resources to help better understand 32bit float/no clip audio technology? I’m trying to wrap my head around it all.
It's not about 32-bit technology; it's about devices equipped with Multipole In-Line ADCs or inputs that automatically switch between multiple ADCs. This setup is akin to recording a single microphone into three inputs set at different levels (low, medium, high) and using electronics to select the best one for outputting a single recording. The issue here is the significant difference in noise floors between each ADC. Devices with Multi In-Line ADCs inherently come with this trade-off, which includes noise pushed into the ultrasonic range and inconsistencies. For hobbyists or those not seeking the highest quality recording, this trade-off might be acceptable. However, you can't compare a Multi In-Line ADC to the CMD 42. The CMD 42 achieves the best signal-to-noise ratio and avoids clipping without needing such a setup, placing it in a league of its own.
In this video, I demonstrated how a 24-bit device (Sony D100) with In-Line ADCs also encounters the same issue. My aim was to emphasize that the problem lies in having Multi In-Line ADCs rather than the bit rate, even though many 32-bit recorders feature In-Line ADCs.
Hi Nathan, thanks for sharing this valuable piece of information! What is your recommendation for a studio setup recording into an audio interface with minimal latency? I am towards recording game audio foley at 192Khz inside my Foley stage 🙏
Thanks, I wish I could recommend an interface, but I don't think I'm qualified to do that 😆if I was looking for an interface myself, I would check out a ch I subscribe too, if you don't already www.youtube.com/@JulianKrause In my expereance recording on Foley Stages there wasn't a real need to focus on the value of being able to pitch sound down, so the tools I did use I never tested how well they worked in the ultrasonic range. It was more about matching the sonic quality of the recorded set sound. If you where looking at a digital solution with the Schoeps CMD 42, any device with AES42 or AES3 (with added DPP) would work. The latency with the CMD 42 is: Pure Mode: 11 Samples = 0,06 ms @ 192 kHz Full Mode: 2.2 ms @48 kHz (includes the use of any of the DPS options) Hope that helps.
yes, you need to use the "d sub" cable from the bottom for AES42 (part xl-88 www.sounddevices.com/product/xl-88/). I have the Orca or30, becasue the d sub cable on the bottom of the 788, it dose rises above the top of the bag, this can be desired if you want access to the knobs on the side of the 788 above the bag. If you want the 788 to be flush with the bags top you might want to look at the Orca 330.
Another concise and informative video, thank you.
Hi Nathan.
The videos you have made are incredible, they are full of information. I would like to ask you a question, since I have been searching for information on the internet but at least at the moment there is not much... Is the Schoeps CMD42 microphone compatible with the Zoom F6 recorder?
I want to purchase a Sanken CO-100k soon, but watching your videos I have doubts about which way to go.
Sorry if it's a bit of a boring question.
Thank you and keep up the great work
thanks, unfortunately no, to my knowledge Zoom has not made any digital (AES) input devices to date.
Hi Nathan, wonderful concise video! - Can you provide any more insightful links/resources to help better understand 32bit float/no clip audio technology? I’m trying to wrap my head around it all.
It's not about 32-bit technology; it's about devices equipped with Multipole In-Line ADCs or inputs that automatically switch between multiple ADCs. This setup is akin to recording a single microphone into three inputs set at different levels (low, medium, high) and using electronics to select the best one for outputting a single recording. The issue here is the significant difference in noise floors between each ADC. Devices with Multi In-Line ADCs inherently come with this trade-off, which includes noise pushed into the ultrasonic range and inconsistencies. For hobbyists or those not seeking the highest quality recording, this trade-off might be acceptable. However, you can't compare a Multi In-Line ADC to the CMD 42. The CMD 42 achieves the best signal-to-noise ratio and avoids clipping without needing such a setup, placing it in a league of its own.
In this video, I demonstrated how a 24-bit device (Sony D100) with In-Line ADCs also encounters the same issue. My aim was to emphasize that the problem lies in having Multi In-Line ADCs rather than the bit rate, even though many 32-bit recorders feature In-Line ADCs.
@@NathanSmithSound this is very insightful! Thank you!
Hi Nathan, thanks for sharing this valuable piece of information! What is your recommendation for a studio setup recording into an audio interface with minimal latency? I am towards recording game audio foley at 192Khz inside my Foley stage 🙏
Thanks, I wish I could recommend an interface, but I don't think I'm qualified to do that 😆if I was looking for an interface myself, I would check out a ch I subscribe too, if you don't already www.youtube.com/@JulianKrause
In my expereance recording on Foley Stages there wasn't a real need to focus on the value of being able to pitch sound down, so the tools I did use I never tested how well they worked in the ultrasonic range. It was more about matching the sonic quality of the recorded set sound.
If you where looking at a digital solution with the Schoeps CMD 42, any device with AES42 or AES3 (with added DPP) would work.
The latency with the CMD 42 is:
Pure Mode: 11 Samples = 0,06 ms @ 192 kHz
Full Mode: 2.2 ms @48 kHz (includes the use of any of the DPS options)
Hope that helps.
Hi, thanks for video. Witch orca bag is it for 788"? Do you use digital connector from the bottom?
yes, you need to use the "d sub" cable from the bottom for AES42 (part xl-88 www.sounddevices.com/product/xl-88/).
I have the Orca or30, becasue the d sub cable on the bottom of the 788, it dose rises above the top of the bag, this can be desired if you want access to the knobs on the side of the 788 above the bag. If you want the 788 to be flush with the bags top you might want to look at the Orca 330.