What is the best workflow for importing and changing the gain levels of 32 bit floating audio files with Logic Pro X and Final Cut Pro?
Many of us have made live recordings where the interviewee or musician speaks/performs louder or softer than during the sound checks or moves off axis. With 24 bit audio, this can be a disaster, especially in live recording situations when you can not ask the talent to do another take. With 24 bit, when the signal is too loud it leads to clipping and distortion which cannot be corrected in post. When the signal is suddenly too quiet, the noise floor increases when you bump up the gain and volume in post. Recording in 32 bit floating audio, provides a workaround to the problems of noise floor artefacts and clipping. by giving you the extra headroom and floor room to handle sudden drops or increases in volume. The latest field recorders, such as the Zoom F6 and F8 and Sound Devices MixPre, which allow you to record using 32 bit floating audio, are really game changers.
Unfortunately, Logic Pro X compresses imported 32 bit audio files to 24 bit and one loses the dynamic range and the ability to capture the quiet and loud passages, i.e. full dynamic range, of life recorded classical music and jazz.
I have a number of questions about working in post with 32 floating bit audio.
- In Logic Pro, is there a way to take advantage of the noise-free, extra floor and headroom captured with 32 bit floating audio?
- If I export 32 bit audio from Final Cut Pro will it keep its bit depth when I open the recording in Logic Pro?
- In Audition, one can increase or decrease the size of the audio waveforms and visually see the changes, which is vey helpful when correcting clipped or quite audio in post. Can this be done in Logic Pro?
- Does anyone know of any workflows/tutorials about working in post with 32 bit floating audio with Logic Pro X
I am interested in hearing back from people experimenting with 32 bit floating audio in Logic Pro X and Final Cut Pro, not entering into a debate about the merits of 24 versus 32 bit audio. Because I am recording mostly classical music, as a one man crew, I want to be able to capture the full dynamic range of the artists' work, including surprise changes in levels, and not have to resort to the use of limiters and compressors during recording process. It would be great to be able to ride the gain during the recording process, but that simply isn't possible when you are also recording video and directing. And yes, I realize that when we listen to the radio and CDs we are not listening to 32 bit audio.