I can actually record a little lower, as I would could always use some subtle gain in Shotcut, So as long as I am not sending above this to the dual converters I will be good. Enjoy it!Īccording to the Zoom F3 specs, it will accept up to +4dbU from my board, I would assume you’re good to go for an F3. Actually, the waveforms might be there, but look like a flat zero-line since 32-bit has around 700 dB dynamic range and my music doesn’t even scratch it. But this is strictly a UI problem, not an audio processing problem. The only “problem” that I encountered was no audio waveforms visible on the timeline clips. I exported the -50 dB project using the 32-bit source, to a 24-bit output, and the export sounded like the original music file, as expected. The 32-bit file sounds like the original music file, at normal volume, as expected, no distortion.

The 24-bit file sounds nearly silent, as expected.

Then I bring both files into Shotcut and add Gain filters to them at -50 dB. The second line saves as 32-bit float, which also distorts on direct playback. The first line saves the output as classic 24-bit, which distorts terribly. But I hacked up some 32-bit float files from my music library to simulate an F3 like this: ffmpeg -i '03 Splanky.mp3' -t 00:00:30.000 -filter:a aformat=sample_fmts=flt,volume=50dB -c:a pcm_s24le -y splanky_s24le.wavįfmpeg -i '03 Splanky.mp3' -t 00:00:30.000 -filter:a aformat=sample_fmts=flt,volume=50dB -c:a pcm_f32le -y splanky_f32le.wavīoth commands add 50 dB of gain to the music to drive them hard into distortion. I do not have a sample 32-bit WAV file from an F3 or F6 recorder. I’m guessing 32-bit audio will work as expected.

Shotcut 32 bit