Welcome to Geek Therapy Radio. You've got your mental curator, Johnny Hamburger.
I've realized that it'd be easier for me to put out new shows on a
more consistent basis if I've simply adjusted the time of the week when I recorded
these shows. Typically over the past couple of years or so, I would
record the show midweek. About Wednesdays or Thursdays was typically when i'd record the
show. Since I started working at the museum, I always try to kind
of record towards the later end of the week because I wanted things to kind
of develop during the week and maybe something would happen on Tuesday or Wednesday that
I can then talk about on Thursday and not be behind the curve. But
I realized recently that waiting till later in the week to record a show is
not conducive to putting out a show each week. So I'm recording this on
a Monday, and I'm going to try to typically probably going forward, record
shows on a Monday, because Mondays seem to be my my geek free day,
my daddy, you know, free day. I'm kind of it's it's
like it's like the weekend for me. Almost it is a work day.
I do work. Now, if you're listening from the museum, I'm not
saying that I just I don't do work or anything like that. I'm saying
the opposite. I do a lot of work on Monday because Riker is home
on Friday, Saturday, Sunday. Things are busy over the weekend. There's
no way I can get in here to record a radio show. It takes
me about an hour at least to record a thirty nine minute radio show.
But Monday is when Riker goes back to school. Things kind of normalize.
Things are picking up for the week at work, and I'm able to actually
do work, do work for the museum, like do video editing, work
on projects, work on TikTok's, work on whatever videos, work on whatever
I need to do. On Mondays because now I'm more freed up to do
actual work. Things kind of ramp up during the week. I get pulled
aside for work, have to go into the building for work on Tuesdays and
Thursdays and things. So Mondays is kind of like where I can actually sit
in my studio, sit in the recording studio here, sitting the geek cave,
the geek therapy radio studio and actually do real work using you know,
I video edit with the Da Vinci Resolve eight point eighteen point five. By
the way, Public Beta is awesome. It's gotten so good. The AI
text speech to text for subtitles finally without a subscription. I know you've been
able to do speech to text in video editing in what am I looking for?
Premiere for quite a while. But Premiere is such a prescription prescription subscription
based service that they just kind of nickel into IMI for a lot of stuff.
Nothing against nothing against Premiere as a capable video editor. It's just more
and more people are coming to DaVinci Resolve because you pay for it once,
the studio version of it, the full unlock is three hundred dollars. There's
no subscriptions to pay after that. You just own it. After you pay
three hundred dollars once, not every year, just once and then you own
it. It's wonderful. The free version of da Vinci Resolve is also wonderful.
It's just a great n Ellie And that's what I used to work with,
and that's what I'm saying on Mondays. I'm freer to actually I'm freer
to do actual work. So I'm going to record my radio show also on
Mondays when I have this kind of freedom to work. So I didn't want
to spend the whole show talking to you about my schedule. But I know
that my more long time listeners are kind of they may have noticed a reduction
in like release schedule. Now on the radio, I still turn in a
show each week. I don't record a show each week. I take one
from the archives and I just turn in a new one that listeners on the
radio haven't heard in a couple of years. And I keep things going on
the air by playing reruns at are a couple of years old, fairly evergreen,
hopefully, But I don't you'll have noticed, especially my more dedicated listeners,
You'll notice that I haven't really been releasing a lot of podcasts each week.
And i'd want to get back to that weekly release schedule because there's tons
of fun things that I want to talk about. There's tons of things that
happen, things I'm tinkering with, things that I'm doing that I want to
tell you about. It just gets so late in the week and I get
all tied up with things and I just can't find time to record it.
Mondays are the best day of the week for me to record podcasts, and
that's what I'm going to do. So here's the fun thing I want to
tell you about. I've been up to the past week or so, a
couple of weeks, I've been on this on an audio kick. I'll tell
you right now, right here in the first segment that what you are listening
to is a brand new microphone, my brand new microphone. I ordered an
MXL R one forty four. It is. It's a ribbon microphone. It
is the R one forty four Heritage Edition. It costs one hundred dollars to
one hundred and thirty five dollars depending on what version you get. There's no
difference between the standard one hundred dollar version and the one hundred and thirty five
Heritage edition. The Heritage edition just comes with more accessories. It comes with
a shock mount, it comes with a carrying case. That's pretty sweet.
And it's a different color. It's a it's like a champagne like a kind
of golden champagne color, whereas the standard edition is just I think it's blue
and silver or blue and chrome. They're the exact same microphone, exact same
internals. They are just exactly the same. They just get a different paint
job and one comes with more accessories. The one I have using right now,
in particular, is the R one forty four Heritage Edition. So just
it's in the shock mount. That's a difference, different color and it's in
the shock mount. Now it sounds pretty good, doesn't it. I am
equeuing it quite a bit to make it sound a little bit more modern.
I'll probably do a sample right here for those listening to the podcast. You
can hear that it's a lot darker. Now I've taken the EQ off of
it. This is the microphone and it's kind of natural state with no equing.
Now I'm going to turn the EQ back on. Now you're hearing it
EQ for a more modern sound. If you're listening on the radio, you
on the AM radio, you didn't hear any difference there. There's there's likely
that you didn't hear much difference. You might have heard a little bit more
kind of low end. That's Ribbon microphones tend to have been used in broadcasting
for a very very long time. Particular the R the RCA seventy seven d
X, which I did use for a few weeks there last year exclusively as
my exclusive microphone. The R. The seventy seven DX has been in my
family since it was bought brand new in nineteen fifty four. But Ribbon Mike's
used in broadcast because it has that kind of low end presence, that announcery
voice kind of feel to it. But what you're listening to right now is
my just that's one hundred dollars MXL R one forty four and it sounds great.
I've eq to to have a more modern sound, which means I've scooped
a little bit in the middle for my particular voice. I've actually had to
do a bit of gain reduction on the low end to bring down the boominess
of the microphone, and then I did quite a bit of boost on the
high end to make it a little bit more bright and sound a little bit
more modern without being too harsh, hopefully, and then I did all the
compression and everything that I usually do. But that's what I've been I want
to talk to you about the kind of audio things I've been into. You're
listening geek Therapy Radio. Don't go anywhere. Welcome back to geek Therapy Radio.
You've got your mental cure rator Johnny Hamburger geek Therapy radio dot com for
more information and to find links to all the other stuff. The very first
thing you're going to see on geek therapyradio dot com again just real quick,
is a contact form. It's just so you can tell me your geek thing.
It doesn't sign you up for any newsletter, mailing list or you're not
annoyed by me. It's literally just a way to contact me directly when you
fill out that form and tell me about your geek thing or talk about whatever.
I just get a notification in my inbox that it just goes to Johnny
at geek therapy radio dot com, which is my email handle, Johnny at
geek therapy radio dot com. It just tells me, hey, someone submitted
a forum on your website. That's all it is. It's just that you
have contacted me, so it doesn't sign you up for anything. If you
want to talk to me about anything, bring up any subjects you might want
me to talk about, or to just I really love to hear about what
you're into, like what you're geeking out about currently, or what your favorite
hobbies are. Whatever you're you know, whatever you're thinking about that particular moment.
I love to hear it. So geek Therapy Radio dot com is where
you can contact me if you want to email me directly Johnny j O h
n n y at geek Therapy radio dot com. Then you can find me
on all the socials Twitter, Instagram, Facebook, TikTok, YouTube, all
that good stuff. If you're listening on the radio, you can find the
podcast on your favorite podcast player. Of course, if you're listening on iheartstation,
you can find it in the iHeartRadio app. But no matter what podcast
app you used to listen to podcast, just type in geek Therapy Radio podcast
look for the red wine black color scheme. And that's me. All right.
So here's what I've been geeking out about recently, audio things. In
the last segment, I just told you that you are listening right now,
in fact, to my newest microphone. It is a ribbon microphone. I
guarantee you I've said this back when I to use the RCA seventy seven d
X for a few months there. I guarantee you promise you that I am
probably one of the only if not the only person on broadcast radio in the
country, if not the world, that's most likely using a ribbon microphone.
If at most there might be a handful of us less. You can probably
count on one hand across the world how many people are on a broadcast radio
station AM or FM radio station, or even HAM radio for that matter,
that's using a ribbon microphone. It's kind of vintage technology. They still make
ribbon microphones, but it's kind of a vintage technology. Everything now is either
a dynamic microphone like the industry standard broadcast Electro Voice r E twenty seven or
ARI twenty seven ten and D. That's what I used typically most of the
time. I got mine in my hand right here. It's not hooked up,
but I do use an RI twenty seven as my go to broadcast microphone.
But I just got this new ribbon microphone, and that's why I'm using
it for those of you who are in a round for the first segment,
and it's the MXL R one forty four cost one hundred dollars. Doesn't sound
too bad for one hundred dollars, does it. I'm equeuing it to my
voice. I've tailored it to my voice, which leads me into kind of
the what you should look out for with a ribbon microphone, or at least
be aware of when you dabble with a ribbon microphone. First and foremost is
that it's a very dark sounding microphone. I did an example of this.
I did an example with no EQ back in the first segment, which is
why you should grab the podcast to hear what this microphone's This ribbon microphone sounds
like naked. You're not going to hear much difference between the ab eqing on
the AM broadcast radio. So grab the Geek Therapy Radio podcast and your favorite
podcast player. Go back to the first segment, and I do kind of
an ab test of an EQ versus no EQ for the ribbon microphone. Now,
the mxl R one forty four, which you're listening to you right now,
is like any ribbon microphone by itself with no Q. It sounds very
dark. It works very well to tame nasally voices. It sounds awesome on
brass instruments and string instruments because it tames that kind of upper mid range of
tones to bring it back more kind of imbalance naturally. But if you're just
kind of talking into it, you're going to notice that it's a very dark
sounding microphone versus a typical dynamic or a condenser microphone. Condensers are typically much
much brighter. But yeah, so if you get a ribbon microphone and you
start dabbling with it, there's nothing wrong with a microphone. It's just dark
by its very nature, which lends itself nicely to certain voices. The other
thing you'll notice is that the output's very low. Never ever, ever,
ever put phantom power through a ribbon microphone. That's the rule of thumb.
Even though modern ribbon microphones like the R one forty four that I'm talking into
right now, do you have a diode in there to prevent electricity from going
back into the element. But as a rule of thumb, you never run
phantom power into a ribbon microphone. That said, you'll notice that the output
of ribbon microphones tend to be very low, and the preamps that you use,
like the USB Audio interface preamps, might not have enough gain to really
drive the microphone properly, just for spoken word. If you're using the microphone
as like a room mic or an overhead mic for a drum kit, you
probably don't need much gain at all because it's just a loud source. But
for just speaking, you're probably gonna need some sort of a gain booster.
You may have heard of a cloudlifter or any sort of inline gain booster.
I don't have a cloud booster a cloudlifter. I have a dynamite. What
is an seedm one dynamite. It's the same thing. You run phantom power
to the gain booster and it gives you like twenty five decibels of quote unquote
clean gain and then you go from there. It adds a little bit of
inline gain boosting to the microphone. You might be asking yourself, you're sending
phantom power to the gain booster and the game boosters plugged into the ribbon microphone.
Is that bad? No no power or actually goes out of the game
booster into the microphone. It just takes the level of the microphone into the
game booster. The game booster itself gets power and it feeds it into your
interface. So just a fair warning, when you get a ribbon microphone,
you may want to invest in an inline gain booster, or you can get
what I have been geekin out about. And it's the main heart of this
broadcast of this podcast this week is a technology and audio recording that has been
around for a three or four years now, a couple of years now,
and it's gaining popularity. And it is called thirty two bit floating point.
So when you record into your phone or audio interface or whatever it sometimes it
gives you an option. Do you want to record sixteen bit or twenty four
bit? Do you want to record away file? That's forty four point one
killer, it's forty eight killer, it's ninety six killers, one hundred ninety
two killer, it's what have you? But what bit rate do you want?
And if you're listening to an EMP three for instance, if you're listening
to this podcast, Actually, if you're listening to this broadcast, it's been
digitized before it goes over the air. You're listening to a sixteen bit audio
file right now. Whether you're driving around in your car listening to AM radio
or you're listening to the Pristine podcast version of this. This has all been
transcoded down to sixteen bit. I typically record in twenty four bit when I
record these shows. I record twenty four forty eight K sometimes twenty four bit
ninety six K when I actually am editing the show, and then it gets
transposed down to quantized down to sixteen bit for release. Basically, even if
I turned in this show as a twenty four bit audio file to the radio
station two KPRC, it would get transcoded, it would get quantized and converted
back to a sixteen bit MP three. Sorry to shock you, if you're
listening to HD radio, or you're listening to this streaming version of the radio
station, any radio station anywhere, you're listening to quite a low quality technically
MP three quantization transcoding of whatever you're listening to. So yes, it's digital,
but it's a sixteen bit MP three one hundred and sixty kilobytes per second
at best. It's usually like one twenty eight, But if you're listening to
a streaming service of any kind, it's typically one twenty eight one sixty maybe,
And if you pay for premium versions, it could be paid for premium
Spotify, you're paid for premium Apple Music or something like that. I think
you can get up like two twenty four kilobits per second, three hundred twenty
kilobits per second, but it's all still sixteen bit. I believe. I
think Apple will let you go up to twenty four bit. You can get
lost less in flak if you pay for if you pay for it, but
typically what you're listening to is a sixteen bit MP three. So what is
thirty two bit float. I'm gonna put it in a way that photographers and
videographers can kind of conceptualize it. Thirty two bit float record audio recording is
like taking pictures recording video in a raw format, meaning that if you are
recording a video or taking a picture in a raw format and you have some
clippings clipping in the highlights, things are blown out way too bright. If
you're recording in a as just like a JPEG or an MP four or whatever,
you can't really recover those highlights. You can't bring it back down.
You can't. You can't recover the clipping. It's just gone forever. That
information has gone forever. Not with thirty two bit float audio recording. If
something clips in thirty two bit audio, if thirty two bit float audio recording,
you can recover it. Let's talk about thirty two bit float and what
it is. When we come back. You're listening to geek Therapy Radio.
Don't go anywhere Welcome back to Geek Therapy Radio. You've got your mental curator,
Johnny Hamburger. In the previous segment, I started to talk about thirty
two bit float audio recording. It's been around for a few years now.
I am actually recording this show in thirty two bit float with my Zoom M
four handheld recorder. I have my mxl R one forty four ribbon microphone going
directly into an XLR input on my Zoom M four thirty two bit float recorder
with no inline gain booster. In the last segment, I talked about if
you're plugging in a ribbon microphone to a traditional audio interface and recording in sixteen
bit or twenty four bit, the output of a ribbon microphone is so low
that you typically would could use an inline gain booster like a cloudlifter or this
what is it this se dynamite that I have here. They'd cost between like
sixty one hundred dollars or so. But if you're recording thirty two bit float
as I am right now, you don't need the gain booster. Thirty two
bit float as a kind of a kind of bring up to speed. From
the last segment, if you're a photographer or videographer. Thirty two bit float
in audio recording is like recording or taking pictures in a raw format. So
when you are recording a video, let's just give an example. If you're
recording a video in like pro res raw Apple pro Rez raw, you can
go back in after you record. You record a video, it looks it
looks kind of flat. The colors are flat, it's a flat color profile,
it's low profile. Whatever. You recorded a super bright scene where the
lights are kind of blowing out and washing out the scene. Now, if
you record, and if you record it in a compressed format like MP four
or what have you, you can't recover those highlights. It's just blown out.
What you what you record is what you get. But if you record
in a raw format, you can go back in. You can dump your
pro res raw in this example, into your video editor, and you can
bring down the ISO. You can set the ISO in the gain of the
camera to whatever you want after the fact, and you can recover those highlights,
and you can bring out things in the shadows, and your image is
not destroyed because you recorded in raw or you took pictures in raw, and
you can recover you can do the like you can do the camera settings after
recording or after shooting the picture. That's kind of what audio recording in thirty
two bit floating point is. So there is no gain knob when you plug
into a thirty two bit floating point interface. Right now, I'm using my
Zoom M four recording in thirty two bit floating point at forty eight killer hurts,
and but the Zoom M four you can go all the way up to
one hundred ninety two killer hurts at thirty two bit floating point. I have
it in USB interface mode, which only allows to go up to forty eight
killherts. In this particular case, maybe they'll do a firmware update down the
line and unlock the thirty two bit floating point. But anyways, as I'm
recording this, it's a ribbon microphone, no gain booster, no gain knob
at all, even on the device recording straight thirty two bit floating point.
It's like recording in raw or a raw format for video editing, or a
raw format for video shooters or photoshooters. That's kind of what it equates do.
So what I'm doing is it's microphone. It's this ribbon microphone XLR cable
into my thirty two bit float recorder. No gain knob, no adjusting gain
at all. How does that work, Johnny? Basically, what it allows
you to do is it allows you to capture every the raw output of the
microphone itself, so in a video or a photography recording or snapping pictures,
and raw basically takes all the data from the sensor itself, and then you
can manipulate things later on, like the gain in ISO and things like that.
Same thing for this, for audio recording and thirty two bit float,
there's no gain knob because it's it's it's using a handful of converters that set
at different kind of gain levels, and it's automatically switching between them seamlessly so
that you get I think it's so when you record sixteen bit, like let's
say you record sixteen forty four one or sixteen bit period, you have sixty
five thousand different levels of volume for a given sample. When you recording twenty
four bit, it's something like sixteen million different levels of volume per sample.
When you recording thirty two bit float, it's I forget how many what's the
actual word for it quintillion, quintillion to the power of ten. Like it's
it's seemingly infinite amount of volume levels you can have per sample. And there
the dynamic range. Dynamic range of sixteen bit is like ninety six decibels,
So you're listening to a CD and MP three, you have like a ninety
six dB dynamic range. With twenty four bit, it's something like one hundred
and twenty something decibels of dynamic range, which is great. But with thirty
two bit float you have like three thousand, five hundred of dynamic rads.
You know, I'm actually going to look it up. Well, I've got
the Google here range thirty two bitloat, and we'll see what comes up.
The dynamic range of thirty two bit float recording is one thousand, five hundred
and twenty eight decibels. Now I'll repeat that again. The dynamic range of
thirty two bit floating point is one thousand, five hundred and twenty eight decibels.
There is no audio source on planet Earth that even is a pimple on
the butt of fifteen hundred decibels. The loudest recorded sound on Earth was a
volcano erupting. I forget which exact volcano. It registered at one hundred and
eighty decibels. When you go to a rock concert, like a super loud
rock and roll concert, that's about one hundred and twenty decibels. A jet
engine is somewhere on the order of one hundred and thirty hundred forty decibels.
With thirty two bit dynamic float thirty two bit floating point, you have a
range of fifteen hundred and twenty eight decibels. There might not be something in
the universe that's that loud. So the point is you will never clip in
thirty two bit float. The thirty two bit float will never clip itself.
However, however, for anybody who's happened to be listening that is familiar with
thirty two bit float, you can still clip. But if you clip,
you are clipping the microphone itself. So, for instance, when you buy
a microphone, you get a microphone, and you look in the specs of
the microphone, it says it can handle spl level or decibel level of one
hundred and thirty five decibels before the element of the microphone itself begins to like
vibrate and rattle and distort. So with thirty two bit float. You are
getting every decibel that your microphone can produce, and you're capturing all of it,
whatever sort, whatever, the audio, from whatever source you plug it
into. It's capturing every decibel up to one thousand, five hundred and twenty
eight decibels, which there is not a source on Earth that can get that
high. The loudest recorded thing on Earth was one hundred and eighty decibels.
It was a volcano erupting. A volcano exploding, it's absolutely insane. So
you are basically, just like raw for photography and raw for videography, you
are capturing everything that your microphone can possibly produce. And if your microphone itself
physically distorts the element the diaphragm and the microphone physically starts rattling and distorting.
Because you are recording something that's one hundred and forty decibels, you have put
your microphone right up to the exhaust of an afterburner on a fighter aircraft.
That's when your microphone itself will distort and start being destroyed. Thirty two bitfloat
is going to capture that. Yes, it will capture that distortion, but
the real beauty in it and thirty two bitfloat happens to be in situations kind
of like a field recording where you don't have time. You don't know what
the environment is going to be like that you're recording in. You don't know
who you're going to be recording, if their voice is soft or loud or
whatever. You see kind of record us in the background when they're interviewing people,
like after court case, as are outside of courtrooms. They're kind of
adjusting knobs and things as they hold the microphone in the person's face. Thirty
two bit float you don't have to do that. You just hit record and
just go. There's no gain settings. If the person was really soft and
really whispering, I'll do an example of it right now. I'm in thirty
two bit float using a ribbon microphone with super low output. I'm gonna whisper
into this microphone and then normalize it later. I'm gonna start whispering out and
I'm going to normalize it. I'm whispering right now. I did not stop
the recording. This is just me whispering right in the microphone, varied subtly,
and I'm gonna start yelling. This is me yelling into the microphone.
You're not going to hear any distortion. I have not stopped the recording.
I have not changed any gain settings. It's just going to capture everything that
this microphone can produce. There's no way I'm going above one hundred and thirty
five decibels of this microphone. Now. I never stopped recording. Now I'm
back at my normal speaking voice. I never stopped recording. I did not
have to go back and adjust gain for my whispers, and I did not
have to go back and adjust gained downwards for one I was yelling. It
just captured everything. Now, when I load the thirty two bit floating point
file into my audio editor and start editing in twenty four bits or sixteen bits,
what have you, I can go in after the fact and normalize it
to whatever I want. The clipping comes down. There's no clipping at all.
It's just a pure, pristine audio file, all in one take without
adjusting any gain. I can go in after the fact and normalize and adjust
while I'm editing to bring it within the sixteen bit or twenty four bit range.
It's a beautiful, beautiful thing. Now I will add one caveat that
when you're bringing up something like a very quiet source, it is also going
to bring up the noise floor of the microphone it self. So whatever the
noise floor of the microphone is, it'll bring that up. If you have
a microphone with a super duper low noise floor, it will sound pristine.
If you're using a noisy mic like this cheap ribbon microphone, it'll bring up
the noise floor of the microphone itself. But the point is you are boosting
the microphone itself and nothing else. Now, in a typical recording session,
there's there are fuddy duddies out there who just twenty four bit whatever. There's
no point the third two bit floating whatever. You just know what you're doing
with the gain settings. Yes, I agree in a controlled recording studio environment,
when you do have perfect control and precision over you know, you're recording
a snare drum and you know how loud it's going to be, and you've
got the levels, and you've got the drummer doing the test test test with
the snare drum, and you've set the level of the preampjest right and everything
that's fine, and a controlled environment, thirty two bit float is not super
duper critical, but where it shines as in an uncontrolled environment, where it
shines as if you want to get every possible detail out of a microphone without
adjusting any gain at all. Thirty two bit float is amazing. And that's
what I've been geeking out about for the past week or so. You're listening
in geek Therapy Radio. Let's talk about some more geekie stuff coming up.
Don't go anywhere, Welcome back to geek Therapy Radio. You've got your mental
cureator Johnny Hamburger. A studio application, I would say for a thirty two
bit float we've been talking about thirty two bit float audio recording, very quick
recap for anybody who is a photographer or a videographer recording audio and thirty two
bit floating point is like shooting photos or recording video in a raw format.
So if you're shooting like pro res raw as a videographer, that allows you
to go back and set gain settings and ISO settings and all that after shooting.
It just pulls all the raw data off of your camera's sensor. Thirty
two bit float audio recording is like pulling all the raw data off of your
microphones element so if your microphone says it has it distorts at one hundred and
thirty five decibels, then you're going to catch everything between the noise floor of
the microphone and that one hundred thirty five decibels without adjusting gain at all.
Because the dynamic range of thirty two bit float recording is one thousand over one
thousand, five hundred decibels the dynamic range of twenty four bit recording. I'm
going to look it up again now because I'm on I do have the Googler
open is Come on, heck, if I can hit enter is one hundred
and forty four decibels of dynamic range. So technically twenty four bit will capture
the entire dynamic range of a microphone. If the microphone can only capture up
two hundred thirty five decibels, which is the microphone I'm using right now can
distorts at one hundred thirty five decibels, twenty four bit as one hundred forty
four decibels of dynamic range, but you're still going to have to adjust gain
settings. You can't just keep if you put the gain down to zero to
capture a loud voice or something like that. And then the person starts whispering,
and you have the gain set all the way to twelve or whatever,
you're gonna hear a lot of noise in that signal. Even with twenty four
bit pre amps inherently have noise to them. It's not a bad thing.
It's just the nature of the analog beast or thirty two bit float. Granted,
you won't get the characteristics of you know, a nice juicy two preamp
unless you have a two preamp going into the thirty two bit float recorder.
But you do have the option, as I described in the last segment of
UH when just there's no gain knob, there's no gain stage to set when
you record in thirty two bit float recording. So if somebody's a whispering very
softly versus somebody yelling really loudly, there's no gain adjustment to be made.
So if you are in an audio editor and you have adjusted your your trim,
your your volume on the track for somebody whispering to bring up their whispers
and have the whispers be at an omal level, and then all of a
sudden they start talking really little out and they're yelling and it's clipping in there.
All you do is you do a little split point before they start yelling,
and then and you'd take the yelling part and you normalize it down to
whatever you want. Now there's no more clipping. You've brought it down back
and within range. Video editors and photographers know what I'm talking about. With
raw recording, when something's blown out, the highlights are blown out, the
scene is way too bright. If you've recorded in raw, you can go
back after the fact and pull down those highlights and bring him back to within
range so everything's not washed out. So that's what I've been talking about the
past segment is thirty two bit float recording and how it's amazing. I would
recommend that if you are going to buy a ribbon microphone. By the way,
if you're just joining us, you're listening to the ribbon microphone, this
entire time being recorded at thirty two bit float into my Zoom M four recorder.
If you are going to buy a ribbon microphone or vintage microphones or things
with kind of low output from the mic itself, thirty two bit floating point
recorder is a godsend because you can capture that low signal and then boost up
the gain after the fact, with no noise, with no added noise.
It's brilliant. There's a brilliant use case area. If I had access to
a five hundred thousand dollars Nive console and some awesome like Avalon, Mike pres
and everything, I don't, you don't need to use thirty two floating point.
And that it's a controlled environment. You can do the sound checks,
you can adjust the game as necessary, twenty four bits one ninety two recording
whatever controlled environment that's fine, out in the field or super low output devices.
Thirty two bit floating point is amazing. But let's move on to other
things. The Logitech g Cloud. This is kind of a complete shift into
another direction of geekery. For those of you semi familiar with it, y'all
know what the steam deck is. I think anybody who's into video games or
game consoles or gaming at all has heard about, at least at this point,
the Valve steam Deck. Handheld video game devices kind of Nintendo's always done
them. Nintendo's always had the Game Boy, or the Nintendo DS or the
three DS, or even the Swim, which technically switches between a handtel device
and a regular gaming console. But over the past over the past few years,
I think several years at this point, there have been a lot of
like Chinese companies coming out with handheld gaming devices that people like me, nerds
and geeks like me can do their emulation on. So we can play our
old nes games on our Super Nintendo games or Sega Genesis games, or Dreamcast
games or PlayStation two games or whatever we can, we can play them on
these handtel devices. Since the Switch, the handhel devices didn't become super dupy
popular in the mainstream again until Nintendo Switch. Nintendo released the Nintendo Switch.
After that, different manufacturers like Logitech and Valve and different even Sony's getting back
apparently, rumors are that Sony's getting back into the handteld gaming arena. They
have started to build their own handtel gaming devices. Valve built the steam Deck
because of the Nintendo Switch. They saw how popular the Nintendo Switch was and
that people were getting into handteld gaming again, and they built the Valve and
it's been wildly successful. So other mainstream there's always been Chinese manufacturers like GPD
and whatnot, ay n and those things making handheld devices kind with kind of
to serve the emulation community, but now it's handtel gaming is getting more mainstream
and that's thanks to the Steam Deck. Really, Nintendo made the switch kind
of spark the handtelds were a viable thing again, but Steam was like the
next manufacturer to really popularize it. And now Logitech a few years ago,
not a few years ago, like within the last year as of recording,
released the Logitech g Cloud and it's kind of the redheaded step child of handteld
gaming. There's the reviews have been mixed on it, good and bad,
and I have one. I saw the Logitech g Cloud on Amazon. They
were doing monthly payments for like thirty bucks a month or whatever. It was
three hundred dollars. We'll talk about that in a second, but it was
kind of like, you know what, I'll get into it because it's it's
kind of it's doing a little promotion right now where it's it makes sense.
I would not have dropped three hundred dollars just off the bat, you know,
and one fell swoop for the thing, but like fifty bucks whatever,
I'll see what this is about. I love it. I really liked the
Logitech g Cloud. It's got the Snapdragon. I think is a seven thirty
G or seven twenty G. It's kind of a process or an SC that's
a few years old. At this point. It was like a global access
processor. It was meant for like developing countries that didn't need the snap Dragon
eighty five, didn't need the snap Dragon eighty five, doesn't need the Snapdragon
eight Gen one or eight Gen two. It's the Snapdragon seven twenty G or
seven thirty G, and it's it doesn't matter the exact moniker of it.
It's not a super duper powerful system on ship. It doesn't have a super
powerful GPU. It does have eight cores, it's not four gigabytes a RAM.
It's kind of like middle of the road, mid range whatever, which
is fine, except that Logitech wanted three hundred dollars for this, and I
agree with that critique that I'll talk about why I love the Logitech Cloud,
but I do agree that three hundred dollars is too expensive because for like fifty
dollars more, you can get a base model steam Deck that will run circles.
That's an x eighty six process, so that will run circles. AMD
processor run circles around the g cloud in the seven twenty Snapdragon that's inside the
G Cloud. Three hundred dollars is too much for the G Cloud. The
G Cloud would be an absolute banger at two hundred dollars, it would be
a no brainer. At one hundred and fifty dollars. I don't know how
they could reach that price point. But at three hundred dollars it is too
expensive. Now. The field, the buttons, the layout, it feels
exquisite in your hands. It is so good to play emulators on. It's
got a seven in ten eighty screen. The Steam Deck has an eight eight
hundred P screen. The logic d G Cloud is seven inch ten eighty screen,
higher resolution. It looks gorgeous, ips it looks absolutely gorgeous. The
processor inside there, the Snapdragon seven twenty or whatever. It's powerful enough to
run a lot of PS two games and WE games. You might have to
put on some frameskiret for some things, but for instance, I love Grand
Turismo for for PlayStation two. It plays beautifully on the Logitech G Cloud.
I adore it. It should be cheaper. It should be cheaper, or
if it US three hundred dollars, that should have a faster processor in their
better processor that's my critique. It's just too expensive for the hardware. But
the hardware itself is awesome and I do love it. Thank you for listening
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