Zoom reveal UAC-232 - 32-bit floating point audio interface - Published 17/2/23


Zoom have announced the release of the UAC-232, a new 2-in / 2-out 192kHz-capable audio interface based on the 32-bit floating point technology used in the company’s F-Series field recorders. Equipped with two microphone preamps and dual A-D conversion circuitry, the interface allows users to capture clip-free, low-noise recordings without the need to set any gain levels.

I/O
A pair of front panel XLR/TRS combo sockets provide the device’s analogue inputs, and will accept microphone or line-level signals, with Zoom employing the same high-quality preamps found in their F-Series devices. Many will instantly notice the absence of any gain controls, which have been omitted due to the extensive dynamic range offered by the device's 32-bit floating point A-D conversion.

Each channel benefits from its own independent phantom power switch, and a Guitar/Bass switch allows the first channel to function as a Hi-Z instrument input. A quarter-inch jack socket provides a 100mW headphone output capable of driving even the most demanding headphones, and a large rotary dial offers control over the interface’s output level.

Over on the rear panel, a main stereo output is present on a pair of quarter-inch TRS connectors, whilst MIDI I/O is also provided thanks to a pair of five-pin DIN sockets. The interface is equipped with two USB-C ports, one of which provides data connectivity to a host computer, with the second allowing a dedicated USB power supply to be connected for situations where a host machine cannot provide a sufficient amount of power via the USB bus.

Monitoring & Control
The UAC-232’s routing and monitoring configuration is taken care by a Mix Control software application, which is available for Mac, PC, and iOS platforms. Music and Streaming modes are available to optimise the I/O configuration for DAW use or streaming applications respectively, and a Loopback function allows users to combine their computer audio playback with the device’s input signals within the routing software.

The interface also offers a latency-free monitoring function, with a Direct Monitor switch on the front panel routing the signal from the two analogue inputs to the headphone output before any conversion has taken place. The volume and pan settings for this mix can then be controlled from the Mix Control software.

Pricing & Availability
The UAC-232 will be available in Q1 of 2023, priced at £246 including VAT / €272.51.
https://zoomcorp.com/en/gb/audio-interface/audio-interfaces/uac-232/
Source: www.soundonsound.com/news/zoom-reveal-uac-232

 

I have the Zoom F6 & F3 32bit recorders...... indeed great recorders, so I guess this audio inteface 32bit will be great too.

 

The REAL question is :

Are there REAL 32 bits float chips inside ?
NOT

Because It is NOT possible for a simple reason :
Analog to digital conversion is like "filling" buckets
24 bits LINEAR = 24 buckets
32 bits LINEAR = 32 buckets

But what is "32 floating buckets" ?
It is nonsense, and will never happens.
There can't be "floating" AD DA converters (being audio or image or whatever), only LINEAR

So what they do ?
They use TWO 24 bits linear converters ... and put the result into a 32 bits float file

https://www.audiotechnology.com/reviews/zoom-f6-portable-field-recorder

"The F6 uses two AD converters per input channel, working together in a configuration known as ‘gain ranging’, with one converter for high level signals and the other for low level signals. The outputs of the two converters are used to create a 32-bit floating-point signal that captures the full dynamic range of the analogue input signal. So the F6 offers 131dB of analogue dynamic range embedded comfortably into the 1500dB offered by the 32-bit floating-point format, with plenty of room to move for peaks. The microphone’s diaphragm and/or internal circuitry will distort long before the 32-bit signal runs out of headroom. – Greg Simmons"

All that chatter to hide a simple TWO converters scheme into a file ?

They could have put their 131 dB real analog dynamic into a LINEAR 192 dB 32 bits file ... but you know, 32 bits float is better ...

"Linear PCM offers a dynamic range of 6dB per bit, so 16-bit offers 96dB, 24-bit offers 144dB, and 32-bit offers 192dB."

So yes 2 converters is better to get more dynamic, BUT their 32 bits float quality is a scam : it still less than 32 bits linear dynamic

Side note :
Fuji used the same trick with their GFX : they created a "greater" RAW format with more bits ... but used the same sensor tech than others to fill it
So when you compare a Nikon FF (using the same tech) to the Fuji GFX ... you get the same result color wise, just with more pixels
Marketing once again

 

A lot of technical speculations......

You forgot to add these from the review:

1: WHAT I HEAR
Regardless of my concerns about the lack of a gain control for the 32-bit files, I will say that the F6 does an excellent job of capturing high level input content. I placed it within a couple of meters of a high-speed country train passing by and also at the end of a runway where airliners were taking off, and the clarity of the captured sound was wonderful. For years, I have spent a lot of time riding input levels on 16-bit and 24-bit devices to capture a strong signal without introducing distortion, so the ‘fire and forget’ nature of the F6’s 32-bit Float recording mode is well worth the price of entry.

The 32-bit Float format is extremely important to our industry, but it is also a complex topic that I will cover in more detail in a later issue.

2: CONCLUSION
Overall the F6 is a device I can see myself using on a regular basis. It is small, lightweight, simple to use, and, most importantly, it captures content effectively in the current take on 32-bit Float recording. I need a device that does this, and the F6’s price point makes it a very appealing choice.

In an industry where some of the big companies have become complacent with their products, I really enjoy seeing Zoom strive time after time to advance their product line. And while not all their devices are must-haves, I think the F6 just might be.

Bottom line:
The F6 works brilliant!!

 

My experience:
I only do 96Khz/32bit recordings with my F6. I dont have to set levels - infact its not posseble when recording in 32bit mode.
What I get is the best recordings Ive even done and over that I dont have to worrie if the signal is distorted or too weak - it can all
with ease be fixed in post.

 

Very welcome news!

A quality USB3 audio interface at that price and with those features.

 

@phloopy
Are you joking ?

ALL IS WRITTEN
2 converters and float format, that could be included into 32 bits linear (131 into 192)

I didn't said it is a bad design (it is VERY good).
I just spoke about MARKETING

And it works it seems
PS : find ANY AD DA converter in float format, not linear

 

But it doesn't read like a marketing trick:

Zoom - UAC-232 - 32-bit floating point audio interface
www.soundonsound.com/news/zoom-reveal-uac-232

To find out more about the benefits of 32-bit floating point conversion, you can
check out our in-depth review of the Zoom F6 from the July 2021 issue of SOS.

- First recorder to offer 32‑bit floating‑point ‘hands‑free’ recording.
- Supports sample rates to 192kHz.


32-BIT FLOAT: Everything you need to know

Introduction:

There's a lot of buzz about 32-bit float recording technology. It not only gives you consistently clear audio, a simplified setup and unprecedented editing flexibility, but it also eliminates the need for a gain knob.

Zoom is one of the first companies to implement 32 bit-float into a variety of portable audio recording devices because we see this technology as a true game-changer– but you might be wondering how it works and if it’s worth using in your audio setup.
Here is a brief crash-course on 32-bit float that can help you determine if it’s right for you and your work.

Read more: https://zoomcorp.com/en/jp/news/32-bit-float-everything-you-need-to-know/

 

Some articles to understand the protocol/format:

• 32-Bit Float Files Explained
• 32-bit Float Audio - When Is The Best Time To Use It?
• Discovering the Magic of 32-Bit Float Audio Recording

 

AFAICS all major producers (if not all) of 32 float recorders use this so called multiple fixed point 32-bit A/D converters to achieve the ability to offer the 32 float option on their hardware.... devs like Sound Devices, Tentacle and in this case Zoom....
It´s the techlology as it is atm - take it or leave it.

About maketing:
Sound Devices, Tentacle and Zoom all sell this new technology (multiple fixed point 32-bit A/D converters) as 32 float, so thats the option available here and now if you want to record digital 32 float I guess.

For me it´s a dream come true - I simply love this simple way of recording without being worried about levels etc. so I can focus in post instead.

 

The reduction in effective db is apparently due to the Noise levels:
"the F6 has an EIN (Equivalent Input Noise) of -127dBu and a maximum input level of +4dBu on the microphone inputs,
giving it a dynamic range of 131dB."

This will happen to any device, but at least Zoom is telling us about it.

So the range reduction is more due to the Noise Floor than the actual "gain ranging" splitting technique?

Also remember that 32 bit float records at 24bit: it's a 23bit mantissa,
and the rest is 1 sign bit and 8bit exponent, which is what grants the extra the Dynamic Range.

IOW 32bit FP doesn't really exceed common 24bit in terms of raw Quality,
but gives you much greater Dynamic Range to work with, which is ideal for live recordings..

 

I need this tech in field recording stuff directed for filmmakers, like for example - in Rode Video Mic I would buy it instantly. I cannot count how many troubles with levels I had during filming, especially music festivals.

 

Rode just released a 5th generation NT1 microphone that has balanced and usb outs.
Rode also claims, somewhat startlingly, that the new NT-1 is “unclippable”, thanks to a 32-bit float digital output that captures the full dynamic range of the microphone while also enabling DAW users to optimise the audio after recording. So, in theory, you no longer need to worry about setting your gain correctly beforehand.
This is getting interesting...

 

Now I can record 8, 12, 13 and 16 bit digital devices and my analog synths/voice/guitars with 32 freaking floaties like ZOOOOOOM.

insta buy for me

 

Damn! I just bought a UA Volt 2 for my new computer because my old UAC-2 wouldn't work with it.
Now I might have to trade for another Zoom interface.
I didn't need the free software anyway
Will also look at ordering the 5th generation Rode NT1 mic with floating 32 bit to go with it.
I'm 66 and it's nice to see and use this stuff before I drop dead.
Keep moving forward as fast as you can, equipment producers.
I'll keep moving forward with you as long as I'm able

 

Not quite...
I'm interested to see what the latencies will be with these.

SPECS:
"USB USB Type-C (audio interface function) • Use a USB cable that supports data transfer. USB bus power is supported.
DC 5V USB Type-C (for power supply)
...
Audio Interface
INPUT AND OUTPUT CHANNELS Recording: 2 channels Playback: 2 channels
SAMPLING FREQUENCIES 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz
BIT DEPTH 32-bit float / 24-bit
INTERFACE USB 2.0
CLASS USB Audio Class 2.0"

 

Sweetwater tech specs say Computer Connectivity:USB 3.0.
Which is it?

 

I dont know how many channels you need for recording those music festivals but with at single camera the F3 would work brilliant - at least thats what folks tell me.

 

I took that info directly from the UAC-232's "FEATURES & SPECS" button on the product page. It's the same in its Operation Manual as well. I guess it's worth mentioning that the ZOOM UAC-2 goes out of it's way to highlight it's USB3.0 SuperSpeed capabilities, but not so for the UAC-232...

EDIT:
It's product images also show the USB2.0 speed symbol above the USB-C data port.

 

Last edited: Feb 22, 2023

Two channels are ok, but I am talking here about making some kind of handheld shots, run and gun style - It's better to have it in a mic than to carry external interface