32Bit Float Rode Wireless Pro

I was tagged below, so I'll answer the question below.  Premiere supports 32 bit audio, both float and intiger (though, the specific format and way the file is encoded can cause some issues since 32 int is rare and not used a lot).

"trying to replicate in 'testing' what all YouTubers are doing with this mic system"
Can you link to a video.  I'm guessing that the you-tubers are recording in 32 bit float so they don't have to worry about gain staging?  If the file is converted to anything other than 32 bit float at any point in the chain and quantized down, there will be issues.  If you add some more info about what is happening maybe I can help (I'm an audio guy after all).

Now, to my personal take on recording at 32 bit formats.  You still need to understand how microphones and recording systems work, even if capturing at an ultra high resolution.  The analog electronics of a microphone and record do have very real physical limits as far as SPL and voltages, and ever present noise floor.  So whispering and screaming into a mic can still cause analog distortion. 
32 bit float audio is EXCELLENT as an internal audio signal path, as it allow you to maintain audio even when it is is at insane amplitude levels.  Premiere already has a 32 bit float signal path internally, so you don’t need to worry about clipping audio inside Premiere (pragmatically though you will still distort audio if you stop paying attention to some fundamentals).

I am trying to think of an analogy that might be applicable.   It might be a little like capturing video in RAW format.  It is great and opens up a lot of possibilities, but you still need to properly light a scene otherwise it will be bark and look bad.  32 bit recording is little like that, you still need to gain stage and get the microphone into a proper position or it will sound bad.

I use 32 bit float audio from my Zoom F6 frequently. 

I begin by loading copies of the audio files into Audition and using the "Match Loudness" function to batch process the files to an acceptable level (-24 lufs perhaps, or -18).

I then add them to my project and sync them with scratch tracks from my camera (I use the audio wave forms to sync—my shots are usually just a few minutes long, and this usually syncs fine.)

I'm not sure that Premiere can work as 32 bit float ... maybe Audition can?

I know Resolve can't "do" 32 bit float either.

@mstegner is the person what would know.

Hi Lee,

What exactly do you mean by "what all YouTubers are doing"? Is your audio source a true 32bit recording? Or only a 32bit export coming from a conventional 24 or 16bit file.

And what is the contents of your particular test? Do you have an audio sample with very quiet sections and very loud ones that go above 0dB?

The very quick way of explaining 32bit audio is that no matter how quiet or loud you record, the container is not limited by a fixed bit range, at least not nearly as limited as 32bit float which means when the source comes from such a recorder which has multiple preamps at different sensitivity levels, no matter what your record, the data will remain in tact and be normalizable to the usual hearing levels. You don't have to compensate at the moment of recording for one or the other which with a conventional singular preamp can result in introducing too much noise or distortion.

Some 32bit recorders have no gain setting at all (for the user) so needs to be managed in post. But in general, if you record at normal levels there isn't much difference in quality over integer formats. If what you record is so quiet that enviromental sounds are equally loud you also can't expect that you can clean up this sound just because it's 32bit.

Makes sense?