I'm using a newly purchased Zoom F6 that does 32-bit floating audio recordings but I'm completely lost when trying to pull this into Premiere. It seems to import fine but when adding to the time-line I'm seeing 3 mirrored tracks... I have no idea where to go from here. Any help appreciated.
So I figured out why it was merging 3 audio files into one.. Evidently I had POLY selected as opposed to Mono/Stereo... I guess I need to do some research between those two options, but I'm still uncertain as to whether or not I should be working with the *stereo* or the *mono* track. Or does it matter since I'm only using one microphone?
As for how many channels I'm recording, I have 6 inputs, but only using one (which is going to a NTG-3 condenser).
I got this F6 recorder because it has the 32-bit floating option but I'm still not sure how to make use of this feature within Premiere Pro unless I pull the audio into Audition first.
You shouldn't have to worry about the 32-bit stuff. The files that Zoom puts out should be usable in anything, really. The whole point of the 32-bit audio capture is to gather a wider DR of sound that it then ecodes into the file. The file should be fine.
Premiere's different audio channels can be confusing. Much"pro" audio is actually built on mono tracks, and mono can be used as 'dual mono'. Which isn't quite the same as stereo, as it "pans" differently.
Then Premiere has "adaptive" which I've not quite mentally sorted myself. Jarle Leirpoll notes in his amazing tome on everything production-wise in PrPro that the adaptive channels can be very powerful to use, but require quite a bit of training and practice to master. Hence, I've avoided them.
It sounds like mono would work just fine for your needs. Multiple channels of mono is how many productions are built.