I’m sure you could come up with an application for it, but if you want audio output at some point, half-float sounds like quite a challenge. - The -66dB noise

I’m sure you could come up with an application for it, but if you want audio output at some point, half-float sounds like quite a challenge. - The -66dB noise floor is pretty bad, and it accumulates at every step. - 11 bits is probably not enough for filter coefficients. So your filters would likely be running with single precision floats, at least. Even low-cost DSP chips tend to give you a big chunk of bits for your filters. - Naïve oscillator designs would accumulate a lot of error. Back of the envelope calculation, if you wanted an oscillator at C4, you’d likely be around 1/4 tone sharp or flat unless you ran the oscillator at higher precision. I’m definitely of the mind that bit depth is overrated in music. 16 bits is great-for mastered music and simple tweaks. By contrast, from my experiences writing DSP code, it often makes your code simpler and faster to run at higher depths and sample rates, and then convert to e.g. 16 bit as the very last step. The problem is that squeezing good output from low precision or low sample rates requires more complicated and slower algorithms.