The situation used to be very simple: 50% DSD modulation was defined to be 0 dB_SACD. The question is - could it be, that the intended headroom is still 6dB and the occasional clipping is simply intended result of the mastering process? I've heard some anecdotes that occasional clipping isn't that much of a concern. With 6dB gain, the pianissimo sections are still quiet, but better audible than before. The distortion caused by clipping is inaudible. This indeed results in clipping, however upon visual inspection of the waveform it is only limited to couple of samples during climaxes with very loud percussions (cymbals) - literally 4-5 cymbal hits in all movements of the recording. I therefore tried to set the gain to 6dB. However, the resulting PCM files are still noticeably quiet in piano/pianissimo sections. ![]() The question is, is this really the best procedure for classical/orchestral recordings? For example in this recording, I found a peak of -3.6dB and therefore set the gain to 3dB during the conversion. ![]() dsf files by a dynamic range meter to determine the peak values. As far as i know, the recommended procedure to set the gain is to analyze the source. Hi, I am converting an SACD iso of Shostakovich's Symphony no.7 to PCM.
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