Why does this matter to someone using commercial recordings?
You speak as if the concerns you face when monitoring or making your own recordings should be relevant to everyone.
It does not. I did say that capability to reach 120 dB depends on intended use - merely stated which is it.
As there are cars for getting from A to B at the minimum possible cost, there are cars that aspire for the ultimate performance.
But if the public road system is being kept so low to support nothing but 90 km/h ( an approx equivalent of CD redbook ), limited in curvature of the bends, inclination, you name it - things become boring. I am not saying breaking the sound barrier belongs on the public road - nor does driving a Ferrari to its limits. For that, there are tracks - natural flats that allow it or man made circuits where such activity at least poses no danger to others.
Music is different. It does have its range - in dynamics, in frequency response - which has not yet been reached by any recording. And here it is deliberately cutting corners being made specifically to accommodate certain recording format. Cut this, filter that, etc - until it "fits" into CD redbook.
Every one decides which music is to his/hers liking, played at level and dynamic range of choice. No one is forcing one to do anything. But I find the opposite side who considers itself a governing body what should and not should be done a bit too much. There is more than enough such people already - so much and stuck in each and every pore of the System that is really painful.
Painful to hear one of the last living and still active pupils of Rubinstein (a pianist of course ), whose eyes started to sparkle listening to my recording of his recital. His first remark, obviously startled, was : "How well did you capture the quiet and loud parts - never heard my playing recorded like that !" The man is now in his late 60-s ... - and about half of his mastery of the command of the piano simply does not come trough on his official CDs.
Sorry, not gona happen using conventional thinking, conventional equipment , conventional limiting of each and everyone who does not want to conform and be in the comfort zone of the masses. And extraordinary musicians like this pianist will never get a recording that will do his lifelong endeavour justice.
I never said each and everyone should aspire to the same goals as mine. But I have always respected a sales clerk who takes the time and trouble to show the prospective customer the whole range - not just up to the level
the clerk has judged the customer on the basis of the customer's clothes etc. Even if the customer bought in the end the most bottom of the line product, that clerk has made a customer - for life. And that satisfied customer will return once financially more fit. And again. And again. Ultimately, ending buying near or at TOTL level.
As regards your question why does it matter if you do not get clipping on piano and I do : first, the recording is certainly different. Second, lifelike dynamic range is more demanding than to what commercial recordings have decided to limit themselves - compression of one way or another is at play. Chances are your headphones/amp driving them to clip are certainly higher with my recording - because it is left intact. Just as you will not go deaf from listening to piano live, you are not going to go deaf listening to my recording using headphones or speakers capable of lifelike loudness and dynamic range without excessive distortion.
One compressed recording sounds like recording - one non compressed recording has a good foundation to start sounding like real music. If not hampered by the playback equipment.
Clear enough ?
