Loudness war continued on Hi Res audio

[polmuaddib]

I thought that with the high resolution music becoming more available, and with more bits (24) you would have more headroom and no clipping, but that isn't true. For instance, i have 2015 remaster in hirez 24/96 Tina Turner - Private Dancer and even though it sounds nice, i can see some clipping in audacity (I can even hear clipping in some parts of the song Private Dancer). I checked the song What's love got to do it and compared it with the older relase which is 16/44.1 and that one looks normal in audacity with no clipping.
I know that remasters are usually bad with loudness almost always applied, no matter the final format, standard or high resolution, but could hires releases suffer less from this? Or mastering/remastering engineers dont care at all and are just used to seeing clipping as a good measure. Like, they are increasing loudness untill it clips some and then it is enough.
So, i understand why loudness war started and i know that most music is enjoyed on phones with headphones, but Hi Res music was intended for audiophiles and listening at home. I know i can't hear a difference between cd quality and 24/192, but i was hoping that with 24/192 releases were done with care, but no.
It's not always the case, but some albums were ruined. Bowie's Blackstar hirez relaese has heavy clipping, Daft punk RAM 24/88 release also has heavy clipping...

 

[Ivanovich]

It’s the state of the business! Hi-Rez is just a marketing ploy to get people to buy the same records again (or stream them).

The problem is on the production side, not the tech.
The artists are as much to blame as the mastering engineers, who sometimes just have to deliver what the customer wants. When the artist says, “I want my record to be recorded “hot” so it plays loud compared to other records,” what are they supposed to do. If the record company had a policy on mastering levels maybe there would be come control on consistency but that’s not the way it is.

 

[Vincent Kars]

Bit depth probably works a bit different than you think.
The loudest one can play at the digital side is defined as 0 dBFS.
Hence a CD (16 bit) can play as soft as -96 dBFS and hihres (24 bit) as low as -144 dBFS.
Increasing the bit dept to 24 allows you to capture all those very tiny details between -96 and the noise floor of your gear (or recording chain).

The loudness war (severe dynamic compression and peak levels close or up to 0 dBFS) is a management choice.
Remasters often suffer from it regardless of the format.