This version writes non-zero value to the avgBitrate field like prior to version 2.51 ("Encoding Params" remains the same as 2.62) .
Works without crashing. Looks like it was the avgBitrate field causing the problem. Thanks for the quick response!
Not that this is a fair comparison of how a codec works. The notch is also less than -75dB, so it would take some seriously sensitive equipment to pick out just that difference over any other differences in the signal.
But I also tested a selection of albums with positive album gain, because here is where the peak value stored will limit upon playback. (The Merzbow album has an album gain of -21 dB, so the +11 won't bring it across zero.) General findings: a couple of dB suffices on everything I tested. Which excluded classical music (where there is too much that peaks too low, it would take much more work), test signal CDs, HDCDs and pre-emphasis CDs. All were lossless CDs/Bandcamp downloads in the FLAC format.
The "positive gain" selection: Initially I set some criteria for entire albums, but ended up searching up tracks with high peaks from albums with positive RG album gain (calculated by fb2k, new algorithm), which is where clipping prevention according to peak would kick in. I ended up scanning some 163 tracks, but that was because I was too lazy to remove stuff.
Then I picked a handful of tracks and scanned them with several "True peak" settings using foobar2000 1.4beta13.
Music: Lots of prog.rock and the like. Diamanda Galás, Pink Floyd: "Mother" from the Shine On version of The Wall, The opening track from Demon's "British Standard Approved", Jonas Hellborg - and Bobby McFerrin (the "Voice" album).
Some general remarks:
* Turns out that in my setup, the SoX resampler does not find any intersample peaks at all. Maybe it could have something to do with my setup, using SoX resampler to get rid of some odd sample frequencies. Anyway, SoX excluded.
* Auto 2x/4x/8x return precisely the same figures.
* Nothing in this selection went above +1.30 dBTP. That track is White Willow: "John Dee's Lament" from their debut Ignis Fatuus, RG track peak was 0.98something.
* Other were close to or above +1 dBTP: McFerrin, Demon, Hellborg.
* Those who are worried about their Pink Floyd: +0.48 dBTP.
* Differences between algorithms are smallish, less than 0.1 dB.
Learnings: a couple of dB seems to take care of everything I tested, and algorithms make little difference on these tracks.
Then the LOUD albums: 12 albums (112 tracks) with album gain -16.00 dB (fb2k, new algorithm) and below. Quite a lot of industrial/noise (three involving Merzbow), a couple of black and death metal albums, and the infamous Stooges "Raw Power" reissue. All tracks 16/44.1 but one track 24/44.1 in a Bandcamp purchase; that didn't turn out to matter.
* "No oversampling" track peaks overview: Six of twelve albums at full (.9999969 or 1 for all tracks). Four more albums entirely within -0.12 dB. The last two a bit particular: Deathstorm: We are Deathstorm, all at -0.2 dB and one -0.48 dB - and then a 41 minutes Merzbow concert in a single track, at -1 dB.
* Every track "above" the Stooges: Raw Power peak have Deathstorm or Merzbow involved. Only here the choice of algorithm makes big differences in numbers: The "worst" is Merzbow: Venereology, and here a track ranges +7.15 dBTP to +11.30 dBTP depending on algorithm (the highest using dBpoweramp/SSRC - both are still way short of the album gain of -21.76 dB though).
* Stooges: Raw Power: variation among tracks in the interval [+1.95 dBTP, +2.98 dBTP] for PPHS default. Variations among algorithms: from PPHS default and and .3 to .4 dBTP upwards (PPHS ultra, dBpoweramp/SSRC), with "auto Nx" in between.
* None of the albums get album peaks below +1.77 dB (PPHS, both default and Ultra) to +1.84 (auto Nx).
* Two to three of the 112 tracks stay below 0. All Deathstorms. The "third" of these range -0.02 dBTP to +0.14 dBTP.
Learnings: All these albums bump up ~ 2dB or more, up to a whopping 11 dB. Only on one album did the algorithm really matter for the number - but remember again, the large negative RG album gain will more than compensate.
You could also look for an old Dual turntable. I still have mine. They are belt driven, have a 7 1/2 lb. platter, and a speed adjustment with a built in strobe.TTs for DJ-ing on the other used to have ultra light platters made of aluminium. This allowed them to reach or change target speed extremely quickly, useful for beat matching etc. They also often came with a slipmat made specifically to have very low friction for easy scratching and pitching.
Needless to say, if you want to record the vinyl true to its intended sound (and don't want to spend money on digital versions) you would want to invest in one of the first types of turntables and stay away from the DJ types.
The old SL1200 did not have an ultra-light platter and yet is very popular with DJs. It had a fairly robust drive and so was able to get up to speed quite quickly (the new one can do it in 1/10th of a second). If you are on a budget, the older SL1200s are a pretty good deal for LP playback- DJ or no.