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My point was that the pro devices I mentioned have very special features, and are purposely designed with enhanced headroom through the analogue circuitry. It was an attempt to answer the question posed by the thread-starter, 'heathen.'
Driving a piece of pro gear hard so all the lights come on and clipping an electrical circuit are not necessarily the same thing. I don't think it's particularly helpful to discuss "converter clipping" as if it were a useful and accepted technique. It is encouraging recording neophytes to distort audio with their less well-specified systems, just as the "using up full 24 bit range" idea encouraged musicians and project-recordists to compromise the internal digital gain structure within their DAWs. By the time the audio arrives in the hands of professional finishers with expensive converters it is often, sadly, beyond repair.
The pros discussed doing it with their Radars, then someone tried it with an RME, next they'll think they have to do it on their Edirols and Creative Labs. At the end of the line, the A&R will say to the ME: "we know YOU can fix it up!"
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