vinyl versus digital redux


Has anyone compared the sound of vinyl with the sound of digital converted from a vinyl intermediary ?

I am referring to 'rips' of vinyl made with high end, high quality vinyl playback systems, with
conversion to high resolution digital.
I find it nearly impossible to distinguish the two results.
The digital rip of a vinyl record sounds identical...or very nearly so...to direct playback of the vinyl.

If one has 'experienced' the foregoing, one might question why digital made without the intermediary of vinyl sounds so different from vinyl.   A detective story ?

We are talking about vinyl made by ADC (analog to digital conversion) of an amplified microphone signal and re-conversion to analog for output to the record cutting lathe, or from analog tape recording of an amplified microphone signal, and then....as above...via ADCl and back to analog for output to the cutting lathe.

Of course vinyl can be and is 'cut' (pressings made from 'stamper' copies the 'master' cut in lacquer) without digital intermediary.  Such practice is apparently uncommon, and ?? identified as such by the 'label' (production)

Has anyone compared vinyl and high resolution digital (downloads) albums offered by the same 'label' of the same performance ?  Granted, digital versus vinyl difference should diminish with higher digital resolution.   Sound waves are sine waves....air waves do not 'travel' in digital bits.    A digital signal cannot be more than an approximation of a sine wave, but a closer approximation as potential digital resolution (equating to bit depth times sampling frequency) increases.

If vinyl and digital well made from vinyl intermediary sound almost identical, and If vinyl and digital not made via vinyl intermediary sound quite different, what is the source of this difference ? 

Could it reside....I'll skip the sound processing stages (including RIAA equalization)...in the electro-mechanical process imparting the signal to the vinyl groove ?

Is there analogy with speaker cone material and the need for a degree of self-damping ?
Were self-damping not to some extent desirable, would not all speaker cones, from tweeter to sub-woofer, be made of materials where stiffness to weight ratio was of sole importance ?

Thanks for any comments.
seventies
As for tape degradation, the SSS (sticky shed syndrome) was a major problem on Ampex 406/407, 456/457, scotch 226/227, and a few others.

After Quantegy stated they had fixed the binder problem I bought 4 new cases of 456 with the new and improved binder. They were good for the first few years, but after that they slowly degraded into sticky shed just like the earlier stuff. Ended up pulling the flanges off and tossing the balance of the remaining tape into the trash.
I bake tape for about 3 hours at 140-150 degrees if there's any question about age or storage (and these days there usually is). This will cause the moisture to exit the tape and it should be good for a few months. It helps to store the tape in a plastic bag with a packet or two (more if its 1/2" or 1" tape) of silica gel to absorb moisture. Its better to store the tape in the attic rather than the basement! We remastered an LP where the artist ('Spider' John Koerner) did exactly that and the tapes (recorded in the early 1970s) were immaculate- no shedding and no need for baking.
it is my understanding that most of the old tapes have been digitized. Correct me if I am wrong but digital storage is certainly more robust. Once in numbers that "sleepiness" can be corrected with very modest EQ as well as doing neat stuff like getting rid of the tape hiss.
Some tapes have been digitized. Many, possibly most are missing because studios sold them off or sent them to landfill. Digital storage is less robust than LP, unless the digital storage is constantly moved/backed up (which means electricity is involved for the period in which the recording is stored); if analog tape is stored properly (see above) it can last decades, but its rarely treated properly. You can't correct that 'sleepiness' with just EQ; you need a bit of expansion (as opposed to compression) and you can't do anything about the loss of detail. This is all why original LPs are usually the best 'record' (if you'll pardon the term) of an older musical event.
This is according to research done by the Library of Congress when deciding upon their long term archive needs.
That study was done sometime in the 1980s if memory serves. What they found was that laminated media (magnetic media and CD) had lifetimes in decades if stored properly (months or years if not) but amorphous media (LPs and the stampers that made them) could last centuries. The study did not include any kind of solid state media like thumb drives.


Anyone got an estimate of the proportion of all masters which have yet to be captured in red book digital quality or higher? I’m guessing, now that Amazon, Qobuz, Tidal, and Spotify are competing on total digital library size, the proportion is small.
If the proportion of non-digitised masters is small, then we can conclude either i) not enough people want to listen to the remaining non-digitised tapes so who cares really, or ii) there should be a crowd-funder effort to complete the capture to achieve the complete permanent preservation of all The artefacts of that extraordinary period of human artistic achievement.

Is anyone else storing their LP's on hard-drive beside myself? To me, that seems like a dumb question, but maybe it isn't.
I have made quite a lot of digital recordings of LPs, but mainly for comparison purposes, when trying to compare, say, tonearms or cartridges. I can play the samples over and over without damage to the record or stylus, and it gives me a good basis for comparing the sound of two cartridges, for example.
I also have a few records which I have recorded because they are not otherwise available in digital form.
But for most of my several thousand LPs I just listen to the record. I have a good AD converter from RME and a great DAC (a Lumin X1) but the digital recordings never sound quite as good as playing back the originals on a turntable.

I've done so many things that I've forgotten what I've done, but my playback is identical to playing the TT which is why I have to do this thing all over again each time I make an improvement. After I down-load my favorite LP's, I program the play list, and that's the only way I listen to my record collection.

This is the third and last time I'm doing this. I have a Stereophile "A" rated CD player, and my analog rig is head and shoulders above that, so I'm quite satisfied. Although I realize you can always get better, I doubt very seriously if I'll try.

Many others are getting the same results I'm getting so it's not that unusual. But this was back when what we were doing was new, and there were many different ways to do it. I doubt if those computer cards that enabled us to get these results are still available, but all that information is somewhere on this forum, because we had long heated debates that raged back and forth.

Some people get great joy from playing their records, I don't; I only like to enjoy how fantastic they sound after purchasing a better cartridge and NOS tubes in my case that put it all over the top.


Have fun spinning records and enjoy the music.


Thanks for answering my question.