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
Analog tape is not a panacea. Just like vinyl, it significantly colors the sound.
To be clear, analog tape colors the sound more than the LP, owing to the fact that a properly functioning tape machine will exhibit a 3rd harmonic, which contributes to 'bloom' and apparent detail.
.... 3rd harmonic.


No, the 3rd harmonic was just the convenient harmonic to measure when setting levels as you can readily hear it on test tones. There were other harmonics in there as well when the tape starts to compress.

Then there is the common mid band frequency anomalies that varied machine to machine, sibilance from pre-emphasis, wow, flutter, scrape, and of course the loss of high frequencies and dynamics from simply playing the tape.
Dear @seventies : " So vinyl to high resolution digital retains the ’magic’ that many associate with vinyl sound. What other than an electro-mechanical groove-cutting process underlies that ’magic’ ?

First than all non-exist that " magic " we audiophiles " like " to think and just do not accept is not " magic ".

@dgarretson at the very first page of your thread posted:

""" The answer is that vinyl contains euphonious distortions and artifacts that are accurately captured and passed through a hi-res digital recording. """

Other than the cutting/pressing process the recorded LPs came with a huge developed distortions developed through the nigthmare overall LP playback process. The " magic " are only every kind of developed distortions you can imagine not music information and these non-music information is captured with accuracy for the digital medium that with this fact proves that digital medium is way superior to the analog one no matters what.

I think you agree with when posted:


"" By high resolution bit rate I mean bit depth times sampling frequency. As that rate increases, format differences diminish. DAD 256 verses PCM 24/192 ? Take your pick.

Recording standard is evolving to PCM 24/352, because PCM allows editing that DSD does not.

Music recorded at that resolution has no peer in the ’history’ of sonically preserving performances. Prefer the ’magic’ of vinyl ? No problem. Such is available. But the ’master tape’ is now a master hi res digital file, now a huge upgrade over the ’DDD’ lp’s touted a few decades ago. ""

Absolutely rigth !.

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.

Btw, you posted:

"""" one might question why digital made without the intermediary of vinyl sounds so different from vinyl. A detective story ?

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

No detective story: both are way different mediums, so today : why any one could thinks that both mediums should sounds alike when that is just impossible ?

The analog deffenders likes all those high euphonic distortions against way lower distortions in the digital medium. Yes it's not that digital do not like to them as medium but that digital has not those euphonic distortions all of us are accustom to: go figure ! !


Dear friends/ @seventies : ""   is way superior to the analog one no matters what.  ""

Wrong what I posted. What I wanted to say is that that proves that digital records/plays exactly the information we recorded.

So, it's really an accutared medium. @dgarretson  confirmed it when he posted that in his system he can listen tiny differences in what was recorded in digital medium because it's imposible that can sounds the same as the vinyl direct sound due to the converters ( ADC/DAC ) in the digital domain and the cable used to transmit from vinyl play to digital device. 

R.