Why not copy the greats- vinyl LP question

Where's the Zeppelin?
I guess take your chances with Ebay.

There are places where people post hi res digitizing of classic LP's. In reading the notes, They seem to be decent analog rigs but not very high end.

Might be fun for a listen but I'm of the belief I want my analog to a stay analog and if I'm going to to listen to digital it should a legit hi res release be from the master tapes, without the inherent LP flaws. 

Thanks all- I guess where my thinking is concerns the reissues that seem to come up every decade or so and why some great mixes are not attempted to be repeated for the sake of getting something special into dedicated audiophiles hands for reasonable prices.   There seems to be no no effort to recreate past triumphs, instead we get (sticking to the theme with Led Zep II as an example)- a terrible set of reissues per the late 80s/early 90's products.  A series of great reissues for the Modern Classics versions of the early 00's (but the price on and availability of these is already astronomical with zero availability) and then most recently, the Jimmy Page engineered reissues of 2014- not terrible, but not great either- (Jimmy Page will never win any awards as a sound engineer).  The Page reissues are available and reasonably priced.  Any other good version is $200+ for a playable copy- certainly there is a business model that supports recreating highly praised mixes which could sell for $50-100 or so?

The plain fact is that tape deteriorates! Thus the master does NOT have the sound it had 50 yrs ago. Then there is the lost ones. Plus it wasn't "VINTAGE" then so the records only sold for $2.99 - $4.99. Lots of things happen in 50 yrs. More people went broke in the R&R business than ever  made it big, IE Woodstock Promoters. 

Yes good point about the shape of aging masters. However the thing about most LP’s from many years ago, is that cartridges of the era weren’t able to handle low bass and dynamics (as opposed to today), so there was very often a dub of the master mixdown made for LP cutting. So aside from extra limiting/compressing there was also an extra tape generation or more. Compounding the problem, many engineers that did work liked to label the tapes they worked on as "master," so it could be confusing to find and use best available tapes for reissues over the years. That’s why I like to have a great analog system and a great digital one as well (within limits). Galvanic isolation (like the Etheregen I use) go a very long way to making digital enjoyable.