Recommendations for a jazz record which demonstrates vinyl superiority over digital

Once again, thanks to everyone who has come up with specific recommendations!  If I seem slow to take them up, it is partly because I am away from home a lot.

I've also had to service my Mercedes Sprinter, which carries a motorhome body.  Normally a service is about A$1,000 and this time I was quoted $1,250.  It has only travelled 80,000-kms, and needed its first change of disk pads.  The original quote did not include $1,000 for parts and oils!  They spotted a slight oil leak from the steering, and told me I needed a new steering rack.  By now the quote was north of $A11,000.  I cut the non-essentials but still got hit for A$3,500.

This has postponed my record buying for a couple of months!

The RIAA curve has nothing to do with cartridges,  it is compensation for some of the shortcomings of the vinyl mastering/playback system.

@robob I can't let this stand- sorry.

The RIAA curve is based on the 'constant velocity' characteristic of magnetic cartridges and also magnetic cutter heads. Magnetic cartridges are constant-velocity devices: the signal is proportional to the velocity of the stylus. High frequencies cause the stylus to move faster, so there's more signal level as frequency rises. The cutting head used to make the master is also a constant-velocity device, so a magnetic cartridge "matches" the characteristics of the cutting head. The RIAA pre-emphasis is applied when mastering to restrict excessive groove excursion (bass cut) and to reduce surface noise (treble boosted in record, rolled off during playback).

The EQ is not to overcome a shortcoming IOW. FWIW, the mastering process can produce undistorted grooves that no pickup has a prayer of playing; its designed to be impossible to overload. The limit and distortion sources are mostly due to playback, not record. I learned this the hard way by owning an LP mastering setup for about 30 years.

@atmasphere

I am interested in your insight on the role digital mastering has played in LP production over the decades?

Another update from me. I discovered that Hyperion has just released Shostakovich’s Piano Concertos on vinyl, and I already use the SACD version when auditioning speakers.

So I ordered the vinyl from Presto Classical, and naturally checked out their specials. I ended up buying 15 SACDs, one Pure Audio Blu-ray, and 5 CDs as well.

The grand total including delivery was less than the ’best’ vinyl version of Kind of Blue sourced locally in Sydney. Delivery took under a week from the UK to Australia, door to door, via Presto, the Royal Mail and Australia Post. A$261 the lot.

Presto currently lists over 19,000 vinyl Jazz records which I am about to browse in conjunction with your recommendations ...

--my darTZeel 468 mono blocks have a ’peak watt’ output (the value holds for 8 seconds after) read out on the front face. it’s very easy to see with your eyes how all analog vinyl has higher peaks than digital with the same recording played back at the same SPL level. because digital smears peaks.

@mikelavigne I was reacquainting myself with this thread and found this. I don't think its correct. Many digital releases have compression that does not occur in the LP release on account of there being no expectation the LP will be played in a car. Digital releases are often compressed on this account.

When we were mastering LPs, if the master was a digital file we would ask the producer if they had a non-processed version of the file, so we could make a more dynamic cut. I know we weren't the only LP mastering operation that did that!