A Question: What makes for Good Vinyl?

I think the problem is the high level of compression being employed on most modern recordings.  It is not that a digital master is inherently incapable of being the basis for a good vinyl record.  It all gets down to how the recording, digital or analog, is mastered.  I'll give you an example of an analog recording from the sixties that is one of the most popular rock records in history that is so compressed to make it loud that it is just terrible to listen to.  I mean distortion city, but fans love it.  Led Zeplin, and the sequel Led Zeplin II.  So the problem is not confined to digital recordings at all.  Let's be clear sighted about this, though, and recognize that records are being made this way because that is what the majority of the intended audience wants.  More sophisticated consumers, like audiophiles, are a small fraction of the total market.

Good Info!!

sanctus555

One aspect that isn’t discussed too often.
In order to to truly have that Analog Magic…I find the album needs to have originally been recorded to analog tape.  
Any newer albums that were recorded to digital lose that magic.

I listen to mainly rock, metal and pop from 60s, 70s, 80, 90s.   
I will ONLY buy vinyl originally done to analog tape now.  
 

I agree.

World's best microphones are from 1940'~50's. And new technology can't duplicate them. Many vintage tape players and mics are true masterpieces. I don't like the sound of modern recordings. Alex/Wavetouch audio

My own experience is different. I’ve got many LPs based on digital masters that sound fantastic. And I’m somewhat phobic about digital.

There are so many factors: the original recording. Once multi-track and overdubbing became commonplace, the natural acoustic of a real performance recorded with all the players in place was often lost.

Post-production and outboard effects.

Mastering- I've compared many of the same record cut by different mastering engineers. Significant differences in sound. 

Vinyl pressing- variable. We don't know what's in the plastic in most cases--there are papers in the AES from Khanna at RCA detailing the compounds at the time, but today, considered proprietary. Hard to actually know what sounds best, though I think that original JVC vinyl compound designed for discrete 4 channel records and used by old MoFi for stereo was great- very resilient, quiet. 

Also QC in pressing- 

Packaging- some records are damaged by the packaging.

Thickness of LP has proved to be irrelevant in my experience. The trope of 180g or 200g vinyl has not led to improvements in sound. I did compare the changes in profile and material from Classic Records during its last phase. 

And of course, what cartridge/arm combo you are using along with TT and phono stage all play a part in the experience as a consumer.

I have mostly old copies in a high playing state- variability in SQ is significant despite top condition, effective cleaning that does no harm, and archival practices in storage/handling.