Are Digitally mastered LPs any better than CDs?

I respectfully disagree. I have done 4 comparisons of digitally-recorded Lps that sounded better than their CD counterparts in each instance: Wergo recording of Koechlin's Persion Hours (Herbert Henck, piano); Szymanowsi's Sym No. 2 (London, Detroit Sym/Dorati); American Music for String Orch (Barber, Diamond, etc.)(Nonesuch, LA Chamber Orch/Schwarz); and Bax's Tone Poems, Vol 1 (Chandos, Thompson, Ulster Orch.). In each instance, the sound on the Lp was more full-bodied, and more detailed, such that, in particular, strings did not sound as edgy, like some digital mass, but instead sounded richer and better differentiated. To the best of my recollection, all comparisons were done with a GNSC-modified Wadia 860 for the CD's and a Linn LP12 with Koetsu Black, via an EAR 834P phono stage with stock tubes. Since the sound of the GNSC-modded Wadia is probably not familiar to many readers, I would call it a richer version of the stock model, with somewhat smoother highs. I preferred it over my Linn CD12--a bit better detail, and no significant loss of warmth, for my taste (and more solid bass as well).

These were late-production records against early production CDs (of course). Chandos re-issued the Bax recording mentioned above, and made a big deal out of the reissue being remastered at 24/96. The reissued CD has more "information" on it than the old one. This leads me to assume that at least some early CDs tended to lose information in the mastering and/or manufacturing process...but I don't know enough to explain it. Also, as most of us know (to our regret and annoyance), early CDs often didn't sound so great compared to later ones. Finally, I have no idea if the original recordings of any of these albums was made with a higher bit rate than 16/44. I understand that at least Telarc was using a higher bit rate even in the early days.

Finally, it would be easy to assume that the Koetsu (generally considered a warm-ish sounding cartridge) might be the explanation for the difference. Maybe so--though I don't think so, b/c it wasn't just timbral, it was detail as well.

But the best way to decide is to make the comparison yourself.

Thanks for the responses. I didn't realize most recent recordings were recordede at hiogher data rates, and wasn't aware of the ultra-high data rates mentioned by Johnny B. Does this also apply to the pop / rock (i.e. U2) recordings I hear are being made available now?
I own a GNSC modded 850,so am familiar with the sound.
I would love to listen for myself, and am slowly getting my vinyl rig in shape.

There have have been numerous digitally mastered classical albums from the 80's (mostly Phillips and London) popping up in the local record stores I've been buying for about $1-3 each. While they might not have the warmth of the best all analogue productions, they certainly don't suffer from the deficiencies of 80's digital either. The quality of the vinyl surfaces are fine, no gripes about noise (unlike many contemporary rock vinyl releases.)

They vary widely. Some of the digitally mastered LP transfers sound bad. Some are excellent. It really depends on the mastering and pressing. Digital recordings have wide frequency bandwidth and wide dynamic range. If the LP is cut with wide grooves that allow big swings then it will sound great. If it is compressed with narrow grooves, it will sound thin and constricted. Look at how many tracks are on each side and the timing. If the LP is a best of collection, for example, with 6-7 tracks per side and a run time of greater than 20 minutes per side, watch out, it could be a mess. On the other hand if a typical length CD of 60 minutes is on 4 LP sides (15 minutes per side) it could sound incredible. Check it out.

Metallica is reputed to be better. Their CD's are normally compressed and flat topping throughout - an effect that is harder to do with Vinyl. So it depends.