How much do you need to spend to get digital to rival analog?

^^^^^

Anyone claiming that digital is worse than analog because of "real world dynamics" is misguided. These individuals likely enjoy the saturation of "tape" and the compression added, vs. the higher audible digital distortion from higher signal levels, during dynamic passages. With the right processing, that is no longer an issue with digital. The manufacturers just haven’t figured it out, no matter how much their gear costs ", and that is where we are now."

I own 15 IPS tape from Ultra Analogue Recordings. I also own the CD and Digital File versions. I listened in my room with Roger Ginsley the Canadian rep for Studer and the engineer behind the recordings. The digital was  right there with the Tape. Done right Digital can do it. No they did not do vinyl so I can’t say.
Holly Cole music just as an example going by memory is the same way in my space. She is Spooky right there in the room

@tzh21y

zh21y
I am being totally serious here. Out of everyone in my audiophile circle, only 2 listen do serious critical listening to digital. I am thinking it would probably cost at least 30K. Thats a lot of scratch for digital.

All I will say.
Blessed is the audiophile that finds audio nirvana on a budget, and then just gets to enjoy music once and for all. The Gear itself is no longer the focus. I am speaking of the Music Lover...... not the Audiophile, Gear Collector and or Trophy Getter.

If it really is about the music......
The Music Lover hears beyond the engineering mistakes. Its about the music. The format does not matter anymore.

*************************************

I am in my 50’s now and have been at this audio hobby "consciously" as a known "hobby" since I was probably 10 and had my first part time job to earn coin. All remaining "old school" audiophiles in my circle, have been around the block a few times with Audiophilia. They all recognize at this point that Audio Nirvana is achieved not by throwing money at new gear but by fine tuning one’s own space and existing gear. Once one understands for each of their unique spaces, what causes things to sound the way they are...once this is understood.... no one I know is willing anymore, to drop big bucks on another piece of gear, just for the sake of changing things out. A change in direction - i.e. ESL versus Box Speakers is another matter.

mikelavigne
can you tell us which specific recording this is?

Mike
Had to go digging for the link. Long time since I was on their website. 
The recording of my tape. NAB EQ. Back in 2011.

https://ultraanaloguerecordings.com/new/shop/musician/yun-yang-lee/beethoven-cello-sonata-no-3-in-a-...

But...... I am no longer seeing a digital option for purchase of the music like there used to be. If there is not a legal, or other reason for this, I'm sure Ed would be happy to send you or someone the Digital version if requested.   The CD was a DSD transfer of the tape.

**********************************
From their site for the tape heads reading.  8^0

These master tape duplicates are recorded on RMG SM900 tape at +4 dB above 250 nWb/m. which equals 396 nWb/m. This will give you the most realistic dynamic range and best S/N ratio possible. The output level of your tape deck must be adjustable and needs to be calibrated to this level to realize the best playback of these tapes. I have recorded a 25 sec track of 1 kHz tone behind the leader to help you calibrate your tape machine. Use this to set the output level of your tape deck to show 0 VU.
I can make you a 250 nWb/m tape, (TapeProject level) if your tape deck does not have an adjustable output stage – please let me know in your order.

***************************************************

This was an interesting period for me going back to 2011. I can't believe all these years have gone by. 8^0 . I remember using select 15 IPS Tapes at the time to help me tune my digital and vinyl. For those interested...my digital is a personal build. It is based on a dedicated Lenovo Thinkpad Laptop, external WD going through the ARC Dac. For my vinyl setup - Verdier La Platine Granito / Custom build ET 2.5, various carts. Click on Wile E Coyote and select the system link.  

Let me say this. 

Most of my LPS (many) I do not own digital files of and do not feel (anymore) a need to acquire them on digital. 

Likewise most of my digital music I do not have vinyl versions of - because again, I do not feel a need.
  
But the best way I can say it.

If it starts digital and eventually goes to vinyl - it does not go back to digital.

Have never gone ..... ever .....from vinyl playing to digital.

I blame this phenomena on the engineers...8^0

@audioman58

Unlike the OP I am very happy with my digital setup.

You didnot state how much $$ spent on complete turntable setup ,that is key

IMO - you need to reword your statement to arrive at the truth here based on my personal experience.

so your statement reworded.

"You did not state how much TIME/EFFORT spent on complete turntable setup ,that is key."

Proper vinyl setup is all about dealing with vibrations and resonances - not 1- 0 - 1 - 0 -1- 0 ..............

Just torquing the headshell bolts for the cartridge too tight can mess things up. Its a more mechanical, meticulous setup. In a resolving system it is all heard.

I have an IT background. i remember punching cards and loading them into the card reader. You can manipulate the 1 and 0’s all you want. It still comes out 1 and 0 in the end.

Lemme bring my AudioEngine B-1 to the shootout and I’ll win this horse race for pennies

IMO - The dilemma for the Audiophile, is that this is not a horse race, but a marathon.

The Op has already said he has heard great digital - in short spurts.
I will say it again I blame the engineers. They were given this gift when CD came on. They just didn’t know how or were not allowed to "play with it" , especially when it comes to the popular music genres. Now, if I did not have my vinyl rig I probably would not be saying this as my digital sounds just fine - when all I do is listen to digital. But then I will introduce that archaic black plastic disc....

And, when one does come across music that has been recorded well on digital. You know it when you hear it. It has a presence. You cannot stop listening to it. Concentrating on it. With this kind of digital recording all it takes is a good CD player to bring it out - imo. I believe everyone has examples of this type of music. The problem for me, is that this music is usually an obscure recording, and not the music I grew up with. So I can only listen to it so many times. When I hear music I grew up with, it brings back good memories.

Picking a CD Player / DAC

1) Pick 3 music selections that (a) push your buttons, (b) make you come alive. (c) are like a fountain of youth for you. These selections will be different for each one of us and they should not be longer than 15 minutes in total.     
                                                                        
2) Take your personal CD player or DAC to 3 different Dealer Salons or friends places.                                                                     

3) Insert your CD Player / DAC into the chain first (very important) and listen to the music. This allows you to "Form An Opinion" in their "Room" with your gear and music as input.                                

4) Now - try the music with their CD players, DAC's, ...                     
If they allow you to bring the gear home - highly unlikely - even better.

If their gear, does something better for you - then you know what gear and the cost.    

3 music pieces and 15 minutes of music is important.  I found more than 3 was too much to take in. Also 15 minutes allow you to be out of their hair within the hour (if at a Dealer Salon)  

To the Op's question - as it applies to New Music sourced from a digital file going to vinyl.   

I talked years ? ago to a few of the studios that do the vinyl cutting near where I live. Its a well known fact that the engineer when supplied with higher resolution files from the artist will use these for the actual vinyl cutting.

So, to the Ops question in regards to...... new music on vinyl - a DAC that will play 24-96 khz - on average is the requirement to match the vinyl record.

With that I personally have heard 16/44.1khz  CD's , per my previous posts here, whose source recording / mastering was done so well that it was - right there. Likewise, some Hi Resolution files sounded like Ka Ka - due to I assume - poor recording technique. We are at the mercy of the recording. 

https://vinylpressing.ca/pages/vinyl-pre-mastering

Vinyl Pre-Mastering - taken from the link. 
 
Pre-mastering is the process of getting your audio ready for the vinyl lacquer cutting stage. If your audio is already mastered for vinyl, you will not require pre-mastering services from Train Records.

What is required for submitting an acceptable vinyl premaster to Train Records?

Source Audio Files:
• 24 bit 96kHz WAV or AIFF format file is the vinyl pre-master standard. Other file resolutions are acceptable, down to CD quality audio, 16 bit 44.1kHz
• File resolution should be the highest available, but should not be converted up to a higher resolution.
• MP3 audio is not a suitable source for vinyl production.
• The source audio files should be provided as a single WAV or AIFF format file for each side, with track spacing as it is intended to appear on the record and with an accompanying PQ sheet, indicating track IDs

A Note About High Frequencies:

The lacquer cutting system (the next step in vinyl manufacturing) is capable of putting very high peak levels on the record, but only ideal playback systems in optimal conditions will be able to play the sound back without distortion. Since we need the record to be playable on all types of equipment, it's necessary to limit the High Frequency information. It's recommended to provide a vinyl premaster that already has a balance of high frequency suitable for vinyl production.

A Note About Low Frequencies:

Excessive level in the very low bass can cause the record to skip. Excessive stereo information in the bass appears as vertical movement in the groove, so it's sometimes necessary to remove the stereo component of the music as well as any out of phase information in the very low frequency range. The cutting system is equipped to correct minor issues with the bass however, more severe problems will result in a record that can't be cut or that sounds very different from the source audio files provided. It's recommended to provide a vinyl premaster that already has low frequency level and stereo content that is suitable for vinyl production.