Article: "Spin Me Round: Why Vinyl is Better Than Digital"

@wuwulf , To answer your question, going in and out a digital at 24/192 is invisible. But, after my music starts out in the digital domain on my computers hard drive. So, there is only one step for half my collection. All modern music with few exceptions is recorded and processed digitally. Then the question becomes does music that is recorded digitally but provided analog in PVC still sound as good as music that remains digitized until the very end of the chain. I personally think that is a silly argument to have.
The difference in imaging when I bypass the processor is obvious to everybody. The difference in going back and forth between analog and 24/192 is not noticeable by anyone. I would think that answers your question. It is unfortunate that more audiophile will not share in this experience. They are just digital phobic and anything I can say about the subject apparently means nothing. Their loss.
Another interesting subject is that because I know what the sound of a perfectly flat system is I can listen to other systems and know right away where they are off.  I know of only one system that was close. In most cases they will be too bright with boosted mid bass and no real low end below 100 Hz. 

@cd318, It was not a matter of superior sound by expense. The vast market was unwilling to spend the extra money on SACD and DVDA.
Now we have Blu Ray audio.
As you suggest, I will take the music in what ever format it is available in. I do have my preferences, high-res digital first, vinyl second and CAD last. With music before 1985 I try to get final.

As I have said on other posts here, a big part of music, especially classical music, is dynamics.  A composer writes markings in the score to play a passage either loud or soft or in between in varying degrees.  The dynamics are a very important part of written music.  This is not a big issue in rock or jazz, since most tunes are played with the same level of dynamics. 

In a classical piano or symphonic recording, however, dynamics are VERY important.  Remember that the Italian word "piano" stands for "forte piano con piano et forte"...rough translation "loud and soft, with soft and loud."  A piano teacher I knew in college (I took many music classes) once told me that there are 15 different ways to hit a piano key, producing different levels of loudness and softness.
  
I don't see how the process of cutting a recording onto a vinyl disk can capture the whole range of dynamics from the original master the way that digital can.  If I am wrong about this, please tell me how.

mikeydee

... a big part of music, especially classical music, is dynamics. A composer writes markings in the score to play a passage either loud or soft or in between in varying degrees. The dynamics are a very important part of written music.

That's very true, but it's only half of it. There are dynamics that may not be part of the score itself, such as the "attack" of a note as a bow glances across a string, or the sharp leading edge of a horn note. That's a large part of what separates the great players from the merely technically competent ones.

This is not a big issue in rock or jazz, since most tunes are played with the same level of dynamics.

Not so. In particular, the best rock takes advantage of huge dynamics, e.g. Pink Floyd, Dire Straits. Give a listen to Paul Simon's Graceland on a big system. And rock typically relies on amplified instruments, so you can have the range between that and the gentlest guitar and soft vocals.

I don't see how the process of cutting a recording onto a vinyl disk can capture the whole range of dynamics from the original master the way that digital can. If I am wrong about this, please tell me how.

A properly made LP can have explosive dynamics. While digital has a wider potential dynamic range, the music almost never requires it.

So, you can make a digital recording of what comes out of the phono stage, and then play that recording through the same system.  If the ear can’t tell the difference then it would seem that the digital format can accurately capture and reproduce the sounds produced upstream of the phono out. 
Is that true?

If that is true, then the digital capture can be compared to the digital master used to make the vinyl in the first place. Now you can make a filter to put in downstream of your digital source. 
Someone must have tried this already?  With any success?