Is Digital actually better than Analog?

i recently swore off digital verses vinyl threads. i took the 12-step 'cure' (compared 12 Lps to digital). who the hell cares what anyone thinks anyway.

you guys have fun.

It's really a philosophical difference. I describe the differences below without making a case for either one (I hope!)

In analog, the soundwaves are literally captured in the groove "verbatim" so to speak. And they need only be gotten back into the air to hear them again. A process, I may point out, which doesn't necessarily even require electricity to implement (talk about organic!) The only real problem with analog (as with all things organic) is that the storage medium (the groove) and the stored information (the wiggles) are inseparable -- damage to the medium means damage to the information stored there.

Digital storage is completely inorganic. The information that is stored is not sound but rather a coded "blueprint" for creating or REcreating sound through electronic means (there are no hand-crank DACs!) The sonic information in its "coded" form bears no resemblance whatsoever to the entity (sound) that it represents -- in other words, you couldn't look at a list of ones and zeros and say, "Gee, that looks like some kind of wave form!" And therefore, the resulting de-coded sound is "virtual", and not "real", in the sense that it doesn't come from any tangible object that looks the same as (analogous to) the sound wave.

From the foregoing, it should be obvious that a principal feature of digital is that one can create "code" from scratch, process it, and hear it as "sound". Sort of like making a "test tube" baby. (I'm not talking about sampling or making actual sound, and then processing it -- as with the early synthesizers.) This possibility may not qualify as "music making" for some, because it isn't a "direct" way of producing sound with the human body (singing being the most direct) but therein lies the philosphical difference I mentioned at the beginning.
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Mikelavigne,

What kind of response was that? I do care what people think. That’s what a forum is about. It's about learning through other people's experiences and opinions. If you don’t want to give your insight on Audio equipment and help guys like me that want to learn more about this hobby, that’s your preference, but don’t bring negativity into it either.

Musicaudio, in defense of Mike Lavigne, I really don't think there's anything negative about urging people to "have fun" ;--) Nor did I get the idea he was suggesting we not care what others think, only that he didn't anymore.

I believe your interest in learning more is genuine, but the most you will ever get from these forums are reports. Or maybe even reports of REPORTS! These are indeed valuable if they give you a direction to pursue, or and area you could investigate, but in the last analysis, actual learning can only result from your own first hand experiences and experiments (and BTW, there are no "bad" experiences, we learn something from all of them.)
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Up until a month ago I was a firm believer that analog vinyl was vastly superior to Redbook digital, but that was before I encountered HyperAnalog™. HypeA™ is actually a digital format and it takes vinyl playback beyond the proverbial next level to the next level raised to the power of 3. HypeA™ is still in its prototype stage, but I expect it to be picked up by one of the major manufacturers by the end of the decade.

In a nutshell HypeA™ starts with a vinyl record which is then "photographed" using a side scan, thermal activated, deep tissue with Aloe penetrating electron microscope (this is the same instrument physicists use to look at the bottoms of top quarks). The image is then analyzed by proprietary software and this is what make HypeA™ so special. The software synthesizes a virtual stylus that rides through the digitized record image and generates a virtual cartridge output. The software also performs the RIAA equalization and click and noise removal. The required computing horsepower is enormous, a typical recording takes 96 hours with file sizes greater than 69 petabytes, but the results are well worth it. Since the virtual stylus is not bound by physical constraints it can instantaneously response to the undulations of the groove walls. Playback distortion is completely eliminated. It sounds better than all known digital or analog formats and is virtually indistinguishable from real.

The HyperAnalog™ process came out of research originating in the Soviet Union that was later developed in Khazakstan with the assistance of Pakistan's AQ Khan and the North Koreans. It came to the U.S. via the brilliant mathematician/religious philosopher Sascha Moo Butane Stern. Always an enigma, Stern is best known here as the guitar tech/bus driver for Tim McGraw. Hopefully Stern will recover from his country music related mental illness and get back to bringing the HyperAnalog™ process to market.