When CDs came into the market, they were horribly clacky and just clad in layers of tacky plastic. The album art was shrunken, misshapen... and the objects themselves stank of polycarbonate, rather than delicious vinyl. Sure, they sounded great and they lasted a long time, and maintenance was dead simple. But so much artistry was lost. I was still collecting lots of CDs when purely digital distribution hit us, but by then, the smells and feels and experience of collecting vinyl were distant memories.
And that entire experience may be why people argue for the technical superiority of vinyl recordings, and analog tube amplifiers. Because it was all self-reinforcing, and it all fell apart once the clacky, tacky, plasticky CDs took over.
No, the reasons for this are entirely technical.
Look, I am telling you about my own lived experience with collecting vinyl. You can speak for yourself, but I carefully stored all my items in archival sleeves, and the jacket, art, and inner sleeve were often just as important as the disc and the music encoded on it.
There was a real thrill and reward that came from collecting LP albums in particular, and that meant 12" discs, and I also had a particular specialty in finding 12" remixes and DJ versions of singles.
Yes, there were shaped discs, and colored vinyl, and white-labels and acetates that came with no art or plain sleeves, and I collected those with just as much alacrity, but it really was a pleasure to flip through my collection, or someone else's, and drink in that large-format album art.
Clearly the art isn't the driver of this market niche.
Incorrect. The reasons why vinyl specifically is still relevant (as opposed to any other "retro" audio format) are technical.
Vinyl avoids compression issues by design. (Compression both in the computer science sense and in the audio engineering sense.)
To make matters worse, people aren't doing separate masters for audiophile formats anymore, so vinyl is getting the ultra-compressed, low-dynamic-range master anyway. That is because the vast majority of people buying vinyl were doing so as merch, not so much as a way to buy better-mastered albums.
I don't know what kind of "compression issues" you're talking about but I strongly suspect you'd be well served by learning about the Nyquist–Shannon sampling theorem.
That's exactly the problem that makes digital unsuitable.
Theoretically digital can reproduce sound faithfully, but if the medium allows sound engineers to compress the hell out of music, then they will abuse the opportunity.
Vinyl is a very limited format and you can't really do any sort of "creative" audio optimization bullshit with it.
Nah, there's physical limits of the needle-in-a-groove medium that prevent this.
> or release the uncompressed masters digitally.
Technically yes, but nobody is gonna do this and risk not "standing out".
> who can afford high-end equipment
The average vinyl record player nowadays costs less than $150. The market is absolutely flooded with low-end Chinese turntables.
When a modern person listens to vinyl records for the first time, the immediate reaction is "how the hell do I make this louder so it pops out more".
And the answer is that you can't, the medium just doesn't work like that.