This statement is false. Mostly owing to the word 'far' preceding the word 'superior'.
Vinyl has wider bandwidth than digital; since 1958 the Westerex cutter head had bandwidth in excess of 40KHz. My Westerex system was bandwidth limited at 42KHz mostly to prevent ultrasonics damaging the cutter. Cartridges have had +40KHz playback since the 1970s.
Since mics don't have that sort of bandwidth, its mostly noise and mic preamplifier distortion up there. But in systems running insufficient feedback (and there's a lot of that going on in audio...), bandwidth is often helpful to minimize phase shift.
FWIW most cutter systems have a profound amount of feedback, usually about 30dB (at all frequencies) around the cutter head and amplifier system. They are quite low distortion; the distortion comes in during playback.
Noise is one of the arguments for digital, but most people making this argument are not aware how quiet vinyl can be. If you have the cutter head set up correctly, the groove it can cut is so quiet that no matter the electronics used to play it back, they are the noise floor. I am saying that a silent groove in a lacquer can easily rival the noise floor of Redbook. The noise comes in during the pressing process, but QRP (a pressing house, a division of Acoustic Sounds in Salinas, KS) has done extensive work damping their pressing machines with impressive results. Literally projects we've done through them had a noise floor so low you questioned whether the stylus was in the groove until the music erupted from the speakers. I can't say they do this all the time, but they can do it.
Another argument leveled against vinyl is ticks and pops. I am aa audio designer by trade; serendipitously about 35 years ago I discovered that the high frequency overload margin in phono preamps (in particular, the input of the phono section) could cause ticks and pops sounding for all the world as if they were on the surface of the LP. This can happen if the designer of the phono section did not take into account the fact that the cartridge has inductance and the tonearm cable has capacitance. Anyone heeled in radio art knows what that means: there is an electrical resonance present at the input of the phono section and it can be driven into excitation. Depending on the cartridge the resonance can be a 20 to 30dB peak; easily enough to overload the input of the phono section. If the phono section is designed with this understanding (and so has sufficient HF overload margin) then you experience far less ticks and pops (IOW this is a common problem!); I'm very used to playing entire LP sides without any ticks or pops, even older LPs I've bought used.
But if there is any one thing that fuels the LP, it is that the appreciation of the music becomes a conscious act. When the music can be streamed, it becomes a commodity and the listener tends to be less present to the event. When you are playing an LP, you tend to be more focused on the music since it takes intention (rather than automation) to make it happen. CDs share this property, but of course they are on the way out...
