Plus, how many channels of playback would the best recording ever mastered have? This is where vinyl really gags at the starting line.
Toole’s “A Philosophical Perspective” essay (in the first edition of his book) explains this most knowledgeably and eloquently, in part:-
“The truth is that no amount of refinement in audio devices can solve the problem; there is no missing ingredient or tweak that can, outside of the imagination, make these (playback) experiences seem real. The process is itself fundamentally flawed in its extreme simplicity. The miracle is that it works as well as it does. The “copy” is sufficiently similar to the “original” that our perceptual processes are gratified, up to a point, but the “copy” is not the same as the “original.” Sterne (2003) explains that “at a very basic, functional level, sound-reproduction technologies need a great deal of human assistance if they are to work, that is, to ‘reproduce’ sound” (p. 246).
“Sound reproduction is therefore significantly about working with the natural human ability to “fill in the blanks”, providing the right clues to trigger the perception of a more complete illusion. It is absolutely not a mechanical “capture, store, and reproduce” process. In addition to the music itself, there is now, and probably always will be, a substantial human artistic, craftsmanship, component to the creation of musical product.
“…And, in the context of sound recording, “far from being a reproduction of the actual event, the recording was a ‘re-creation’” (Sterne, p. 242). The goal is not imitation but the creation of specific listener experiences. This certainly exists dramatically in the directional and spatial experiences in reproduced sounds.
“For decades, society has been conditioned to derive pleasure from first single-channel sound (mono) and then two channels (stereo). Only recently has music been offered in multichannel formats that permit a somewhat realistic directional and spatial panorama. Impressed by the novelty that music and movies were available on demand, society appeared to lower its expectations and adapted to the inadequate formats. A great deal of enjoyment was had by all. So complete is this form of adaptation that significant new technical developments must go through a “break-in” period before there is acceptance. …those who grew up with mono often argued that stereo was an unnecessary complication, adding little value. (I remember—I was there!) The same is now happening with respect to multichannel audio schemes. Part of the “break in” applies to the audio professionals, who must learn how to use the new formats with discretion and taste.”
(my emphasis)
No doubt: the best recordings ever are, and will forever be, in multichannel playback formats…and vinyl has no play in this game. It cannot do it. It and its recordings exist on a lower tier. As Toole explains above, we have been conditioned to be pretty happy with pretty little.
The key issue preventing everyone from acknowledging digital MCH playback productions as the pinnacle of home audio, is that a significant portion of audiophiles have an anti-digital, anti-MCH, anti-progress attitude (they are stuck at the start of Toole’s ‘break-in period’) that is blocking them and making them literally incapable (sighted) of having the experience that is universally (proven, tested, in controlled listening, read the book) preferred as a fully superior perceptual experience of the sound waves themselves. The fact that a lot of recording engineers are playing to this, is a hand-on-wallet betrayal to the potential of their profession. But hey, if ‘vinyl crumbs’ is what the consumers want more than five-star degustation, then give them their crumbs, and charge them a 500% premium for the pleasure.
Cheers