Just admit that you don’t yet understand the other perspective. Resorting to this sort of snark really isn’t in service of reaching a shared understanding.
However that is a fool's errand: you can't convince me that I don't like chocolate, for example. I do!
True, most people doesn't find meaning in using vinyl records, others. Why do we have to prove that either of them is right/wrong?
Trying to understand the other's perspective is the way to go, if you care about getting closer to the truth.
Of course, none of these matter if you just want to listen to music.
As it is you can't really read the liner notes and admire any photos alone, either, unless you're hunting them down on Discogs or somewhere else, never mind together with somebody else, too.
The iTunes store in theory allows including a PDF booklet together with album purchases, but in practice it seems that albums that actually do include such a thing are almost as rare as hens' teeth.
vinyl is like deciding not to buy the chocolate in the first place.
The turntable can work with a literal digital detox (it is analog).
The very act, the very ritual of starting a record playing changes the experience, even if everything else is exactly the same. You don't interact with music the same way.
Although I like to tell myself that the old fashioned way is objectively better with coffee.
People enjoy smoking because of many other elements besides the nicotine fix.
It also completely gets rid of skips and shuffle-play. And a song can't "grow on you" if you always skip it.
Some small rituals can be calming and centering.
The digital versions of a number of these albums have 'clipped' tracks - with a sharp start point | end point and some arbitrary generic silence length (of 0 - N ms) between them.
Seems like a minor thing but it is noticable to those of us that once listened to vinyl albums and the "between track" transition is arguably as much of the overall product as originally delivered as each individual track and track ordering.
That usually causes the needle to skip! And the danger with disco records is feedback from the speakers to the needle.
Club culture was built around people dancing to music played on turntables. Specifically Technics SL1200 mk2 or SL1210 mk2 which only have a very little suspension in their feet.
If you run in mono and there will be almost no feedback no matter how loud you play or how close to the speakers you are.
Since one of the audio channels is inverted when recorded any signal feeding back will be cancelled out when the re-inverted signal is combined.
This is why old DJ mixers from people like Pioneer used have a prominent Stereo/Mono switch.
There's no real soundstage on a dance floor so you don't miss the stereo.
In the really cool venues, back in the day, they used crossovers to move just the high-hats or percussion to a specific speaker array hanging over the centre of the dance floor and have the mids and bass somewhere else but it would always be from a mono signal never stereo.
Source: Phono.
Aux Source: I worked as a DJ way back when and have experience of very loud systems in front of large crowds of dancing people. I've also played many a sketchy flat where everything was balanced on milk crates on wooden floorboards.
You 100% can get feedback from the sound when DJing. It’s guaranteed if you’ve enough bass. We put the decks on concrete slabs which in turn are on 4 squash balls to deal with it.
What do you mean by “one it channels is inverted when recorded”??
The phono pre-amp will re-inver it as part of its function.
When you combine L+R after preamp to make mono the feedback signal from one channel will be combined with inverted feedback signal from the other channel and cancel out.
Try it and be amazed. Audio engineers have known this trick since the dawn of disco.
I speak from experience!