The explanation for this otherwise inexplicable post will lie in your turntable. What turntable/arm/cartridge do you have, and what flaws are troubling you?
Gee wiz Orpheus, it is far from 'inexplicable' for someone to prefer digital, given that it is far more accurate.
To dislike digital is to dislike master tapes, which *is* explicable given how badly they are often made.
Now, going vinyl can help here by smoothing over some of the studio production nasties in a pleasant way. It can even help with speaker and room issues in the home listening environment. The vinyl mastering process plays a role, as it typically involves moderate dynamic compression (more 'inner life'), treble attenuation (less 'listener fatigue', less 'harshness'), and in the lower registers a combination of conversion to mono and peak limiting (less room boom, 'better' subjective bass if the room issues have not been managed well). Expensive vinyl playback gear is the finishing touch in the 'vinyl treatment' as it applies a smooth warm layer of distortion or 'harmonics' over the signal in the groove, further reducing listener fatigue and hiding nasties. It's like a security blanket.
The way forward, for audiophiles who are going round and round in the vinyl 'groove' and can't see a way out other than dreaming of yet-to-arrive digital formats, involves a little reversing to find the right turnoff they missed:
1. Find some outstandingly well produced digital source material.
2. Commit to rebuilding the playback system around that source.
3. Prepare psychologically for high-end audio life without that sonic security blanket. Take comfort that it will still be there to cuddle and enjoy, and often, but we are not going to build our system around it any more than we would build our homes around our mothers (gulp!).
4. Consider the possibility of changing loudspeakers, particularly if they have evolved through a process of careful voicing with LP as the primary source. Probably move to the second listening room any speakers that are 'classics' from a bygone era. Reputations need to be let go of, as these speakers probably have issues that are bound to sound better behind a security blanket. Choice of speakers is another topic, OT for this thread.
5. Don't just dump those (new?) top-notch speakers in the room and proceed to judge digital! There is still work to do! The power, extension and dynamics of a top digital production at decent volume levels is going to test the mettle of the speaker and room as an interactive system, and any deficiencies will be outed. Use a measurement system and sort it out. "Ooh, yuk", I hear half the audiophiles saying, "can't I just do it by ear? My ever so cultured and infinitely subtle ear?". The answer is no; you can tune by ear later, but do this bit first as an essential. (And it's another topic too OT for this thread).
6. Make sure you have sufficient adjustability in your signal path to sort out issues identified in step 5. Adjust the room treatment and layout first, but then have *some* means of adjusting the sound electronically. Let go of any myths previously believed on this topic. Fail this step and we will NOT have good digital sound. It is a demanding medium.
7. Electronically adjust the bass level below 200Hz to taste: this varies a lot between individuals. Other frequencies not so much.
OK, now we are ready to *start* appreciating digital. There are still going to be a lot of awful productions out there, including some of our favourite music: there is no security blanket with this approach. And remember that many performances may be super performances of music we love but the performers' composite live *sound* may be not to our liking even when we are listening to it live.
Finally, even if we do all the above and successfully, keep the vinyl going! It is super cool, ultra-hobby-friendly, and in far too many instances the vinyl-playback production is simply superior to the often-incompetent digital-playback production.