Probably. But it doesn’t distract from the aesthetic appreciation a harpsichord commands.
I didn’t say it does. In part it’s what @Marian said, “it sounds as intended”, in part it IMHO goes beyond sound because the substrate conveys more than that.
In other arts the artists don’t always use the “best” (most hires, most durable, etc) material either, and there’s meaning in what they choose. Nobody is surprised by that
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I can appreciate the aesthetics of a clavichord 
I’m still thinking of getting a kit and building one.
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Good point. Michelle Shocked used a Sony Professional Walkman to record one of her albums.
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It isn’t a revival to me. I never got rid of my vinyl so it has been a constant in my life. I add to it when something new comes out that enhances my collection or I find a bargain that I like.
“Dynamically compressed” has nothing to do with signal compression. Dynamic compression is typically reducing the dynamic range of the release so that it meets the expectations of earbud-listening audiences: louder overall but without clipping. This is especially a problem for popular music that gets reissued and reissued to generate additional revenue, and each reissue is processed to match the target audience and equipment.
Related problems arise with classical and jazz that were originally recorded for vinyl and then clumsily remastered for CD early in the CD era. Some of those were later remastered a lot more carefully for SACD, and the differences are not subtle. A case in point are the amazing RCA Living Stereo recordings from the 50s, such as the Reiner/CSO Bartók and Rimsky-Korsakov performances, which had mediocre CD reissues but later wonderful SACD/88.2 remasters. Another one are the DDG Anda/Fricsay/Berlin Radio Symphony recordings of Bartók’s piano concertos, which are quite a bit more dynamic and detailed in the original vinyl than in the CD/digital version you can normally get; and don’t get me started on the different issues of Miles’s “Kind of Blue.”
OTOH, modern studio work for jazz and classical is often outstanding in digital form, and vinyl from those studio recordings is IMO just another way to sell physical merch. For examples, check anything recent from ECM (although they can go a bit too heavy on reverb for my taste), the Wadada Leo Smith oevre on TUM Records (CD only), recent Pi Recordings releases, such as “Mesmerism” by the Tyshawn Sorey Trio, “Thisness” by Miles Okazaki, or “3 Times Round” by Jonathan Finlayson; or anything on Intakt (for example “Serranias” by the Aruán Ortiz Trio, “Music Delivery/Percussion” by Andrew Cyrille, “Molecular” by the James Brandon Lewis Quartet, or “D’agala” by the Sylvie Courvoisier Trio).
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Some people just don’t get it. Some do.
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I think @Suedkiez hit the nail on the head.
And with my extra bit, our senses individually provide function.
Our senses joined together (hearing, sight and touch) heighten intensity.
Vinyl can sound darn good. It’s analogue. It’s more dynamic.
For a good few years before Roon I had lost my enjoyment of music. Streaming alone from a phone to headphones was just rubbish, provided no feedback.
Roon entered my life and it returned a sense of physical media with all the metadata.
CDs have once again entered my life and until forced to stream again, streaming is on the back-burner for now (probably not, but felt good writing it).
Vinyl, possible not in the next few years at least 
FYI - I had a pair of Numark TTs once and a good amount of dance vinyl.
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And my tongue in cheek reply is this
Why has the vinyl-revival been so successful?
Because of this thread (amongst others) - Let's talk about what's Moving and Grooving you today! [2023-09]
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It’s the imperfection that makes it perfect. Vinyl isn’t technically as good as quality digital, but it’s technical shortcomings tend to make it more pleasurable and less fatiguing.
Oh, and it’s hard to show off a collection of digital files.
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By 1996 I had a considerable vinyl collection , approx 16 feet however many that was and I had started collecting and in some cases replacing with CD’s
In 1996 I emigrated to South Africa , when Pickford’s came they reckoned we were well over the 20ft container , so it was “when was the last time you wore it” , read it , listened it . My vinyl was a casualty.
I traded in my Linn LP12 for a Linn Karik CD player and really never looked back . The records were sold off to a local shop an I went totally digital. A superb CD transport made a massive upgrade from an old Marantz- BTW. I doubt I could spot the difference even on my Quad 44 /405 /ESL63 setup
My memory of what vinyl sounds like is well gone , storing 16 ft of vinyl is no mean feat plus a later ‘x’ ft of CD’s , all that now is on a small SSD in my NUC
I cannot understand the obsession with vinyl, the potential for damage and subsequent signal degradation is real, the “ritual” cleaning etc before you can listen something , the keeping the records in an order. (many years ago someone’s little BRAT sat pulling records out and put them back randomly. Death was too good for him 
) Not really a Binary Sort
All in all I don’t miss it , I have a very compact headphone only system and I am happy , probably more importantly so is my wife !!
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For me, it’s not just for the vibes. A lot of classic Jazz albums didn’t have the best mastering done for the digital versions. They sound fairly lifeless and flat. Well, the labels know this too, and they’ve been doing new releases of remastered versions that sound fantastic. And collecting the OG pressings has become a bit of a hobby too, which a lot of the time are even better than the remasters because the tapes are getting a bit old now and are showing their age.
Vinyl has given these albums new life. Of course, they COULD just release these better masters for digital, but I’m guessing there’s a lot more money in releasing them only or vinyl.
A lot of classic rock has this happening too, but the digital masters are usually still really good. It’s the classic Jazz albums where it’s pretty significant. If you’re into Jazz, it starts to make more sense to get into vinyl.
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This is the dilemma I have when trying to decide whether to buy the cd for €20, or the hi-res download for €12 (qobuz sublime). I invariably end up with the download though.
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Because humans have quite a record of poor decision making when objectively better alternatives are around? Definitely not limited to audio.
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And they want something to read. Did you ever try to read the complete CD booklet - as long as there is one - without a magnifying glass? The booklet of a vinyl album is rather a journal and can be a treat.
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Someone said somewhere, vinyl is like drinking tea: there’s a whole ceremony to it, and that’s what makes the experience so special. I was always too lazy to get up every 20 mins, but I do like the large album art.
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Now I like that analogy and like tea drinking there is a time and place for it.
I do enjoy the ceremony of selecting an album, taking the protective cover off, taking out the inner sleeve and putting the cover on the now playing stand and giving the vinyl a brush and getting up and turning it over and doing the same about 20 minutes later or less (unless the album is a 45RPM 
)
But sometimes I just want to put 7 hours of my library streamed across multiple rooms without having to get up unless I want too.
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It would be great if it would be possible to buy cheaper version of vinyl without … vinyl just for art and the whole extra content. I really envy vinyl owners all the boxes, arts, descriptions. I started buying my own CDs maybe 1-2 years ago. And there is almost nothing apart of CD 
But still - I love having phisical version of my favourite albums. It’s sad that CD realeases are so poor.
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It’s interesting that a lot of people (particularly in the US from the survey I saw) buy vinyl for exactly the reasons you just stated.
They want to look at it any maybe show it off but to not actually own a turntable 
Maybe one day they will
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