Sorry, but as soon as you know whether something you're listening to is digital or analogue, preconceptions start to come into play and you start hearing differences--the "something you can't put your finger on" perhaps--that aren't genuinely there. That's human nature--and I'm as guilty of it as anyone else.
That's a valid concept that's been mentioned here and there, but I don't really think it's that simple. It's sort of like saying love isn't real because you can't put your finger on what makes you fall in love with another person.
In my case, the 'strange something' came before romanticizing analog equipment. The strange something I couldn't put my finger on that was present in all of my favorite recordings and strangely lacking in many other recordings I listened to. The weird thing that made me want to listen to my cassettes more than my CDs even though it was more inconvenient to do so and I hated certain characteristics of cassette.
There's a lot of 'I like that, what makes that happen?', THEN researching and experimenting to find out what it is and how to achieve it.
I would gladly accept any modern product that could do the job that the big, cumbersome equipment does if it really is capable of achieving the same result.
For instance, I've held onto my cheap Chinese-made $200 Alvarez 12-string guitar for many years. I've tried to replace it with many other far more expensive guitars ... reissue, vintage, made in USA. None of them achieve the same result as this guitar.
I spent over $1200 seeking out, buying and refurbishing a special audio mixer to replace my old Teac 5. Ultimately, I lost almost all of my money and kept the Teac because it worked better for me.
You see, I dislike a lot of elements of analog recording; there are severe limitations ... but I have LEARNED that in order to achieve the results I like, you have to BATTLE AGAINST the process to some degree, and accept these limitations.
I've moved large, difficult recording machines across the country several times. I've put money into repairing them. I've gone months without recording because of technical problems.
I've stressed and strained over trying to realize a symphony in my head on only 4 or 8 tracks of tape. I've lamented about how much better it sounded before the bounces. I've squeezed 20 tracks onto 8. I've nearly ruined magical performances because something crapped out.
I've made do and moved on.
And it always comes out filled with the wonder, presence and character that you cannot obtain without working for it.
Do you really think people can be so romantic and psychologically brainwashed that we would deal all of these things if it really doesn't make a difference?