LPs limitations:

* The stereo image was not made up of fully discrete Left and Right channels; each channel’s signal coming out of the magnetic cartridge contained approximately 20% of the signal from the other channel. The lack of pure channel separation made for a sense of diminished soundstage.
* Thin, closely-spaced spiral groove walls that allowed for increased playing time on a 33 rpm microgroove LP led to a tinny pre-echo warning of upcoming loud sounds. The hot tip of the cutting lathe unintentionally transferred some of the subsequent groove wall’s impulse signal into the previous groove wall. It was discernible by some listeners throughout certain recordings but a quiet passage followed by a loud sound would allow anyone to hear a faint pre-echo of the loud sound occurring 1.8 seconds ahead of time.[35] This problem could also appear as “post”-echo, with a tinny ghost of the sound arriving 1.8 seconds after its main impulse.
* Fidelity steadily dropped as the recording progressed; there was more vinyl per second available for fine reproduction of high frequencies at the large-diameter beginning of the music groove than on the smaller diameter inner grooves closer to the center. The beginning of the music groove on an LP gave 510 mm of vinyl per second traveling past the stylus while the ending of the music groove gave 200–210 mm of vinyl per second—less than half the linear resolution.[36]
* Factory problems involving incomplete hot vinyl flow within the stamper could fail to accurately recreate a small section of one side of the groove, a problem called non-fill. It usually appeared on the first song of a side if it was present at all. Non-fill made itself known as a tearing, grating or ripping sound.
* Poor vinyl quality control could put bits of foreign material in the path of the stylus, creating a permanent ‘pop’ or ‘tick’.
* The user setting the stylus down in the middle of a recording could cut into the groove and create a permanent ‘pop’ or ‘tick’.
* Dust or foreign matter collected on the record, making for multiple ‘pops’ and ‘ticks’ if not carefully cleaned.
* A static electric charge could build up on the surface of the spinning record and discharge into the stylus, making a loud ‘pop’. In very dry climates, this could happen several times per minute. Subsequent plays of the same record would not have pops in the same places in the music as the static buildup wasn’t tied to variations in the groove.
* An off-center stamping applied a slow 0.56 Hz modulation to the playback, affecting pitch due to a greater amount of vinyl per second on one side of the record than the other. It also affected tonality because the stylus is pressed alternately into one groove wall and then the other, making the frequency response change in each channel. This problem is often called “wow”, though turntable and motor problems can also cause pitch-only “wow”.
* Motor problems or belt slippage could cause momentary pitch changes. If these repeated regularly, they could be called “flutter”; if they happened slowly they could be called “wow”.
* Turntable surface slickness, or the slickness of a stack of LPs could allow the top record to slip, causing momentary lowering of pitch in the playback.
* Tracking force of the stylus was not always the same from beginning to end of the groove. Stereo balance could shift as the recording progressed.
* Outside electrical interference could be amplified by the magnetic cartridge. Common household wallplate SCR dimmers sharing AC lines could put noise into the playback, as could poorly shielded electronics and strong radio transmitters.
* Loud sounds in the environment could be transmitted mechanically from the turntable’s sympathetic vibration into the stylus. Heavy footfalls could bounce the needle out of the groove.
* Heat could warp the disk, causing pitch and tone problems if minor; tracking problems if major. Badly warped records would be rendered unplayable.
* Because of a slight slope in the lead-in groove, it was possible for the stylus to skip ahead several grooves when settling into position at the start of the recording.
* The LP was delicate. Any accidental fumbling with the stylus or dropping of the record onto a sharp corner could scratch the record permanently, creating a series of ‘ticks’ and ‘pops’ heard at subsequent playback. Heavier accidents could cause the stylus to break through the groove wall as it was playing, creating a permanent skip that would cause the stylus to either skip ahead to the next groove or skip back to the previous groove. A skip going to the previous groove was called a broken record; the same section of 1.8 seconds of LP (1.3 if 45 rpm) music would repeat over and over until the stylus was lifted off the record.

http://en.wikipedia.org/wiki/Vinyl_record#Vinyl
dar:
http://en.wikipedia.org/wiki/Analog_sound_vs._digital_sound

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