To be fair here's where psychoacoustics manipulated by a master producer come in.
Most CDs' to me always sounded as if the sound was in some kind of flat plane like glass, whereas I had many vinyls that yielded true spatial 3-d presence, I was able to hear specific instruments in specific locations in the room in a field with depth.
For along time I chalked it up the idea that early CD's were rushed to production using the original mixes that were OK for vinyl but probably sub-optimal for CD's.
I only heard a CD that sounded as good as and even better in some respects than vinyl in the last ten years or so, it was Otis Taylor's
Truth is Not Fiction, which was
mastered for CD not vinyl:
https://www.discogs.com/Otis-Taylor-Truth-Is-Not-Fiction/release/4993372
If you're curious, the specific cut that made me sit up and really take notice was "Be My Witness":
https://www.youtube.com/watch?v=spHbjcFhti0
Since then there've been some others.
Just sayin', production has a
lot to do with sound "presence" regardless of the medium, and I only found out recently that psychoacoustics was a known and manipulated phenomenon to achieve that as far back as the '60's.