Where analog generally falls down on the job is, you typically need actual musicians playing actual instruments in an actual studio to lay down a track. None of this wave-table-synth, virtual instrument shit. And no Auto-Tune or other automatic correction either; if a musician flubs a track, generally they have to rerecord it. Pop producers consider this a bug; serious musicians consider it a feature.
This, btw. is why nobody masters at 16 bits; the insufficient headroom. 16 bits is plenty for playback though.
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I do want to acknowledge the big weakness of a digital setup that you touch on here, which is the hard clipping. If you ever clip in digital, you have ruined the recording while many analog setups will have a soft rolloff (Tube amps v. BJT amps are similar; the soft clipping of a tube amp is much less unpleasant than the hard clipping of a BJT amp. You can "get away" with a lower wattage tube amp for this reason; a properly sized BJT amp is more accurate though). All this is moot for professional recordings though as a sound engineer who regularly clips by accident (rather than to intentionally get a particular sound) will get fired.
Obviously you've never mastered a Disaster Area album. :)
This tends to be true in practice due to "loudness war" problems - many CDs are mastered not for accuracy but for popularity.