I don't think the issue's that simple. Anyone who (with a straight face) asserts that record weight has no bearing on the quality of the pressing has never seen a pinch warp. Or more accurately, didn't live through the pre-1973/post-1973 Arab Oil embargo record collecting experience. Very thin vinyl sounds wretched for a variety of quantifiable reasons. Past a certain point, enormously thick (and needlessly expensive) pressings are (arguably) verging on overkill. But anybody who has collected (I have 99% of the original RCA Living Stereo LSC catalog on both digital and original Shaded Dog pressings, plus the best of the AP and Classic pressings and have actually LISTENED to them) the most outstanding recordings from the LP's heyday (I have roughly about half of the Mercury Living Presence catalog-the BEST ones-and yes, the original LP early pressing runs, PLUS the entire available catalog on digital) and in my experience, the truth is that lousy vinyl (old and NEW) is a REAL THING. Record pressing weight is just ONE of a number of parameters that matter. The relationship isn't linear to the degree where a 400-gram pressing is twice as good as a 200-gram pressing. The hardness of the vinyl (another big difference between 1960s vinyl and 1980s vinyl) makes a difference as well and is almost never discussed. Using a (GOOD) record clamp can mitigate some of those differences. The idea is to keep the record still so the stylus doesn't chase it all over Hell and half of Creation. I corresponded privately with Mr. Gioia some years ago and I think he's very well informed, although I don't always agree with what is historically turning into a conflation of the greatest "Jazz" vs. the greatest SELLING "Jazz" as a post-modern phenomenon. What musicians (or the musically astute) listen to and what folks put on to provide "auditory wallpaper" for their lifestyle ("Kind Of Blue" is doubtlessly the greatest make-out record of the 20th Century, hands down) aren't always the same thing. From another perspective, the musical and virtuosic significance of Chase's Quad recordings can punch through the limitations of an 8-track tape cartridge. Although it's not my first format of choice for critical listening, I do like having it/them for comparison purposes. The format isn't irrelevant, but it's not the critical component in the process either. My priorities are for physical media of any kind over any download, but download's if there's no other way to own the content. The reason is the music I value is sufficiently outside of the mainstream that it can be very difficult to source (in a high-fidelity download) on the Internet. (YouTube does NOT count. Quality is a complete crapshoot.) In some ways, you can (with good equipment) get far more high-fidelity presence from an 8-track or cassette than you can from a compressed/algorithm-ed download, believe that or not. Of course, that comparison is example dependent, for sure.