I didn’t get into this in the article, but SNES music is made from miniscule little samples taken from keyboards, synths, samplers and the like. All of the contents had to fit into 6kb. So composers were definitely hearing the ultra-compressed samples and not ever the full quality sounds when they were in the midst of composing.
Pressing music to vinyl gives it a unique quality because the needle is bouncing and reading from a physical groove. You’re correct, it was simply the best way for it to be heard when it was made because vinyl was the popular and highest-quality format. Some people find it the most pleasurable way to listen to music still, but at some point it’s all audiophile shit. Amplifiers, speakers, the sky is the limit if you’re chasing the “best sound”. I don’t think there’s anything really groundbreaking that can ONLY be achieved on vinyl. The way music was mixed and mastered dynamically at the time contributes much more to its overall sound than the way it was pressed and released, because you had to stay under a certain noise level for the vinyl to be able to handle it and you couldn’t fight the “loudness war” of music today.
Modern music pressed to vinyl (for example, any of the things I’ve had released on vinyl) did not go through some special procedure to make them the ultimate versions of my music for this supposed ultimate format. They were mastered a little differently for the format to handle it and not be distorted, that’s all. The best way to hear my stuff is to get an uncompressed WAV or FLAC from my Bandcamp, because that’s the format I make it for.
Vinyl is mostly an aesthetic and nostalgic pleasure now, the experience of going to stores and picking up random things you’ve never heard of, then taking them home and displaying them while physically setting them up to play.