In order to cut in a copper plate, the cutterhead must be activated by more
prowerfull amplifiers than is normally the case. Because copper is harder
than the wax commonly used, there is some restraining when it comes to
engraving the highest frequencies. The result comes close to the modern
reissues where powerful, high end amplifiers are used and audiophile cables
that are designed to deliver a pure signal, but in fact by killing distortion,
kill some of the distortion which in inherent to the natural sound of
acoustic instruments.
Several years ago I recieved a record cut anew from an Eterna (former GDR)
tape with works of Strawinsky. I did not like the heavy and too clean sound
brought about by much power and corrected interconnects. I wrote about
the difference in sound compared to other, original Eterna recordings, to the
producer and he answered: The engineer also has a signature of his own.
I have heard this phenomenon with several other reissues. That is why I do
not buy these, only if I find them in a shop for just a few Euro.
Transients are less speedy in DMM and seem to be limited in the top of
the audio band because of restraining the diamond cutter in the DMM
process. It can be that some people expect some overshoot in a vinyl disc.
DMM and the modern issues want to avoid that by controlling the signal
too much before it is engraved. A better way to me seems to cut records
using common lacquers which allow speed and fine detail and then play them
using a periphery ring. You may disagree but this is my assessment.