Not the case. I've stated this before and I'll state it again. There are a myriad of qualities that make a great pressing. Some of us do hear tendencies when listening to digital recordings. They can be from subtle to bad, depending on how well the mastering is done. A bit of inertness in the flow is a subtle aspect I hear in digital. Hashy and thin highs is when digital is at its worst. But when the label states a pressing is all-analog, we may try to find another reason for what we're hearing. It's partly human nature, and we're curious. If your car is dripping a fluid and you're told it's not oil, even though you may suspect it is oil, you try to figure out what else it may be. Later, if you are told that it IS oil, you go "ah-HA!" Generally, what makes MoFi's records so great is that they're musical, they're full of life and they tend to be tonally balanced. But they can run tonally on the cool side. This is a quality I normally associate with digital. But being told it wasn't digital, I figured it was just due to Kreig Wunderlich's mastering choices. If we want to truly hear if digital has an affect on the sound, the same engineer needs to master a song using a master tape, with and without a digital step involved, and then press it to vinyl. It could be pressed with one version on each side. But these days, the best of digital is really good, so, if done well, differences might be subtle. But man, I have some bad digitally remastered records.