Um, not to put too fine a point on it, and being an EDP alum from the days when SB was still playing Nintendo, I can say that DMM blanks were sold to other mastering houses though, due to some complex political and competition issues, this wasn't an absolutely huge business for ED, though many, many coppers were sold to the Scientologists for their RLH preservation project. The image of the F/W imprint on this forum is in a lacquer. Herbie cut to lacquer in his own room, though Sterling and MD both did DMM, if I recollect correctly.
I believe that Steve is correct in saying that Herbie Jr. likely did the pre-mastering on the cut in question and that the side was likely cut to DMM by Don. David Brick also worked there for a very, very short time.
When we first got the lathe in, I think it was 1988 or 89, we cut (and I cut sides, too) two shifts, many for RCA and Musical Heritage and some sides for major labels, including Warner, including Madonna. It was great not having to worry about kissing grooves or chip-pickup. Sides were cut at reference levels or below, depending on the length of the program, no more, no less. Though Jim was certainly capable, my experience was that he wanted to have a production approach similar to that of Teldec mastering, meaning that a certain genre was mastered a certain way and that was it. If clients wanted something other than "flat" then they could sit in.
The indie music clients came later as the major labels weren't panning out. WEA, for instance, preferred lacquers because DMM-generated parts had no horns, making the resulting records difficult to press. Plus, plating copper parts was a different process than that of nickel mothers and the plating departments of Warner other major kept wrecking parts initially, delaying production and requiring new DMM mothers, adding again to production expense.
DMM was lovely for cutting long classical sides. Albeit at low levels (-6 or so with all bass summed below 120), we were able to cut sides as long as 35 minutes. And because there was a) no lacquer noise, b) no horns and c) one less step in the plating process, records pressed to DMM specs with dye-based vinyl were quiet (-77 dbm.) Darned CDs!
As for dance records, Don did indeed cut loud records. He really shouldn't have been able to, but he did - measurably so. The issue for the producers was that Don is a bit too much of an audiophile and a great technician and was resistant to using techniques that led to increased loudness perception and really didn't want to cut records so hot that they would not play. I agreed with him on that point - there's no reason to cut a record that the producer can't play with an in-compliant cartridge with a relatively huge DJ stylus that was built for durability and not for fine playback. So, any record could have been cut louder, but it would be dangerous from a business standpoint.
DMM sides will sound brighter with a proper stylus and will exhibit tracing distortion with complex HF content with a large "caliber" stylus. The cutting method is, in simple terms, very much more precise than lacquer, leading to less "color" and far better detail. There is no spring-back of the copper as with lacquer, nor is there shrinkage and pre and post echo is minimal and, in my opinion, inaudible. Thing is, many dance folks liked that lacquer coloration and wound up cutting loud, HF-limited and squished sides in England, to lacquer. DMM cuts a very precise groove with more dynamic range possible (because of the extremely low noise floor) and better, more linear frequency response with all inputs equal.
Note on 33.3 versus 45 - with a longer time along the groove wall, the stylus has to struggle less to trace HF and there is less bounce for LF excursions. Many audiophile labels were doing this for that reason and 12 inch singles, especially for the indie Wave scene, could be cut at 45 or 33.
Personally, I was waiting to the DMM cassette. . . Oh, and, there was a project by TelDec to cut CD masters using the DMM process. It did work somewhat but was so different than the by-then widely accepted photoresist process, didn't really take off. Oh, well.