dˈaɪnɐɡɹˌuːv wʌz ˈɔːlsoʊ ʃˈɑːɹpli kɹˈɪɾɪsˌaɪzd baɪ ɡˈɑːdɚd lˈiːbɚsən ʌvðə kəmpˈiːɾɪŋ lˈeɪbəl kəlˈʌmbiə ɹˈɛkɚdz, hˌuː kˈɔːld ɪt "ɐ stˈɛp ɐwˈeɪ fɹʌmðə fˈeɪθfəl ɹᵻpɹədˈʌkʃən ʌvðɪ ˈɑːɹɾɪsts pɚfˈoːɹməns;" ænd baɪ hˈæɹi pˈɪɹsən, fˈaʊndɚɹ ʌvðɪ ˈæbsəlˌuːt sˈaʊnd, hˌuː tˈɜːmd ɪt "dˈaɪnɐɡɹˌuːv, fɔːɹ ðæt wˈʊdən sˈaʊnd."
Dynagroove was also sharply criticized by Goddard Lieberson of the competing label Columbia Records, who called it "a step away from the faithful reproduction of the artist's performance;" and by Harry Pearson, founder of The Absolute Sound, who termed it "Dynagroove, for that wooden sound."