I thought it would be interesting to hear everyone's opinions on the distinctive sound qualities of different labels' recordings. Although there is certainly some out-liers that do not represent the typical sound of a label, what do you feel are the characteristics that describe the sound from different labels?
For instance, some downsides:
Mercury Living Presence: in many of the stereo versions I've heard, I perceived the sound as being in two "lobes" that contained the speakers. There seemed to be less center-fill than on some recordings. This impression may have been system-dependent, etc. so I'm interested in what you all have to say.
Chandos: Often an overly-reverberant sound, with some detail submerged as a result.
Take it and run with it!
Lee
Can't say that's been my experience with the Mercs. Are you talking about the CD or LP?
Now it is hard to totally generalize since the hall maybe accounted for 80% of the sound of the label or recording (something sadly lost on today's labels). So the best Mercs were in London and ER, RCA at CSO and London, Decca at Kingsway, Decca opera at Vienna, etc. And of course, one needs always to look at the recording team since that had a huge impact on the sound. RCA=Layton/Mohr. Mercury=Bob Fine and Wilma Cozart. Decca=Wilkinson, Haddy. EMI=Parker/Bishop and a few others such as Stuart Eltham. Harmonia Mundi= Pontrefact (the best) and Pierre Studer. Nonesuch=Nickrenz/Aubort (also responsible for many of the great Vanguard recordings such as the Weavers, etc). Then of course, with the LP, is the issue of the pressing number. In general, the earlier the pressing, the better the sound. And the matrix codes have been deciphered for all these labels. And finally, where the LPs were pressed had a huge impact upon the sound@!
Mercs=sound close up, huge dynamics, in general good low end, not the hugest depth, strings are a touch on the hard side. Three mikes in general; four if soloist. Gain riding at a minimum. Had one of the best mastering engineers of the time, George Piros who was in demand by many other labels. (see George under rock LPs esp.)
RCA= more natural ss perspective, sweet strings, soft at the top and definitely lacks low end presence (not so for the tape so assume mastered so the worst tt coud play their LPs). Also definitely more mikes, as few as 2 and some with over 9.
Decca=Great soundstaging and transparency, good low end, little lean at times. The three mike Decca tree really give the feeling of middle, used spot mikes, esp. again with soloists. Also changed mikes and electronics midway through their Golden years. For instance went from more directional mikes (as used in opera) to more omni along the way. Sometimes a little gain riding.
Argo/L'Oiseau Lyre=Decca budget line. Small step below the Deccas but can be up there on some recordings. Little lean sounding, little hard on strings. Some great organ records with low bass that will test the resolve of an woofer/sub. Great performances esp. Marriner and St. Martin.
Harmonia Mundi= definitely tastefully multi-miked. Little lean but great sense of space, body of instruments, great selection of music from early music, baroque and other periods.
Nonesuch=again tastefully multi-miked, great sense of space, can be a little lean, good low bass and resolution/tonality of instruments. After Mercury, championed American composers! Many done at the long gone and much lamented, Studio A at RCA.
Phillips=the sound is definitely a notch below the above labels, at its best and depending on pressing. 'Tis a shame, since they have some great artists. Biggest issue is their murkiness (as do the later Decca/Holland pressings), strings get harder and harder with increasing matrix/pressing number. Limited ss depth, highs rolled off.
Columbia (classical only)=If Phillips is a notch below, Columbia is at the bottom. Many are brighter than hell and virtually unlistenable; make a strong argument for something like a Cello Pallette. Great, great conductors (esp. Bernstein) and great, great performances (see Copland and Stravinsky for instance) given hideous sound. It's always amazed me that Columbia could have given their jazz artist darn good sound, yet the classical suck.
Later on some other labels.