Best Ways to Organize a Classical Record LP Collection ?

What I’ve done is to first sort into the following categories, and then within each category by composer, or by the composer of either the major work or the work that is of greatest interest to me in the case of recordings having works by multiple composers. One reason I chose this methodology is simply that in my case it happens to work out nicely with respect to the available shelving. The categories are:

-- Analog mastered recordings on labels which usually provide exceptionally good sound quality (e.g., Astrée, Harmonia Mundi, Chesky, Wilson Audio, Pierre Verany, some EMI, RCA Japan, etc.).

There are a number of past threads here providing discussions of the best sounding classical labels. Search posts by member Rushton in particular.

-- Digitally mastered recordings on labels which usually provide very good to excellent sound quality (e.g., Telarc).

-- Recordings on labels which usually provide good but not exceptional sound quality (e.g., Philips, London, Argo).

-- Historical recordings from the mono era (e.g., Toscanini)

-- Most others.

-- Recordings that are in questionable condition, or worse.

Enjoy! Regards,
-- Al

Hi Ct0517,

Note that I referred to London rather than Decca. While as you no doubt realize London was the label under which for many decades Decca recordings were released in the USA (I see you are in Canada, btw), IME Londons tend to be somewhat more of a mixed bag, perhaps due in part to the varied provenance of their pressings. Also, many of the Londons I have were digitally mastered during the early days of digital (the 1980s), as well as in the days of increasingly common use of heavy multi-mic’ing, and I would definitely not place those recordings in the "great" category.

If and when you find London/Decca recordings engineered by Kenneth Wilkinson, however, who retired from Decca in 1980, consider them to have an excellent chance of being sonic masterpieces.

Enjoy! Regards,
-- Al