Mercury Living Presence
Mercury has been one of the prized classical music recording labels since it's first monoraural release in the early '50s. Here are two articles that will give you a lot of the background about this label: http://www.soundfountain.com/amb/mercury.html http://microgroove.jp/mercury/LivingPresence.shtml The original vinyl is highly prized by many collectors. Speakers Corner is in the process of reissuing much of the Mercury catalog on vinyl, and the results thus far have been outstanding. . |
As Rushton noted, the originals are highly prized by collectors. A fine example of a very simple recording philosophy (3 mikes across the front of an orchestra) superbly executed by a producer with excellent musical taste. The recordings have a lot of the energy you might hear at a live performance (their reproduction of orchestral dynamics was probably the best of the era), but on the whole are on the bright side, as Chadlnliz points out; the first set of SACD reissues actually seemed to tame that brightness just a little, compared to the original CDs. The CDs were remastered under the direction and direct supervision of Wilma Cozart Fine, the original producer of the records, so they had a lot of care taken in their transfer. Glad to hear from Rushton that the LPs are worth buying, I have held off, as a number of previous re-issues of some Mercury recordings, both on Mercury's budget labels and on the Philips label, have been either disappointing or a mixed bag (not the case, though, with the few Classic Records reissues, wehich are stunning). |
I've found the MLP CDs I've heard to have a distinct timbre that is perhaps "brighter" than most modern good recordings, but I also find the recordings to be very smooth and dynamic and not "overly bright". I've always associated this distinct timber as being the "Living Presence" alluded to in the sereis name. I'm sure different ears will hear different things though. I've found the unique timbre of certain "Living Presence" recordings to be useful as a very unique reference source standard when auditioning digital sourced audio systems . Does anyone think there are any modern recording series the equivalent or at least similar to the MLP recordings in terms of how the recordings are produced and mastered? I've never researched this but I can't think of anything I know of off the cuff. |
The LP's are great! Amazing quality. My only complaint is that you can tell that they used multiple tracks to record on. The separation between sounds is very exact at times vs blended. You should hear a piano solo where they used multiple mics along the keyboard/harp. It moves across the room with utmost quality and amazing clarity. |
In response to Mapman's question, not sure if you're referring more to the simple mike placement, but perhaps Telarc, in its pre-multi-channel days, was close to a mainstream record company using a fairly simple miking technique (spaced omnis as the main array) and taking great care in the mastering and production of its recordings. While many companies have produced fine classical recordings, such as Harmonia Mundi, Reference Recordings, Delos, Decca, etc., most of them use or used far more of a microphone array than Mercury did. |
White and Shaded Dogs refer to the labels on the RCA Living Stereo recordings from back in the 50s and early 60s. Both of the dogs were white, actually, but a Shaded Dog was a dog on a shaded background, while the White Dog is a dog on the plain red background. These were the earliest of the RCA Living Stereo issues, and were much better pressings than the later Red Seal reissues of those recordings that came from RCA later in time. The early RCAs are equally prized by collectors as the Mercs; a slightly different recording technique, but equally talented recording engineers and producers. Another plus of the series was that they got to record the Chicago Symphony at the peak of its powers under Fritz Reiner. |
As a avid audio/music fan, perhaps even audiophile, I'm increasingly becoming aware that despite the inherent dynamic range advantages of digital recording, compression is becoming more and more the norm with modern recordings due to mass marketing effects. It is perhaps the most disturbing and ironic trend I can think of in regards to the music industry and how it serves what I would call the high end listening community, as represented largely on this site. Its ironic in the sense that even as the technology to enable great recordings improves, the results, by design, are increasingly mediocre. Unfortunately, I guess it is what it is. Thankfully there are still some niche recording shops that focus on producing the best sonic product possible. |
Mapman--what you state is certainly the case with pop recordings, which are compressed so they will sound good on the radio. Most classical labels have less compression issues, unless you listen to them on your radio, in which case the radio station compresses the recording for you. Telarc is probably the modern label most akin to the spirit of the Mercuries in terms of trying to get the dynamics of a performance on tape uncompressed, but I tend to agree with Shadorne that most other companies' recordings sound dynamically compressed compared to the Mercuries. This is particularly true when comparing vinyl pressings; that was a hallmark of the Mercury label. By the way, despite the theoretical advantages of the digital recording medium in terms of dynamic range over analog, for some reason the most dynamic recordings in my collection are the vinyl versions. Comparing the Classic Records re-issue of the Mercury Firebird against even the SACD of the same recording, the vinyl just seems to be more natural, vibrant and have more dynamic punch than the SACD or CD--more of a "jump factor", as we used to call it. Not sure why, but it just seems that way to me, and I think also to a lot of others. |
Russ, it's been good to see you weighing in with comments on the recordings! Another series of recordings that are well worth seeking out for a very direct and natural reproduction of an orchestra (provided you care for the music) are the Harmonia Mundi USA recordings engineered by Peter McGrath. These are beautifully recorded with a pair of spaced omni microphones. Examples: ..Mozart Horn Concertos, McGegan/PhilBarO, Greer -hn, HMU 7012 ..Vivaldi Flute Concertos, McGegan/PhilBarO, See -fl, HMC 5193 ..Handel Water Music, McGegan/PhilBarO, HMU 7010 And don't forget Robert von Bahr's work with his BIS label over more than 30 years (very natural sounding, simply miked recordings), and the early work Brian and Ralph Couzens were doing with Chandos. . |
Heads Up! Amazon has this currently for < $100. I noticed it over the weekend. My copy is on its way.... |
Geoffkait, I have not found the MLP recordings bright in my system. This could a cabling issue -- one of the most common problems we face with digital recordings. It took me about 6 years to overcome this problem. In my system it comes from dirty AC. I am listening to a Starker recording at the moment. Smooth as silk without a hint of brightness. |
Box set arrived. Have not opened yet. My first real exposure to the MLP recordings where they caught my ear was back in mid 90's with the CD recordings of Leroy Anderson and another of Circus music using the 35mm film technology that I got from the local public library. I've been hooked since. I think at least the Circus music CD is in this set. I'm hoping for the Leroy Anderson as well. LA wrote some of the catchiest, most accessible and recognizable pop/classical music ever that many do not know about, but not sure if that one is in there. If the box set comes anywhere near living up to my expectations, this could be the place I would recommend a newcomer in this hobby with any interest in classical music start out. |
i own at least 20 mlp cds. i would say, that i could name several labels which offer "better", i.e., more natural sound. here is a list of some labels to consider. alpha, naive, mirare, accent, astree,glossa, alia vox, harmonia mundi, and telarc. the point is, the mercury cds are ok, but not of the caliber of many other labels. |
MLP and Telarc is an interesting comparison that I am familiar with. I do not think I would ever mistake any recording I have heard on either label for the other. Apples/oranges. I associate Telarc with mostly digitally mastered recordings whereas MLP in their day was 100% analog (with later masterings in the 90s to these CDs). Fascinating how such different beasts can still both sound very good. Analog warmth, soundstage and dynamics are the hallmarks of the best MLP recordings. I do not necessarily consider these to be more strictly natural sounding in timbre, but most enjoyable and involving regardless. MLP recordings sound very good on my OHMs in particular due to the simple miking techniques used in most/many. The soundstage is absolute top notch in regards to size and positioning of instruments within and that allows a lot of natural detail and a high degree of musical involvement. In this regard, I would say the closest sounding modern recordings I know of are those on the Mapleshade label, which employs similar production values in regards to how performances are miked. Still I doubt I would confuse a Mapleshade with a MLP recording. Two different beasts from two different eras still. |
Mercury and Everest are similar in the way they both recorded with 35mm tape. Mercury and Everest also share the distinction of audiophile recordings pressed on cheap vinyl. My advice would be to purchase remastered cd’s or remastered and repressed vinyl. Now there may be a difference where it pertains to the original early mono pressings. However, I’ve had trouble finding original mono pressings that aren’t so chewed up that they’re unplayable. |
