1. This label was used from the introduction of the Red Seal LP in 1950 through the latter part of 1954. The background color of the label is maroon. The Dog-Gramophone Logo is an outline. The record number prefix is generally LM, which stands for Long Play Microgroove. Early stampings of this label are on a heavy, fairly rigid platter without the raised lead-in groove and label, and the label's later stampings are on a lighter, more flexible platter with the raised label and lead-in groove. Recordings on this label are monaural only.

a. From 1950 to about 1951 the label finish is glossy, and the Dog-Gramophone outline and printing are gold or goldish-silver.

b. From about 1951 through 1954 the label finish is matte, and the Dog-Gramophone outline and printing are silver.

The first releases on this label are:

Wagner, Richard. Siegfried: Act III, Scene III (1876). Eileen Farrell, soprano. Set Svanholm, tenor. Rochester Philharmonic. Erich Leinsdorf, conductor. RCA Victor Red Seal LM 1000 12" (1950).

Dvôrák, Antonin. Husitská Overture, Op. 67 (1883). Smetana, Bedrich. The Moldau (1879). Boston Pops. Arthur Fiedler, conductor. RCA Victor Red Seal LM 1 10" (1950).

2. This label was used from 1951 through late 1954. The background color of the label is gold or silverish-gold. The Dog-Gramophone Logo is a maroon outline and printing is maroon. The record number prefix is LCT. Performances on this label are re-releases of important 78 RPM material whose dated sound did not merit LM release. Early stampings of this label are on a heavy, fairly rigid platter without the raised lead-in groove and label, and the label's later stampings are on a lighter, more flexible platter with the raised label and lead-in groove. Recordings on this label are monaural only.

The first releases on this label are:

Genius at the Keyboard: A Treasury of Immortal Performances. RCA Victor Red Seal LCT 1000 12" (1951).

Composers' Favorite Interpretations: A Treasury of Immortal Performances. RCA Victor Red Seal LCT 1 10" (1951).

In 1954, recordings on this label became part of Label No. 4, with some of them having their prefix changed to LVT.

3. This label was used from early 1954 through 1956. The background colors of the label are red and silver. The Dog-Gramophone Logo is in full color and is on a plum-colored surround. The printing is silver on the red part of the label and red on the silver part. The record number prefix is LHMV, and the performances on this label are exclusively from the English HMV Catalogue. Recordings on this label are monaural only.

One of the early releases on this label is:

Stravinsky, Igor. Rite of Spring (1913). Philharmonia Orchestra. Igor Markevitch, conductor. RCA Victor Red Seal LHMV 1 (1954).

4. This label was used from 1954 through 1958. The background color of the label is reddish or purplish brown. The Dog-Gramophone Logo is in full color and is on a dark surround. Printing is silver. The record number prefix is usually LM, though some other prefixes were used. Recordings on this label are monaural only.

a. "NEW ORTHOPHONIC" HIGH FIDELITY is printed under the Dog-Gramophone Logo, indicating a recording of the highest quality sound.

c. Nothing is printed under the Dog-Gramophone Logo, generally indicating a re-recording of 78 RPM material or a recording of less good sound.

One of the early releases on this label is:

Strauss, Richard. Also sprach Zarathustra, Op. 30 (1896). Chicago Symphony. Fritz Reiner, conductor. RCA Victor Red Seal LM 1806 (1954).

5. This label was used from late 1958 through late 1964. The background color of the label is orange red. The Dog-Gramophone Logo is in full color and is on a plum-colored surround. The printing is gold. The record number prefixes are usually LM or LSC, LM now meaning Long Play Monaural Classical and LSC meaning Long Play Stereophonic Classical. Among the other prefixes used are LS, LD, LSS, LDS and LVT. Recordings on this label are monaural or stereophonic.

a. From late 1958 to about 1960, on monaural records:
TRADE MARKS ® REGISTERED · MARCUS REGISTRADAS · . . . . . MADE IN U.S.A.. is printed along the label's bottom edge from 8 o'clock to 4 o'clock.
"NEW ORTHOPHONIC" HIGH FIDELITY is printed beneath the Dog-Gramophone Logo.
LONG 33 1/3 PLAY is printed at the center of the label bottom.

b. From about 1960 to 1962, on monaural records:
TMK(s) ® REGISTERED · MARCA(s) REGISTRADA(s) · . . . . . MADE IN U.S.A. is printed along the label's bottom edge from 8 o'clock to 4 o'clock.
"NEW ORTHOPHONIC" HIGH FIDELITY is printed beneath the Dog-Gramophone Logo.
LONG 33 1/3 PLAY is printed at the center of the label bottom.

c. In 1962, on monaural records:
TMK(s) ® REGISTERED · MARCA(s) REGISTRADA(s) · . . . . . MADE IN U.S.A. is printed along the label's bottom edge from 8 o'clock to 4 o'clock.
"NEW ORTHOPHONIC" HIGH FIDELITY is omitted beneath the Dog-Gramophone Logo.
LONG 33 1/3 PLAY is printed at the center of the label bottom.

d. From 1962 through late 1964, on monaural records:
TMK(s) ® REGISTERED · MARCA(s) REGISTRADA(s) · . . . . . MADE IN U.S.A. is printed along the label's bottom edge from 8 o'clock to 4 o'clock.
"NEW ORTHOPHONIC" HIGH FIDELITY is omitted beneath the Dog-Gramophone Logo.
MONO is printed at the center of the label bottom.

e. In 1963 and 1964, on monaural records:
DYNAGROOVE is printed in thick letters at the center of the label bottom and is flanked on the left and the right by a small MONO.

f. In 1958 and 1959, on stereophonic records:
TRADE MARKS ® REGISTERED · MARCUS REGISTRADAS · . . . . . MADE IN U.S.A. is printed along the label's bottom edge from 8 o'clock to 4 o'clock.
"STEREO-ORTHOPHONIC" HIGH FIDELITY is printed beneath the Dog-Gramophone Logo.
LIVING STEREO is printed in 5/32 inch letters at the center of the label bottom.

g. In 1959 and 1960, on stereophonic records:
TRADE MARKS ® REGISTERED · MARCUS REGISTRADAS · . . . . . MADE IN U.S.A. is printed along the label's bottom edge from 8 o'clock to 4 o'clock.
"STEREO-ORTHOPHONIC" HIGH FIDELITY is printed beneath the Dog-Gramophone Logo.
LIVING STEREO is printed in 13/64 inch letters at the center of the label bottom.

h. From about 1960 to 1962, on stereophonic records:
TMK(s) ® REGISTERED · MARCA(s) REGISTRADA(s) · . . . . . MADE IN U.S.A. is printed along the label's bottom edge from 8 o'clock to 4 o'clock.
"STEREO-ORTHOPHONIC" HIGH FIDELITY is printed beneath the Dog-Gramophone Logo.
LIVING STEREO is printed in 13/64 inch letters at the center of the label bottom.

j. In 1962, on stereophonic records:
TMK(s) ® REGISTERED · MARCA(s) REGISTRADA(s) · . . . . . MADE IN U.S.A. is printed along the label's bottom edge from 8 o'clock to 4 o'clock.
"STEREO-ORTHOPHONIC" HIGH FIDELITY is omitted beneath the Dog-Gramophone Logo.
LIVING STEREO is printed in 13/64 inch letters at the center of the label bottom.

k. From 1962 through late 1964, on stereophonic records:
TMK(s) ® REGISTERED · MARCA(s) REGISTRADA(s) · . . . . . MADE IN U.S.A. is printed along the label's bottom edge from 8 o'clock to 4 o'clock.
"STEREO-ORTHOPHONIC" HIGH FIDELITY is omitted beneath the Dog-Gramophone Logo.
STEREO is printed in 13/64 inch letters at the center of the label bottom.

l. In 1963, on stereophonic records:
DYNAGROOVE is printed in thick letters at the center of the label bottom and is flanked on the left and the right by a small, stacked LIVING STEREO.

m. In 1963 and 1964, on stereophonic records:
DYNAGROOVE is printed in thick letters at the center of the label bottom and is flanked on the left and the right by a small STEREO.

One of the early releases on Label No. 5 is:

Tchaikovsky, Peter Ilyich. Symphony No. 6 in B Minor, Op. 74 "Pathétique" (1893). Boston Symphony. Pierre Monteux, conductor. RCA Victor Red Seal LM/LSC 1901 (1958).

(In about 1962, recordings with the LD and LDS prefixes became Label No. 6.)

6. This label was used from 1962 through late 1968. The background color of the label is tomato red. The Dog-Gramophone Logo is omitted. The printing is silver. The record number prefixes are LD or LDS, which probably mean Long Play Deluxe and Long Play Deluxe Stereophonic. Recordings on this label are monaural or stereophonic.

a. On monaural records in 1962 LONG 33 1/3 PLAY is printed at the center of the label bottom.

b. On monaural records in 1963 and 1964 MONO is printed in 13/64 inch letters at the center of the label bottom.

c. On stereophonic records in 1962 LIVING STEREO is printed in 13/64 inch letters at the center of the label bottom.

d. On stereophonic records in 1963 and 1964 STEREO is printed in 13/64 inch letters at the center of the label bottom. These are often of performances recorded abroad.

7. This label was used from late 1964 through late 1968. The background color of the label is tomato red. The Dog-Gramophone Logo is in full color but is without a surround. The printing is black, except for the large RCA Victor at the label top, which is white. The record number prefixes are usually LM or LSC. Recordings on this label are monaural or stereophonic.

a. On monaural records MONO is printed in 9/64 inch letters at the center of the label bottom.

b. After 1965 on monaural records MONAURAL is printed in 9/64 inch letters at the center of the label bottom.

c. On monaural records MONO DYNAGROOVE is printed in 9/64 inch letters at the center of the label bottom.

d. On stereophonic records STEREO is printed in 9/64 inch letters at the center of the label bottom.

e. On stereophonic records STEREO DYNAGROOVE is printed in 9/64 inch letters at the label bottom.

f. In 1967 and 1968, DYNAGROOVE STEREO MIRACLE SURFACE is printed in 9/64 inch letters at the label bottom.

One of the early releases on this label is:

Beethoven, Ludwig v. String Quartet No. 15 in A Minor, Op. 132 (1825). Juilliard String Quartet. RCA Victor Red Seal LM/LSC 2765 (1964).

8. This label was used from late 1968 to mid-1976. The background color of the label is orange red. The Dog-Gramophone Logo is omitted. RCA in large, white outline letters is printed vertically, to the left of the label center. Red Seal is also printed in white from the spindle hole right to the label edge. All other printing is black. The record number prefix is generally LSC. Almost all of the recordings are stereophonic as most monaural records had been deleted by 1968.

a. From late 1968 to mid-1971:
Releases have TMK(s) ®REGISTERED · MARCA(s) . . . . . MADE IN U.S.A. printed horizontally in two lines, toward the label bottom.
Generally, these disqs are of the same weight and thickness as those of Label No. 7.

b. From mid-1971 through late 1972:
Releases have TM(s) ®RCA CORP - MADE IN U.S.A. printed horizontally toward the label bottom and dynaflex printed on the label.
These disqs are light, flimsy and floppy.
From 1972 on, releases have their release date printed on the label.

c. From late 1972 to mid-1975:
Releases have TM(s) ®RCA CORP - MADE IN U.S.A. printed horizontally toward the label bottom and dynaflex printed on the label.
In mid-1973 the ARL prefix was introduced.
By 1974 the disqs became heavier and firmer.

d. From mid-1975 to mid-1976:
Releases have TM(s) ®RCA CORP - MADE IN U.S.A. printed horizontally toward the label bottom; dynaflex is omitted.

e. From mid-1975 to mid-1976:
Quadraphonic releases have quadradisc printed on the label.

One of the early releases on this label is:

Bach, J.S. Trio Sonata No. 1 in E Flat Major, BWV 525. Trio Sonata No. 5 in C Major, BWV 529. Vivaldi, Antonio. Sonata for Lute and Continuo in C Minor, P.7 No. 2. Sonata for Lute and Continuo in C Major, P.7 No. 3. Julian Bream, lute. George Malcolm, harpsichord. RCA Victor Red Seal LSC 3100 (1969).

9. This label was used from mid-1976 to the end of the LP era. The background color of the label is red. The Dog-Gramophone Logo is in full color, toward the label edge at 1 o'clock. RCA in white outline letters is printed at the label top, and Red Seal is printed vertically, in white, toward the label's left edge. All other printing is black.

The manner in which the orchestra is arranged during recording largely determines the way the orchestra sounds on record. Much criticism of orchestral sound on early stereo recordings is a result of not properly identifying which arrangement is being used. The criticism, for instance, that the string sound is 'thin' often comes from hearing a recording of the 'old arrangement' and not judging it by its own standards of sound. It is heard instead as a bad recording of the 'new arrangement.' The orchestra seated in the old manner sounds very different from the orchestra seated in the new manner. The most easily heard difference is the dominance of violin tone in the string section of the old arrangement. Both the first and second violins are well forward, and so they naturally dominate the texture. The sound then, relatively, is 'thin.'
Also, the criticism that a recording has weak bass can come from mis-identifying the orchestral arrangement being used. Early Fritz Reiner records on RCA, for instance, were recorded with the double basses toward the back of the orchestra. There they do not dominate the string tone as do the forward placed double basses of the new arrangement. The 'old orchestra' sound is often not as heavy as the 'new orchestra' sound.
The early Reiner recordings are also often criticized for having a 'hole in the middle.' That is, the left and right sides of the orchestra are easily heard, but the orchestral texture recedes toward the middle. This is attributed to the incorrect use of just two microphones in these early sessions. In fact, most often three mikes were used, and the dominant left and right sound comes from the forward placement of split left and right violins. This is, in fact, an accurate portrayal of the sound of the old orchestral arrangement.
The single American classical label that consistently produced great performances and great recordings was RCA Victor. Their Red Seal Division offered performances and recordings that are today still the standard.

These Number-Letter Codes are stamped on the vinyl between the last groove and the label. The Number-Letter Codes are also printed on the label.

1. This code was used for recordings made in 1950 and 1951.

An example is:

Berlioz, Hector. Symphonie fantastique, Op. 14 (1830). San Francisco Symphony. Pierre Monteux, conductor. RCA Victor Red Seal LM 1133 (1951).

The codes for this recording are:

E1 LRC 13 on side one.
E1 LRC 14 on side two.

The first character is a letter indicating the decade in which the recording was made. That is, the E indicates the 1950s.

The second character is a number indicating the year within the decade in which the recording was made. That is, the 1 indicates 1951.

The third character is a letter indicating the record speed and groove size. That is, the L indicates a 33 1/3 RPM and fine groove recording.

The fourth character is a letter indicating the category or type of music. That is, the R indicates the Red Seal Label, or classical music.

The fifth character is a letter indicating the diameter of the record. That is, the C indicates a 12" diameter disq.

The characters that follow make up the recording serial number. That is, 13 is the serial number of the recording on side one, and 14 is the serial number of the recording on side two.

2. This code was used for recordings made from 1951 through 1954.

An example is:

Respighi, Ottorino. Fountains of Rome (1917). Pines of Rome (1924). NBC Symphony. Arturo Toscanini, conductor. RCA Victor Red Seal LM1768 (1953).

The codes for this recording are:

E3RP 5077 on side one.
E3RP 5078 on side two.

The first character is a letter indicating the decade in which the recording was made. That is, the E indicates the 1950s.

The second character is a number indicating the year within the decade in which the recording was made. That is, the 3 indicates 1953.

The third character is a letter indicating the category or type of music. That is, the R indicates the Red Seal Label, or classical music.

The fourth character is a letter indicating the record speed, groove size and diameter. That is, the P indicates a 33 1/3 RPM, fine groove and 12" diameter recording.

The characters that follow make up the record serial number. That is, 5077 is the serial number of the recording on side one, and 5078 is the serial number of the recording on side two.

3. This code was used for recordings made from 1954 into 1963.

An example is:

Ravel, Maurice. Daphnis et Chloé (1912). New England Conservatory Chorus. Robert Shaw, director. Boston Symphony. Charles Munch, conductor. Leslie Chase, recording engineer. John Pfeiffer, record producer. RCA Victor Red Seal LSC 1893 (1960).

The codes for this recording are:

K2RY 0808 on side one.
K2RY 0809 on side two.

The first character is a letter indicating the year in which the recording was made. That is, the K indicates 1959.

The second character is a number indicating the label or recording's source. That is, the 2 indicates the RCA Victor Label.

The third character is a letter indicating the category or type of music. That is, the R indicates the Red Seal Label or classical music.

The fourth character is a letter indicating the record speed, groove size and diameter. That is, the Y indicates a 33 1/3RPM, stereo universal groove and 12" diameter recording.

The characters that follow make up the recording serial number. That is, 0808 is the serial number of the recording on side one, and 0809 is the serial number of the recording on side two.

4. This code was used for recordings made from 1963 through 1973.

An example is:

Dello Joio, Norman. Fantasy and Variations. Ravel, Maurice. Concerto for Piano and Orchestra in G Major (1930­31). Lorin Hollander, piano. Boston Symphony. Erich Leinsdorf, conductor. Lewis Layton, recording engineer. Richard Mohr, record producer. RCA Victor Red Seal LSC 2667 (1963).

The codes for this recording are:

PRRS 3305 on side one.
PRRS 3306 on side two.

The first character is a letter indicating the year in which the recording was made. That is, the P indicates 1963.
The second character is a letter or number indicating the label or category or type of music. That is, the R indicates the Red Seal Label or classical music.

The third character is a letter indicating the format. That is, the R indicates a 33 1/3 RPM 12" recording.

The fourth character is a letter indicating stereophonic or monophonic sound. That is, the S indicates stereo.

The characters that follow make up the recording serial number. That is, 3305 is the serial number of the recording on side one, and 3306 is the serial number of the recording on side two.

5. This code was used for recordings made during and after 1973.

An example is:

Bach, J.S. Fugue in E Flat Major, BWV 522. Fugue in D Major from BWV 532. Fugue in G Minor, BWV 542. Fugue in A Minor from BWV 543. Fugue in C Minor from BWV 549. Fugue in C Major from BWV 564. Fugue in G Minor, BWV 578. Philadelphia Orchestra. Eugene Ormandy, conductor. Paul Goodman, recording engineer. Max Wilcox, record producer. RCA Victor Red Seal ARD1 0026 (1973).

The codes for this recording are:

ARD1 0026A on side one.
ARD1 0026B on side two.

The first character is a letter indicating the master tape source. That is, the A indicates RCA Victor.

The second character is a letter indicating the label or category or type of music. That is, the R indicates the Red Seal Label or classical music.

The third character is a letter indicating the format. That is, the D indicates a quadraphonic stereo 33 1/3 RPM 12" recording.

The fourth character is a number indicating number of units. That is, the 1 indicates a single record.

The characters that follow make up the recording serial number. That is, 0026A is the serial number of the recording on side one, and 0026B is the serial number of the recording on side two.

In addition to the Number-Letter Codes, other information is stamped on the vinyl.
The S preceded by a number indicates the mastering or stamping sequence. That is, the 1 indicates the 1st master disq cut from the master tape. This information is found immediately after the Number-Letter Codes.
A letter followed by a number indicates the mother. That is, the A indicates the first mother.
A single letter placed at 180 degrees from the Number-Letter Codes indicates the pressing plant at which the record was manufactured. That is, the I indicates the Indianapolis, Indiana plant.

Notes

RCA's Red Seal Division employed many different record producers and recording engineers and so made many different kinds of sound recordings; yet, several styles stand out. Possibly the most popular sound is that of the team of record producer Richard Mohr and recording engineer Lewis Layton.
Good examples of this are:

Respighi, Ottorino. Fountains of Rome (1917). Pines of Rome (1924). Chicago Symphony. Fritz Reiner, conductor. Lewis Layton, recording engineer. Richard Mohr, record producer. RCA Victor Red Seal LSC 2436 (1960). Recorded on October 24, 1959, in Orchestra Hall, Chicago.
and

Rimsky-Korsakov, Nikolai. Schéhérezade, Op. 35 (1888). Chicago Symphony. Fritz Reiner, conductor. Lewis Layton, recording engineer. Richard Mohr, record producer. RCA Victor Red Seal LSC 2446 (1960). Recorded on February 8, 1960, in Orchestra Hall, Chicago.

Some of RCA's earliest stereo recordings were made by recording engineer Leslie Chase. Two good examples of his work are:

Offenbach, Jacques. Gaîté Parisienne (1938). Boston Pops. Arthur Fiedler, conductor. Leslie Chase, recording engineer. RCA Victor Red Seal LSC 1817 (1958). Recorded in June 1954 at Symphony Hall, Boston.

and

Ravel, Maurice. Daphnis et Chloé (1912). New England Conservatory Chorus. Robert Shaw, director. Boston Symphony. Charles Munch, conductor. Leslie Chase, recording engineer. John Pfeiffer, record producer. RCA Victor Red Seal LSC 1893 (1960).

Kenneth E. Wilkinson was a leading recordist with English-Decca, but through a tape-lease arrangement some of his work appeared on RCA. Fine examples of this work are:

Elgar, Edward. Enigma Variations, Op.36 (1899). Brahms, Johannes. Variations on a Theme by Haydn, Op. 56a (1873). London Symphony. Pierre Monteux, conductor. Kenneth E. Wilkinson, recording engineer. RCA Victor Red Seal LSC 2418 (1960). Recorded in Kingsway Hall, London.

and

Sibelius, Jean. Symphony No. 2 in D Major, Op. 43 (1901). London Symphony. Pierre Monteux, conductor. James Walker, record producer. Kenneth E. Wilkinson, recording engineer. RCA Victor Red Seal LSC 2342 (1959). Recorded in Kingsway Hall, London.

Much of this material originally appeared in "RECOLLECTIONS Journal of Recorded Music." Back issues of the journal are available for US$15.00 at RECOLLECTIONS-by email at ronpenndorf@earthlink.net

My publications can also be found and browsed in the Rodgers and Hammerstein Archive of the New York Public Library, the Stanford Archive of Recorded Sound and the Music Department of the Chicago Public Library.