It’s kind of a process. Learning which labels tend to use good mastering engineers and tape or DSD sources, using Discogs to see how people have rated it/commented on it, and reading Steve Hoffman and/or Reddit. I like Mike Esposito’s YouTube channel for The ‘In’ Groove as well. I’ve learned a lot from him. For moderns releases/reissues, anything mastered by Bernie Grundman, Ryan K. Smith, or Kevin Gray will be excellent. They typically only work with quality sources too, even when digital. Mike Bozzi, Chris Bellman (seems to be Bernie’s protégé), Krieg Wunderlich (does the MoFi vinyl releases) are all good, too. Previous big names to look for are: Rudy Van Gelder (if you get into jazz you’ll quickly learn about him) and Roy DuNann (west coast jazz) for jazz. These guys did it all, and also engineered and mixed their recordings. Robert Ludwig (his original Led Zeppelin II cut is legendary). Also did Houses of the Holy, Back in Black, Band of Gypsys, The Nightfly, Brothers in Arms, and a ton more. However, once the loudness war started he kinda went off the deep end with it. George Peckham (lots of UK pressings of many, many things, from individual Beatle solo work to Joy Division, but various US Zeppelin stuff was also done by him). Doug Sax (did some of the Doors’ catalog, and a good amount of Pink Floyd). Steve Hoffman (of the aforementioned Steve Hoffman Forum). George Piros. Wally Traugott. Barry Diament. Dennis Drake. Lee Hulko. And tons more. The recording is obviously the most important aspect, but a good recording can still sound shitty with a poor mastering. Audiophile labels that come to mind first are Analogue Productions, Mobile Fidelity, Intervention Records, Speaker’s Corner, Impex. Anything else can be hit or miss, and it will be important to see who mastered it. It can be complicated. You know, a lotta ins, a lotta outs, a lotta what-have-yous.