The paper is a systematic approach to the various factors that go into a sound recording and its reproduction and links them in a novel way withthe expressed views of professionals as regards their philosophies for performance, recording, dissemination, etc. Applying the systematicapproach to well-known and frequently touted publications as well as more obscure sources, it becomes possible to structure the desires of aproducer and performer and perform a comparison with the obtained result. Producers and tonmeisters in the classical field (such as Culshaw,Burkowitz) discussed their philosophies about the same time that the performance practice movement gathered momentum, and producers inpopular music exploited the new possibilities (such as George Martin). Recently perception psychology has been introduced while the technicalpossibilities have expanded and (hopefully) become standardised.
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