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 with the expressed views of professionals as regards their philosophies for performance, recording, dissemination, etc. Applying the systematic approach to well-known and frequently touted publications as well as more obscure sources, it becomes possible to structure the desires of a producer and performer and perform a comparison with the obtained result. Producers and Tonmeisters in the classical field (such as Culshaw, Burkowitz, Grubb) discussed their philosophies about the same time that the performance practice movement gathered momentum, and producers in popular music exploited the new possibilities (such as George Martin). Recently perception psychology has been introduced while the technical possibilities including surround have expanded and (hopefully) standardised.
https://www.aes.org/e-lib/browse.cfm?elib=11381
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