Gotta think that role defining along these lines will be a slippery frog when variations in genres, labels, projects and personalities are factored in. Two examples come to mind: Charles Gerhardt, a Julliard trained pianist turned recording engineer often took up the baton to conduct sessions that he was recording. And for the inverse, there was Leo Stokowski, the conductor turned sound engineer who directed mic placement and spent more time at the console than on the riser for many of Londons over-maligned Phase-4 recordings.
In both instances, a case can be made that the Producers were reduced to names on a jacket and that these two forceful personalities left their creative stamps as producers of those recordings.
In both instances, a case can be made that the Producers were reduced to names on a jacket and that these two forceful personalities left their creative stamps as producers of those recordings.