I would say it's totally down to the artist,of course then the ability of the producer comes into play.
It's really what the artist wanys to protray and project with the music and in some cases the producer is almost like another member of the band in terms of his importance.
George Martin springs to mind.
It's also interesting to note some major artists particulary brilliant live bands have really struggled to nail their sound in the studio.
Also take someone like Dylan who probably since '66 has found the recording studio to be much more of an enemy than a friend.
I believe it is totally down to the artist the quality of the produced record-I would imagine if you are aiming at the mainstream or teen market then you would guess that their equipment would be reasonably cheap and therefore you produce with that in mind.
Likewise there are clearly "audiophile" artists who make sure their records fit that bill.
I would also imagine that some "audiophile" pleasing artists like Steely Dan say,are more of an accident because their perfectionism,musicianship and attention to detail naturally produce great sounding records but I would argue this is not because they set out to make a recording that is pleasing to audio fans.
It's also interesting to note the "artistic" input of the record producers-people like Brian Eno,Daniel Lanois and even the Mutt Lange's and Bob Rocks-sometimes the producer has saved the careers of artists or taken them to new found heights due to their input on the "sound" of a band.
However I do think it's always the artist that is the major player in terms of what they want to achieve in terms of sonics and the actual music.
It's really what the artist wanys to protray and project with the music and in some cases the producer is almost like another member of the band in terms of his importance.
George Martin springs to mind.
It's also interesting to note some major artists particulary brilliant live bands have really struggled to nail their sound in the studio.
Also take someone like Dylan who probably since '66 has found the recording studio to be much more of an enemy than a friend.
I believe it is totally down to the artist the quality of the produced record-I would imagine if you are aiming at the mainstream or teen market then you would guess that their equipment would be reasonably cheap and therefore you produce with that in mind.
Likewise there are clearly "audiophile" artists who make sure their records fit that bill.
I would also imagine that some "audiophile" pleasing artists like Steely Dan say,are more of an accident because their perfectionism,musicianship and attention to detail naturally produce great sounding records but I would argue this is not because they set out to make a recording that is pleasing to audio fans.
It's also interesting to note the "artistic" input of the record producers-people like Brian Eno,Daniel Lanois and even the Mutt Lange's and Bob Rocks-sometimes the producer has saved the careers of artists or taken them to new found heights due to their input on the "sound" of a band.
However I do think it's always the artist that is the major player in terms of what they want to achieve in terms of sonics and the actual music.