Not disputing that the CM producer has his/her hands all over the
recording, but I'm thinking more of the philosophy of the job.

Just to spar a little bit (or perhaps to come back after a double with a
high and tight?), isn't it the case that most often CM producers are trying
mainly to get the sound to be "excellent," whereas pop/rock producers may
have a much bigger hand in things like instrumentation, tempi, and what
sound they think will sell?

I have a Wynton Marsalis disk in which the liner notes go through this
whole discussion of how they got WM to play gajillions of individual
trumpet parts and what a partnership this was between conductor, producer,
and soloist...but that seems rather the exception...not the norm.  While
pop/rock liner notes are usually not so extensive, it's often not hard to
pick up some of the same info from the popular press about how the producer
influenced the style or manner of recording.

I'll admit, however, to speaking out of surmisal without any real knowledge
whatsoever.  (a rare admission, perhaps, for this list!)

William S. Jenks
Department of Chemistry
Iowa State University