The collaboration of music producer and artist has long been an effective and successful one, with the former providing oversight, technical knowledge and some portion of creative objectivity, and the latter focused on the delivery of a performance. Even after the emergence of song-writing artists such as The Beatles, producers were still regarded as specialists in their own right because they were highly trained studio technicians operating equipment far beyond the budgets of average musicians. With the increased availability of affordable technology, one person can now fill all roles, acting as creator, performer and producer. This has seen a reduction in the traditional separation of artist/creator and production roles, and led to environments where one person can be all entities. Although this can provide an efficient and convenient solution for many artists, is it always ideal? Does it provide a more effective translation of the original vision, or does the lack of objective oversight and collaborative input prevent discovery of more potent outcomes? This thesis explores the nature of decision-making processes, both creative and practical, undertaken by an artist/creator acting as the music producer of recordings of their own songs, and compares this with input from an external co-producer. A case study will be used as the primary vehicle for analysis along with direct comparison of original demos and final rendered recordings resulting from the production process.