This article, which is intended as a starting point for debate rather than a definitive statement, proposes an outline structure for a musicology of record production. While such a musicology cannot exist as an entity separate from other aspects of musical analysis, it is hoped that a coherent set of tools for analysing the production of recorded music will prove useful. The main discussion is divided into six sections, under the following headings: the development of technology; staging; ergonomics and embodiment; training and practice; the negotiation between performance practice and recording practice; and consumer influence. During the course of the article I examine the scope of existing work in this field and, in some instances, make suggestions for future investigation.