The idea behind this project emerged while I was making organ recordings for a school project. The relation between the musician, the sound technicians and the producer was an issue that called for my attention. The influence of this specific environment on the performer and the music itself, comparing it to a live performance, and the search for possible differences in musical interpretation and performance constitute the main focus of this work. It is composed of four major parts. The first part of the background reflects on the essential aspects of this subject and also offers some historical examples and quotations from important musicians and other personalities. The second part refers to the artistic part of this work. It describes the organ in Norrfjärden, where the recordings have been made, its historical background and special characteristics. The chosen repertoire was the major organ work “Nun freut euch lieben Christen g´mein”, composed by Dieterich Buxtehude. The section on this work goes from a biography of the composer, through considerations on the text and theological background of the hymn, to the musical analysis of the piece, also focusing on my own artistic choices. The third section of this thesis is the result of the investigation made, leading to a conclusion. Finally, the artistic part is composed of three different recordings of the same piece, at the same instrument, with the same performer, but with varying recording conditions. The first recording is a live concert version, the second an unedited version, where the performer plays the music only to the microphones without any audience or studio production, the third is a produced version, where the performance is generally guided by the producer, who also does the final editing. / <p>Validerat; 20110125 (lewe)</p>