Informations pratiques sur cette ressource

Description de la ressource pédagogique

Description (résumé)

Amandine Pras introduces AFRINUM and the West African Audio Network partnerships. Paul Thompson characterizes three broad forms of learning methods in audio engineering and music production, namely formal, non-formal, and informal. Maël Peneau highlights how in Dakar, the only purpose of owning a mixing board is to give evidence of professionalism to clients, although it is almost never used for mixing. For instance, Senegalese beatmakers use their digital skills to build Kontakt instruments based on Yamaha DX7 presets that emulate traditional Senegambian percussion instruments in the local genre Mbalax. Leonard Menon explains how Malian arrangers challenge the production sequence of ?recording ? editing ? mixing ? mastering? as they adopt a fluid workflow of adding, removing, and editing layers of vocals and instruments in Cubase until they start mastering. James Clemens-Seely shares his observations of the learning process of Malian audio engineer Issa Traoré (alias Ken Lagare) during his six-month residency in the Audio Recording Engineer Practicum at the Banff Centre (Canada). Lagare strengthened his mixing and mastering skills, especially in regard to the use of EQs and compressors, and has begun to experience the importance of studio acoustics in creating recordings.

"Domaine(s)" et indice(s) Dewey

• Analyse et histoire de la musique en relation avec les groupes ethniques, nationaux, raciaux particuliers, Ethnomusicologie (780.89)