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<title><string language="fre"><![CDATA[Individual talks by Amandine Pras, Paul Thompson, Maël Peneau, Leonard Menon, and James Clemens-Seely]]></string></title>
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<string language="fre"><![CDATA[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.]]></string></description>
<keyword><string language="fre"><![CDATA[musique populaire]]></string></keyword><keyword><string language="fre"><![CDATA[anthropologie audio-visuelle]]></string></keyword><keyword><string language="fre"><![CDATA[digital humanities]]></string></keyword><keyword><string language="fre"><![CDATA[Recording studio]]></string></keyword><keyword><string language="fre"><![CDATA[Digital Audio Workstation]]></string></keyword>
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NOTE:Amandine Pras is Assistant Professor of Digital Audio Arts at the University of Lethbridge and Associate Researcher of the Centre Georg Simmel at the School for Advanced Studies in the Social Sciences (EHESS) in Paris. Her research aims to enhance diversity and inclusion in audio through international multidisciplinary partnerships and cross-cultural pedagogy. PI of a SSHRC-IDG with Adam Patrick Bell, Emmanuelle Olivier, and James Clemens-Seely about the Social aspects and practices of the 21st recording studio, and of a SSHRC-PEG with Athena Elafros about Sound engineers’ and producers’ experiences of microaggressions in the recording studio, Amandine is leading the Music and sound-making research axis of AFRINUM- Digital cultures in West Africa: Music, Youth and Mediations directed by Emmanuelle. In 2018, Amandine released A Home Away From Home, a 50-min video documentary based on improvised meetings between outstanding musicians from New York and from Kolkata that she carried out in West Bengal at the end of her postdoctoral residency at the New School for Social Research in New York. She completed her PhD thesis in Information Sciences at McGill (2012) about best practices for musical recording in the digital era. Since her graduation from the Advanced music production program (FSMS) at the Paris Conservatoire (2006) and her participation in the Audio Recording Engineer Practicum at the Banff Centre (2007-2008), Amandine has pursued a career as a freelance music producer and audio engineer. She has worked with musicians as diverse as the ARC Ensemble, Jim Black, Quatuor Bozzini, Luciane Cardassi, Daniel Carter, Nels Cline, Benoit Delbecq, Subhajyoti Guha,Mary Halvorson, Tony Malaby, the Metropolis Ensemble, Andy Milne and William Parker. 
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NOTE:Paul Thompson is a professional recording engineer who has worked in the music industry for over 15 years. He is currently a Reader at Leeds Beckett University in Leeds School of the Arts and his research is centred on record production, audio education, popular music learning practices, creativity and cultural production in popular music. His book Creativity in the Recording Studio: Alternative Takes was published in early 2019 by Palgrave MacMillan. 
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NOTE:Maël Péneau is currently working on his PhD thesis at the EHESS in Paris. His research aims at investigating the technologies and instruments used by producers and beatmakers in Dakar's hip- hop home-studios. Also a music producer and performer, he has been releasing techno and electro records for more than 20 years. &nbsp; 
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NOTE:Hailing from Edmonton, Leonard is in his third year of the Digital Audio Arts program. He has been involved in numerous music and film-related projects over the past decade and is pursuing a career in the audio engineering industry. 
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NOTE:James Clemens-Seely is the Senior Recording Engineer at Banff Centre for Arts and Creativity. Overseeing the Audio Post and Audio Recording Practicum programs in Banff, James is responsible for overseeing over 100 concert, album, film score, and live stream recordings annually. Before moving to Banff, he taught Technical Ear Training in McGill University’s prestigious Sound Recording graduate program. James’s engineering credits include albums nominated for several Junos and a Grammy award and a Canadian Screen Award for best music. From storage lockers to symphony halls, James has worked with garage bands, singer songwriters, nearly every orchestra in Canada (in addition to the New York Philharmonic and Boston Symphony Orchestras), electronic music artists, and everything in between. 
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