In Mali, the introduction of 3G alongside growing access to digital audio technologies throughout the 2010s has led a sharp increase in the number of recording studios. Using an ethnography of Bamako studios, we establish a theoretical framework and a methodology to remap music production studies beyond the limits of a Northerncentric narrative. We discuss the notions of high, low and alt tech, and lofi and hifi within the 2010s’ recording studio literature. Drawing upon the description of a tradi-trap production, this paper contrasts local discourses and uses of globalized technologies to highlight the constraints and capabilities of studio practitioners.

在马里，2010 年代 3G 的引入以及数字音频技术的普及导致录音室数量急剧增加。利用巴马科工作室的民族志，我们建立了一个理论框架和方法来重新映射音乐制作研究，超越北方中心叙事的限制。我们讨论 2010 年代录音室文献中的高科技、低科技和另类技术以及低保真和高保真概念。本文借鉴传统陷阱制作的描述，对比了当地的话语和全球化技术的使用，以强调工作室从业者的限制和能力。