NZanZu - B-Sides & Radio Edits - Studio Post-Production

In continuation of the professional development scheme project of mastering post-production for NZanZu’s Operationalise LP - we have been back into the studio to further develop the release material. With the completion of the LP, four additional tracks have been produced to support the release stage by providing extra material for promotion. These have taken the form of two radio edits, and two B-sides - with the radio edits consisting of shortened tracks featured on the LP, and the B-sides being additional tracks which did not make the cut for the LP.

This undertaking has brought experience in weighing the artistic & creative considerations towards repertoire development and production outputs more generally. In the context of external influence from a distributor casting doubt in the artist, this was an insightful undertaking in supporting an artist in their personal artistic development. The post-production was completed with the artist regaining confidence in their individuality, and with the newly produced material being of developmental value to us both.

The production process was informed by the ethos of Malcolm Chrisholm presented by Linden P. S. (2013), alongside these outlined recommendations.

Practical Process Recommendations:

[SKSPP24 (2017)] Mix recorded sound.

[SKSP33 (2019)] Supervise the post-production process.

[CCSMT18 (2015)] Operate analogue and digital dynamics and effects equipment for music and audio industries.

[CCSMT25 (2015)] Develop techniques for mastering and restoring audio using critical listening skills.

[SKSP37 (2019)] Oversee the delivery of productions upon completion.

[SKSPP08 (2017)] Deliver completed work to format.

[CCSMB15 (2015)] Identify development and repertoire opportunities for artists.

[SKSRACC5 (2024)] Work to a brief for radio and audio content.

[CCSMB8 (2015)] Support the identity, brand and characteristics of a record label.

Following on from the delivery of the LP masters during the PDS LP post-production project, the artist has taken his works to various labels and potential publishers with the aim of securing a release arrangement to distribute and promote the LP. Upon feedback from a potential distributor, the artist had been advised to produce some additional material to supplement a possible release through their label. Included in this was the addition of two B-Side tracks, as well as two radio edits of existing works from the LP.

Receiving this request, the artist got in contact and we discussed this along with other pointers which were put forward to him. These included a move away from the artists alternative, somewhat more head-phone music style of post-industrial electronic music - towards a more club-esque sound. In discussions I’d raised to NZanZu - who was conflicted by this advice - to consider the target audience for his music. Given this is an interpersonal topic relating to who the artist aims to reach with their music, this was a question for him to answer and resolve - with the potential listener being someone the artist values.

Following the recommendation of NOS [CCSMB8 (2015)].K and practically developed statements from Sec 2b.2 R&Cs, Sharp (2024), whilst being in the context of labels does hit this point in highlighting an understanding in - “strategies and trends relating to the genre and their market segment’s consumer profile to most effectively reach towards potential audiences.” - whilst this is less interpersonal from an artist’s perspective, the consideration of the market segment’s consumer profile of potential audience proved useful. Between : the listener profile derived from the market segment of club music & the listener profile derived from the market segment of alternative electronic music, when considered in this way - the artist expressed he had a clearer grasp of their own music’s direction - as they felt that they could better identify their target audience in this context.

With this established, the artist felt he had a better idea of track choice for both B-Sides & Radio Edits - and we have begun this post-production stage of release material production for the purpose of supplementary promotional aims. Following is the details of each -

B-Sides :
11 - Dumbass / 12 - Manhole

Radio Edits :
13 A Friend (Ft. Roukaya B) / 14 Yesterday & Tomorrow

Going into the mastering of the B-Sides, we aimed for a similar sound to accompany the LP, being that previously outlined : PDS Appendix Components, Sharp (2024) - “the overall consideration going forward was to achieve an enhancing fuller midrange and crisper top-end sound which falls closer to the timbral qualities of a more vintage / large FM sound.“ - This was then to be emphasised in track 11 with additional subtle expansion, as a potential single release with an extra pop to it’s sonic profile. These B-Sides were completed, utilising mastering chain processing alongside Dolby-A encoding processes explored in the LP post-production. Being delivered to the artist to their excited satisfaction!

With regard to the radio edits, these required more post-production than the B-Sides, in need of both audio editing and remixing. For this, we have arranged two mixing sessions - utilising an Audient ASP 4816 suite. Going into the mix session for track 13, the artist brought along the stems used for the LP mix - and I began setup of the session. Using Pro-Tools and the 16 Channel desk, we were limited in outputs between channel count and stem tracks - this was resolved through in-the-box grouping and desk-submixing.

The individual channels for these groups were then balanced within the DAW, and the submixes on the desk were then mixed. Editing on some sections was first done, where the artist felt the need to bring in the track to the backing vocals quicker - we opted to cut a break section within the section quarter of the LP version, as well as then the ending section where the track really builds - to ensure the quicker radio edit was distinct from the LP version, with the aim being for potential audiences of the radio edit to then catch quick interest and go listen to the full arrangement LP version. The aim for the radio edits was to also bring out “ear-candy” sounds, mostly synths and electronic embellishments and the beat & percussion throughout, lightening the bass somewhat and attenuating the vocals further.

Following from the first radio edit session, we arranged for the following week another mixing session for the second. Similar setup and process was carried out, bringing stems onto the desk in subgroups routed via DAW channel outputs - cutting an outro section to reduce duration and then mixed and reviewed alongside the artist. The process of reviewing alongside the artist during these production sessions has been a beneficial way of finding the correct degree of variation and direction for the track alongside it’s LP version - with communication flowing easily and “feeling out” the overall sonics of the final radio mixes being an enjoyable collaborative exercise. Working to the artists / clients vision in this way opens up a creative approach which is focused in a more fluent way - with the artist present active conversation effectively steers mix production direction, better as opposed to any other forms of communicating ideas and views on a mixing project from my own primary experience.

Comparatively however, going into the mastering stage of these two radio edits - there is the point worth noting that in some post-production contexts there is a benefit to working singularly. Such as in the case of mastering where close attention needs to be paid to subtle details in the audio, here from an engineer's perspective a solo session for the final lift and balance to the track is beneficial for concentration.

When utilising calibrated monitoring equipment in a mastering context, from experience there is the need to pay especially close attention to where the audio “sits” relative to the monitoring drivers - this is a crucial and tightly narrow margin, which without careful placement can result in unsatisfactory results. I.e. a quiet master - where audio is perceptively too “distant” in the drivers at the calibrated level, or a crushed master - where audio level surpasses the drivers capability of accurate signal reproduction. Sometimes either of these results are opted for in a more so manner than other circumstances - this typically being a result of either the request for a more dynamic or compressed master from the mix, or through creative input into the final track sonics on reception and feedback of a master test pressing.

Upon completion of this project, it is apparent that the developmental approach and coordination between myself and the artist has been mutually beneficial. With a more extensive repertoire for the release, culminating in the full LP previously produced, supported by supplementary radio edits & b-side tracks intended for additional promotional material, alongside a serial strategy for single releases on the run up to the LP release. In conversation with the artist on the feedback, it is noted that this approach should extrapolate out the release time for the LP - going from what would be a somewhat singular momentary event, into material which can sustain a promotional campaign over a much longer duration - resulting in more build-up and anticipation for potential audiences, aimed at bringing in more interest around the releases as a whole.

Further consensus on the tracks is that they present a more illustrative and developed sound for the artist - creatively coming into its own as a body of work which the artist feels professionally presents their expression to a high-quality in the sonic vision ideated at the project’s commencement.