MAGAZINERADIOSHOP
LOG INSUBSCRIBE
2025-03-20
Written by Marcus Thompson
We had the pleasure of catching up with Ziang Yang—an accomplished music producer, vocal producer, and audio engineer whose career spans continents, genres, and some of the biggest names in the industry. From Beijing to Los Angeles, Ziang has built a reputation for his technical expertise and creative instincts. Below, he shares his journey, his vision, and the people who helped him along the way.
The idea to start my own company came from a very personal place. As someone who began their music career in Beijing and later transitioned to the U.S. market, I quickly realized how difficult it was for Asian artists to break into Western music circles—and vice versa. Despite globalization, there’s still a cultural and logistical gap between these two music worlds.
I wanted to create something that could bridge that divide. Our company is focused on building a musical and professional link between China and the United States. The goal is to help Chinese and American artists find common ground, collaborate more fluidly, and tap into markets they may not have had access to before. Whether that’s helping Chinese artists book shows in North America or guiding American musicians through the licensing and distribution landscape in China, we want to open doors for both sides.
More than just a business, it’s about cultural exchange through music. I believe great music knows no borders, and if we can play even a small part in making that exchange easier, then we’re doing our job.
I started my career as an audio engineer and music producer in Beijing, working on small projects with local artists while studying the craft relentlessly. I always felt pulled toward the technical side of music—how sound is shaped, how emotion is captured through audio. That passion eventually led me to the U.S., where I studied at Full Sail University and later moved to Los Angeles to pursue bigger opportunities.
Today, I work as an engineer for Roc Nation, Jay Z’s label. That alone still feels surreal. I've had the chance to work with some of the most talented and visionary artists in the industry—Rihanna, Demi Lovato, Normani, Skrillex, and many others. Each project brings its own set of challenges, but that’s what makes this work exciting. It’s not just about making a song sound good—it’s about capturing the essence of a performance, elevating it, and making sure it connects with listeners on a deeper level.
One of my proudest moments was co-producing the track “过年迪斯科” (New Year Disco) for the Beijing CCTV New Year Gala. That show has one of the largest viewerships in the world, and knowing that my work reached that kind of audience was incredibly humbling. It reminded me of why I started doing this in the first place—to create something that resonates with people, regardless of language or background.
Of course, the journey hasn’t been without setbacks. Moving to a new country, building a network from scratch, navigating cultural differences—it was overwhelming at times. There were moments of doubt, financial struggles, and creative burnout. But those moments also taught me resilience, and they made every milestone that much more meaningful.
I think my strength lies in being a cultural translator as much as a technical one. I understand both the Eastern and Western ways of making music—not just sonically, but also in terms of workflow, communication, and business strategy. That allows me to serve as a kind of liaison when working with artists from different backgrounds.
Creatively, I’m always trying to find a balance between technical perfection and emotional authenticity. It’s easy to get lost in the details as an engineer, but sometimes the most powerful takes are the ones that aren’t flawless—they just feel real. I try to create an environment in the studio where artists feel safe to be vulnerable, to experiment, and to take risks. That’s when the magic happens.
Los Angeles has become my second home, and I love how much the city has to offer. If a friend were visiting, I’d start the day in Santa Monica—grab coffee by the beach, maybe a bike ride along the coast. Then we’d head over to Hollywood or Griffith Observatory for the iconic views. In the afternoon, I’d take them to Universal Studios or Disneyland if they’re up for the full tourist experience.
But honestly, some of my favorite spots are the local restaurants and small music venues hidden around the city. LA is one of the most diverse places in the world, and the food reflects that. Korean BBQ in K-Town, Oaxacan tacos in East LA, or a late-night jazz show in Silver Lake—that’s a perfect night for me.
Absolutely. I owe a huge debt of gratitude to the team at Blackwood Studios—Jaime, Wiss, and Sam. That’s where everything started for me. They gave me my first shot, taught me the real-world skills that no classroom ever could, and believed in me when I was still trying to figure things out.
They didn’t just help me become a better producer—they helped me survive in this industry. Their mentorship was a turning point, and I carry those lessons with me in every session I do today.
Music is one of the few things that connects people on a universal level. Whether you’re in Beijing, New York, or anywhere in between, a great song can move you. I feel incredibly lucky to do what I do and to work with artists who trust me with their stories.
My hope is that through the work we’re doing—both in the studio and with our company—we can continue to break down barriers and create a more connected, collaborative music industry.