Ng Jun Yang, Diploma in Music Production and Engineering '12
Yang is a versatile professional in the realm of audio engineering, specializing in recording, mixing, mastering, and live sound. Based in New York since 2016, his work has garnered recognition in prominent publications such as The New York Times, All About Jazz, Rolling Stones India, Alt Press, Flood Magazine, and others.
His impressive portfolio includes collaborations with renowned artists, including Grammy award-winning trumpeter Shunzo Ohno, Kinah Azmeh, and international touring act Sammy Rae and Friends, among others. Additionally, Yang has contributed his expertise to established bands and artists such as Marcelo Maccagnan, Simona Smirnova, MX Lonely, Joel Young, John Timpanelli, Jacob Khalil, and many more.
Yang’s professional journey has seen him serve as a staff engineer at esteemed studios such as Virtue and Vice Studios and Rift Studios. Furthermore, he has lent his engineering skills to support Jerry Barnes of Chic fame.
In the realm of live sound engineering, Yang has excelled as a front-of-house (FOH), monitors, and broadcast engineer for numerous music festivals, including the Montclair Jazz Festival, AAPI Jazz Festival, and Queen City of The Sound International Jazz Festival. He has had the privilege of working with esteemed musicians such as John Clayton, Herlin Riley, Donald Harrison, Davell Crawford, Cigarettes After Sex, and many others.
Not confined to the studio, Yang’s musical talents extend to the stage as a drummer for MX Lonely, with whom he has toured extensively across the United States, performing in diverse locales such as New York, Boston, Vermont, Washington D.C., North and South Carolina, Florida, and beyond.
What motivated you to join SOMA, and have you achieved your goals?
I joined SOMA to gain a deeper understanding of the intricacies of a recording studio. My passion for music production and engineering had always been strong, but real-world studio experience can be hard to come by. At SOMA, I had the opportunity to work hands-on and learn from their experienced lecturers about the role of a studio engineer and producer.
One of my primary goals during my time at SOMA was to absorb all the knowledge and skills necessary at a tertiary level. This included mastering signal flow, microphone techniques, DAW proficiency, and many other essential audio engineering competencies.
During your studies at SOMA, what challenges did you face, and how did you overcome them?
Time management was definitely a challenge. I was in my third year of my polytechnic course while also taking a part-time diploma at SOMA. Juggling these two courses was quite demanding, but in hindsight, it pales in comparison to the stress of the working world, especially in a fast-paced, cutthroat environment like New York’s music industry.
I’ve become much better at handling pressure now. Maintaining a calm, level head, staying focused, and having a positive attitude are crucial for getting through stressful periods. Tackling and completing small tasks one at a time helped me manage and complete larger tasks effectively.
How has the course prepared you for your career today?
The experience of being in a studio and acquiring the skill sets required to be an audio engineer/producer were invaluable. It provided me with a solid foundation for my career. The knowledge, lessons, and practices shared by SOMA’s professors are highly relevant in the industry, and I have integrated some of them into my own workflow.
