關於 how to become music producer ，我們在網路上蒐集到這些相關的討論、資訊與評價

Reasons why I love being a songwriter:

Music truly is a universal language.

When I released 'Siboh Kitak Nangis' (meaning Don't You Cry) on my 2nd album 'Ghostbird', I was faced with many doubtful questions from Malaysians (I don't need to tell you which part Msia these Q's came from), who asked me things like, "Wahhh~ berani eh you letak lagu Sarawak dalam album you?" and "So is this a way to prove you're more Malaysian?" (Whut, bro?) I thought to myself, this was just a song I wrote about comforting yourself, or others, and telling them that every hardship shall pass, chin up, don't worry, I'll be by your side if you need me, come rain, thunder or lightning, I will be with you... BUT it just so happens to be in my native dialect of Bahasa Sarawak.

I remember hearing praises about it from my record label and particularly my producer Mario Caldato (Mario C) and how excited they were to be hearing this beautiful language, and their faith in the song made my heart melt.

When the song finally released, and hearing those things from my fellow countrymen shocked me to the core.

Of course, not everyone thought like that... Members of the media were very kind and I have been told that the song went on to inspire many more artistes and Sarawakian artistes to embrace our culture and language... Which to me, meant that that was my job as a songwriter done. 'Siboh Kitak Nangis' then went on to be become the first Bahasa Sarawak song on an international album, on rotation on NPR radio stations in the US and was also featured in Korean dramas, and also just like in this video, appreciated by people of different parts of the world who do not even remotely know what it means, just by the sentiments of the song that they're hearing.

This is Gina, New York born and raised to parents of Haiti Island. Singing in the Sarawakian language flawlessly.

My darlings, in music, there is no limit. No one makes the rules. It depends on what you want to achieve and express. Sing the language of your hearts, your souls, and mind not about "making it the market", truth is, someone, somewhere, needs to hear it, and feel like they are loved and not alone.❤️ On that note: OOHHHAAAAA🌺!

Hello. I am KIVΛ.

Over the past 3 years, I have been working under Rayark Inc. on the rhythm game title 《Cytus II》 as Sound Director, as well as music and sound effects production, together with story design and a portion of motion design. In June last year, I found myself going into different paths with the company, so I left the position as regular staff member, but continued to work with the remainder of the project until version 3.0, where the story finally reaches the finale, so did my journey and objectives for this game development journey. Having this opportunity, I would like to share some of my thoughts regarding this epilogue.

Since I joined this project, the focus of design has always been the joint experience of story and music. With the story reaching the end, I would like to potrait the overall ambient to be more film-like, which players might experience the tension of the climax through music. Having such thoughts, I was determined to unify the music genre in 3.0 as film-score like, blending in motifs from song lineup of each and every game character. I am totally aware that level design for symphonic music is difficult, especially in emphasizing the groove like how it was usually done in electronic music. I want to thank all level designers for their hard work in overcoming such challenges.

The epic vibe from combining contemporary electronic and symphonic music is something that I always wanted to attempt for, and in my previous works there has been appearance of such sound elements, but by using only virtual instruments it might just not reaching my expected result. I want to thank Rayark for being so generous to provide all the support, making the symphonic recording come true.

Having such opportunity, I went for two of my friends who I have never work together with: Shao-ting Sun, a recording engineer in Carnegie NYC; Chamber Chu, a symphonic music producer. They have been my game peers for quite a while, but I have always been admiring their aesthetics and abilities in sound design, and these two grandmasters have definitely outperformed themselves. I spent a whole week staying with Chamber for the arrangement of symphonic parts, which was a very precious experience in music creation. The recording team that Sun brought together, as well as the professional performers that participated in the recording session, is by no doubt astonishing. Recalling that we rushed for the full score of all the pieces until the very morning of the recording session (our sincere apologies), but it took no more than 5 takes for all sections to get the desired outcome. Absolutely fascinataing.

It is also worth mentioning that the entire team of roughly 60 were all Taiwanese. I guess we might have made another achievement in the history of Taiwanese game music production. I am so honoured to have the opportunity in leading such a groundbreaking project, together with all the grandmasters.

3 years isn't that long, but it is more than one out of ten for my life. There were other creation experience that were fun but painful, and many achievements were unlocked when I worked in this company. Standing on the stage in front of the screaming crowd, working with Japanese voice actors that I admired for so long, having so many supporters of my work, all these could never be possible without Rayark. Even I left the company going for different paths, I still wish for the very best of this company to become a even better one.

It is a pity that I can no longer work together with the fantastic members of Team Cytus. Perhaps they are fed up with my twisted personality and being stubborn for what I wanted to create. I would like to thank you all for your understanding and forgiveness. Each of you have the profession and passion, and I found myself so tiny and unintellegent working with all of you, and I have learned a lot over the years. I wish all of you could push the creative industry in Taiwan even further forward. I am returning as a mere artist, working hard on what I could. No matter how harsh life is, I am still working on it, as this is the only thing I am capable to do.

Last but not least, I would like to thank all of you players that have supported this game. Without you, this could never happen. No matter to me, to the Team and to the players, 《Cytus II》 might not be the perfect piece of game, we might have different imaginations on the enormous world settings, characters or even the game design itself. What in common was we spent 3 years to experience the creation and playing process. It is the story and music that linked us together. I believe this is the charisma of the game. I wish you are all loving this game, loving the characters, and loving the time that we created together.

There are so many more to thank, to apologize, the satisfaction and sorrows, and they are all included in this ending music. It is time for me to step down.

Thank you, and goodbye.

Blog 4

I have a second confession to make. I actually quite admire Taylor Swift. I know, I know. I know she gets a lot of hate, and a lot of people don’t necessarily see her music as “real music”, whatever that means. I know liking her music is sometimes seen as “uncool”- how dare any serious musician say they like her stuff, it’s only for silly teenage girls. But if I’m honest, fewer and fewer people treat the whole Cantopop market as “real music” as well, so perhaps we kinda do share that in common. 🤷🏻‍♀️ So who am I to diss it? I actually really admire her, and definitely count her as one of my previously unspoken inspirations. I do resonate with the way she writes... because it’s kind of the way I write.

I recently watched her NPR Tiny Desk Concert, and if you don’t know about Tiny Desk, perhaps you could check it out and be inspired - it’s a YouTube channel where artists and musicians perform in a tiny cramped space behind a work desk - and it’s brilliant. I love the rawness of it, the realness of it, and the closeness of it. It takes what happens on a big stage into your average office work space. It was a surprise to see Taylor Swift there, because it usually features up-and-coming artists or jazz musicians, performances of which I enjoy thoroughly also. But this was a surprising one, and so I clicked. I admit I even got a tad bit emotional after watching it, not because of anything else but the fact that I can resonated with so so much the stuff she said about songwriting and her creative process, and I enjoyed how she picked the songs and played completely alone, stripped down and raw, in the songs’ demo versions. In between songs, she shared thoughts and her creative process so openly and vulnerably, and how she wrote her songs as self-therapy, usually with just one instrument, in her pajamas, in the middle of the night. In that format, she somehow still managed to find a dominant spot in the mainstream and manufactured pop world - and that was so reassuring for me because that’s how I have written a TON of my songs.

Very, very early on in my career, before R&K, one producer once said to me, “you’re not the best singer, you’re not really a great guitar player, piano you’re a little better but still not that great... but with everything put together, mayyyybe you would be able to become a little bit of something.”

And for me, to see someone like Taylor Swift do so well in this world, someone who doesn’t belt like Beyoncé, doesn’t shred on the guitar like John Mayer, doesn’t play keys like Alicia Keys, doesn’t riff like Ariana Grande... for someone like Taylor Swift to be the mega success that she is... is undeniably impressive, and downright inspiring to me. She doesn’t use fancy techy gear, she doesn’t use fancy chords, she doesn’t do fancy grooves or sing fancy riffs. She just writes songs like she writes her diary - but she’s also smart and catchy and commercial about it. She is an amazing storyteller of her own life, and without necessarily being the best at singing or any instrument, she was the best at telling her unique stories. With everything put together, and a strong belief in herself - she has used this creativity of hers to garner millions and millions of fans all around the world.

Sometimes, the mastery of a craft looks different for different people. Sometimes it’s not about technical perfection. Sometimes, those who are imperfect, broken, hurt, but headstrong, open, authentic, courageous, and unapologetic are more interesting. It’s like found their own way to harness their scars or life experiences, and turn them into doors leading to their eventual evolution through creativity. They tell stories instead of showing off. It’s reassuring and also comforting that this still sells, with this much competition in the market, and resonates with me so much.

I then watched the TED talk by Elizabeth Gilbert, author of Eat Pray Love after the tiny desk because Taylor said she watched it with tears when inspiration didn’t come. And I just teared myself also. Touched tears. Tears of inspiration. Tears of joy in finding people that seem to think like me, who share the weight of my worries, but are successful and made an impact in the world. I found myself nodding viciously in agreement idiotically in my own living room, when they share the anxieties, insecurities and fears that typically consume the mind of creatives. I am definitely an overthinker so I’m a victim of all that was mentioned. Ok, you’ll have to watch it to understand. But it felt like I was meant to listen to this. It’s based on the daunting feeling of failure when inspiration doesn’t come, or feeling like your best work is “untoppable” and therefore your best days are behind you. But inspiration isn’t from within you. Inspiration is this mysterious force in the universe, and you just have to catch it when it comes, and even when it doesn’t, just keep showing up for your part of the job anyway until it does. And when time comes, let inspiration, this outer force in the universe take over. You don’t have to be sad for writing a bad song, or too proud for writing a good one. Don’t beat yourself up, and just keep doing what you do. Leave that fear behind you. Absolutely life changing.

And with this, I’m gonna go turn on my water tap of inspiration and try to work on some songwriting now. Thanks for checking in 🙂

Till next time.
Choose love, and bring light.

xRobynn

#robynnblogs
Do share what you think on what my next confession should be. 🙂

California is leading the United States into the solar panel revolution. And spoilers: it’s actually quite boring. Or at least, it is to the OG environmentalists.

This episode, Nature N8 walks us through the process of installing solar panels on his parents’ roof, inside Californian suburbs. He explains the financial magic of solar, compares it to industrial scale installments, and finds hope in how the once-radical technology has now become ordinary.

Ghost Island Media is proud to be a Media Partner of RESHAPE SUMMIT!
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Support “Waste Not Why Not” on Patreon. Follow us on Twitter @wastenotpod. Send questions to ask@wastenotwhynot.com. Subscribe to “Waste Not a Newsletter" on Substack.
EPISODE CREDIT | Nate Maynard (@N8May), host | Yu-Chen Lai (@aGuavaEmoji), producer | Emily Y. Wu (@emilyywu), executive producer | Music licensing MB013APQUSHRPW0 | a Ghost Island Media production (@ghostislandme) | www.ghostisland.media

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SHOW CREDIT

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Cartoon x nublu x Gameboy Tetris - Biology [NCS Release] (Official Music Video)


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#歡迎追蹤並且分享我們的音樂 #約書亞樂團 #想不到

詞 / 曲 Writting：周巽光 Ewen Chow、璽恩 SiEnVanessa、趙治德 Samuel Chao、蔡依純 Anna Cai
中譯英：宋怡萌 Joy Sung
主唱 / 璽恩 SiEnVanessa

數位平台連結▶https://rmcbook.lnk.to/u5u0eI5o
實體專輯、實體樂譜▶https://bit.ly/3iHVHGc
電子樂譜▶https://reurl.cc/e8xoxL

﹥Verse1
看吧 祢的良善我想不到 祢真好
I can’t comprehend Your kindness to me, You’re so good
當我以為我知道
I thought I already knew
祢卻為我犧牲祢的至寶 想不到
Yet You sacrificed Your treasure for me, I can’t speak

﹥Verse2
奇妙 祢的拯救出乎意料 忘不了
Amazed, overwhelmed by Your saving grace, can’t forget
超越我所求所想
More than I could ask or think
還沒開口祢就已經回應 我禱告
Before I spoke You were there to respond to my prayer

﹥PreChorus
我再不開口 連石頭都要讚美跳躍
If I hold my peace, even rocks will start dancing their praise
我大聲宣告 讓世界知道祢有多好
Loudly I declare so the whole world will know You are good

﹥Chorus1
想不到萬王之王 謙卑自己
To think, the King of Kings would humble himself
騎著驢進入祢的城裡唱和撒那
Entered the city You rode on a donkey, Sing Hosanna
Woah 和撒那 Woah
Hosanna
全地都揚聲讚美 迎接君王
The whole earth lifting up praise, welcome King
萬物都述說祢的榮耀大聲呼喊
Creation speaks of Your glory they shout the aloud

Whoa Whoa

﹥Tag
想不到 想不到 想不到
It’s beyond anything I could dream,
想不到 想不到 想不到 想不到
far beyond anything I could think or imagine
祢真好
You are good
想不到 想不到 想不到
It’s beyond anything I could dream,
想不到 想不到 想不到 想不到
far beyond anything I could think or imagine
多奇妙
I’m amazed

﹥Chorus2
想不到神獨生子 降生馬槽
How could the Son of God born in a manger
成為人卻行神蹟奇事 何等奇妙
Become the Son of Man working miracles
Whoa Whoa
為了我付上代價祢釘十架
You paid the price on the cross so to save me
三天後從墳墓中復活 我想不到
The third day raising to life, I’m amazed by You
Whoa Whoa
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製作人 Producer / 簡道生 Dawson Chien
配唱製作人 Vocal Producer / 曹之懿 Isabelle Tsao
編曲Arrangement / 簡道生 Dawson Chien
Keyboard & Synths / 簡道生 Dawson Chien
Electric Guitar / 陳逸宏 Ian Chen
Bass / 簡道生 Dawson Chien
Drum / 蔣孟平 Benjamin Chiang
和聲編寫 / 璽恩 SiEnVanessa
和聲 / 璽恩 SiEnVanessa
錄音 Recording Engineer / 劉員杰 Francis Law、孫立衡 Peter Sun(Drum)
剪輯 Editing Engineer / 簡道生 Dawson Chien、孫立衡 Peter Sun
混音 Mixing Engineer / 孫立衡 Peter Sun
錄音室 Studio / 異象工場、台北靈糧堂
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