I’m a producer, singer-songwriter, and journeywoman engineer working with mostly rock and punk bands here in J-train Bushwick, which is funny, because my own sound is more like outlaw folk & blues. I live under the tracks and above Goodbye Blue Monday. I’ve had the chance to work on some real fulfilling music, and I hope to do more and more. In the meantime, sweating and surviving in Brooklyn. One more year on our lease to go before our rent goes sky-high. May as well enjoy it.
My old about me was way past the expiration date, so here’s a new one.
I spent the year that I worked on this blog in developing my skills as a producer and engineer. I got more and more into the idea of creating a record label, so it’s about the development of SuperMeow, too.
I created SuperMeow records and released my first album: Filthy Savage’s debut. Then I started SuperMeow.com and took off for that site.
But I couldn’t update SuperMeow the way I could this blog. I’ve worked on a lot of projects since then, but they didn’t always come under the category of record label. I have some great new toys too, but I didn’t have anywhere to write about it. And a record label blog is not very personal. What do you see on one of those but announces about releases and links to music?
So I decided to revive my old blog and just link to it on the SuperMeow page. That way I can write about all the projects I’ve been on, and everything I’ve learned and all the cartoon characters I’ve met along the way.
[This is my old about me]
Ever since I started seriously playing music four years ago, I have been recording myself. In 2006, I was using Cool Edit Pro on an old PC and the type of mic you use for video games. For me, recording myself was just a natural part of learning to play music and compose songs. I liked tracking– I did a lot of harmonizing vocals, and added a fair number of toy xylophone solos.
About the same time, I found myself with an audio engineer for a boyfriend. He basically insisted that I learn Ableton Live and gave me his old Mac laptop to run it on. His attitude was something like no girlfriend of mine will be using Cool Edit Pro. Got me a MOTU ultralite, too.
At first, I was frustrated. I knew exactly what I was doing on my old equipment! I only had to plug one thing in! I couldn’t tell the difference between an XLR and a quarter-inch, nor did I particularly want to. I just wanted to play music and make nice recordings. And why did I have to plug something into that little black MOTU box, anyway? The learning curve was steep and it slowed me down.
Then I got bit. I don’t know when it happened– probably the first time I quantized my midi track, or maybe the first time I slowed down the tempo so I could play a guitar solo I couldn’t yet do in real time. I felt a sense of control over my music that I hadn’t felt when I was simply playing.
That’s when I started realizing that I could do this for other people.