Patrick Mccarthy Email & Phone Number

Los Angeles, Ca, Us

Los Angeles, California, United States

In my role, I oversee a comprehensive digital presence across multiple platforms, developing and executing social media campaigns, managing SEO and Google Adwords, creating engaging content, and leading website development initiatives. I aim to align digital strategies with company goals, optimize online visibility, and drive audience engagement.

Los Angeles, California, United States

A record label focused on archival releases as well as music from contemporary artists.

Los Angeles, Ca

As Lead Project Manager, I managed releases, reissues and all custom projects for Light In The Attic Records (and imprints Future Days Recordings, Cinewax and Modern Classics Recordings). Day-to-day, I shepherded projects from the research stage to final product release, including everything from digging around in dusty garages for tapes and photos to flying to China to press check and oversee the Grammy-nominated Lee Hazlewood box set. I managed and worked directly with art directors on packaging and art restoration, mastering engineers on tape transfers, restoration and production masters, lacquering engineers, pressing plants (both vinyl and print), oversaw all test pressing review/approvals and general QC of all releases. As Reissue Producer, I worked directly with estates and artists to expertly craft reissues that honored their work and legacy. In this capacity I produced reissues for Willie Nelson, Lee Hazlewood, Annette Peacock, This Heat, Camberwell Now, the Big Boys, Gigi Masin, Charles Hayward, Goldberg, G.I. Gurdjieff / Thomas de Hartmann, "Heartworn Highways" Original Soundtrack, Gimmer Nicholson, Lizzy Mercier Descloux, et al.I Co-Produced and Co-Compiled the acclaimed anthologies "Country Funk Volume 1," "Country Funk Volume 2," "Even A Tree Can Shed Tears: Japanese Folk & Rock 1969 - 1973," "Sing It High, Sing It Low: Tumbleweed Records 1971 - 1973," and "Pacific Breeze 2: Japanese City Pop, AOR & Boogie 1972-1986."I Co-Produced and Project Managed the 2015 Grammy-nominated box set (Best Historical Reissue), "There's A Dream I've Been Saving: Lee Hazlewood Industries: 1966 - 1971."I was recently featured in the book "Listening To The Wind" (Omnibus Press), appeared as a guest on 89.3 KPCC's AirTalk speaking about the vinyl resurgence (linked below), CBC's Q speaking about the "I Am The Center" anthology and the renewed interest in New Age music (also linked below), as well as an official panelist at SXSW and Making Vinyl conferences.

Los Angeles, California, United States

In 2015, I co-created and branded the popular Light In The Attic Podcast, delivered periodically with 100,000+ downloads. In my role, I successfully pitched stories that directly supported releases as well as those that existed in our general orbit. These episodes featured interviews with such icons as Willie Nelson, Flea, Daniel Lanois, Jarvis Cocker, Spooner Oldham, Haruomi Hosono, Mojo Magazine, and many more. From the technical side, I booked and recorded in-studio and remote/call-in interviews, cut tape, restored audio with a suite of audio repair software (iZotope RX7), sound designed and mixed each episode in Pro Tools. The Light In The Attic Podcast logo was created by artist Jess Rotter. https://www.jessrotter.com/

Los Angeles, Ca

Daily blogger for LightInTheAttic.net, including weekly "Record Store of the Week" feature as well as weekly distributed record reviews. Launched LITA's Instagram, Twitter and YouTube accounts. Managed social media campaigns, including play-listing, release announcements, giveaways, and parties. Created weekly giveaway "Free Basin' Fridays" and popular "What's Inside?" YouTube unboxing/product reveal series.

Brooklyn, New York, United States

"Big Star: Nothing Can Hurt Me" is a feature-length documentary film about the dismal commercial failure, subsequent massive critical acclaim, and enduring legacy of pop music's greatest cult phenomenon, Big Star. Released by Magnolia Pictures in 2013.Co-created with Danielle McCarthy, and later completed with co-directors Drew DeNicola and Olivia Mori. 92% - Rotten Tomatoes"For anyone already curious, THE FILM DELIVERS THE GOODS." – Stephanie Zacharek, Village Voice"A deserved tribute that puts us inside the music, and the head space, of a great, lost band. A well-sourced account of a perfect, broken dream." – Nicholas Rapold, NY Times"The filmmakers find the perfect tone for the band’s story, and Nothing Can Hurt Me is as warm and melancholy as a setting sun... an overdue but fitting epitaph" – Lindsay Zoladz, Pitchfork“The film is almost as perfect as the music. I give it my highest recommendation.” – Whitney Matheson, USA Today“A fine documentary on the classic-rock era's greatest cult band.” – Will Hermes, Rolling Stone“A heartfelt tribute to the criminally overlooked band.” – Chris Nashawaty, Entertainment WeeklyOFFICIAL SELECTION:2012 SXSW Film Festival 2012 BFI London Film Festival 2012 International Documentary Film Festival Amsterdam 2012 DOC NYC 2012 Indie Memphis: Winner – Best Documentary Feature 2013 Full Frame Film Festival – Closing Night Film2013 Seattle International Film Festival 2013 Glasgow Film Festival – Closing Night Film 2013 Canadian Music Week Festival – Winner: Best Film

New York, Ny

While working as a professional recording/mixing engineer, I worked nights as a Front of House mix engineer at The Bowery Electric. Responsibilities included setting up and breaking down the PA, working with bands to load-in/soundcheck, stage managing, assisting DJs with the in-house playback systems, and operating the light board during shows.

Brooklyn, Ny

For five years, I was very lucky to have been part of the family at the Seaside Lounge. I started as an intern while in college and quickly learned the ropes, including booking and coordinating sessions, invoicing/receiving payments, and the many facets of running a small business. Within the year I was brought on as an assistant engineer and soon after a staff engineer. I learned all about studio maintenance, fixing and building all audio cables and harnesses, recording/mixing in both analog and digital worlds, tape machine operation/maintenance, and best practices to help clients realize musical ideas. Clients included The New Pornographers, AC Newman, Rick Moody, David Grubbs, Tiny Masters of Today, John Wesley Harding, I’m In You, Psychic Ills, and many more.

Brooklyn, New York, United States

Assisted engineer Tim Hatfield and producer Eric “Roscoe” Ambel in their private studio. As an assistant, I placed mics for sessions, tape op'd, organized and cleaned the studio, assisted in mix sessions and created recall sheets.

New York, New York, United States

As the Assistant Technical Director, I engineered and recorded audio for live performances, including John Snyder's Artist House Series featuring Cecil Taylor, Clark Terry, Barry Harris, Hank Jones, and others. Additionally, I recorded sound for in-house documentaries supporting exhibitions at the museum. I was also responsible for all of the data managed, backing up and archiving all files and archived all media (audio, video, graphics) using both Mac and PC platforms.