The Maker of TextyCat
I started my career in music — not at the surface, but inside its structure, where intuition and precision have to coexist, or expression collapses.
In Athens, I founded one of the country’s first mostly digital recording studios, at a time when multitrack wasn’t a metaphor but a daily working reality. I worked as a musician, producer, composer, and sound engineer on countless larger projects, learning early that creative work only stays alive when structure supports expression instead of fighting it — when it amplifies intuition rather than boxing it in.
In Athens, I founded one of the country’s first mostly digital recording studios, at a time when multitrack wasn’t a metaphor but a daily working reality. I worked as a musician, producer, composer, and sound engineer on countless larger projects, learning early that creative work only stays alive when structure supports expression instead of fighting it — when it amplifies intuition rather than boxing it in.
That way of thinking followed me far beyond the studio.
I’ve worked on award-winning soundtracks, programmed for live performances by Steve Reich, and attended composition courses at Tanglewood in Massachusetts with John Williams and Henri Dutilleux. Those experiences reinforced a simple truth: precision matters, timing matters, and systems must hold under real-world pressure — not just in theory.
Along the way, I supported young artists early in their careers — one of whom later became the composer of a winning Eurovision Song Contest entry. Craft, when taken seriously, has a way of multiplying.
Later, when I moved into medical IT — a field where ambiguity is unacceptable and responsibility is non-negotiable — that shift sharpened something I already believed: the best tools don’t draw attention to themselves. They seemingly disappear, and leave room for critical thinking, focus, and responsibility.
TextyCat emerged at the intersection of those two worlds.
In creative work, that same principle becomes even more critical: tools should protect intuition, not interrupt it. After years of working with multitrack audio, I grew increasingly frustrated by how writing tools treat text as a single, flat object. Real writing — like music — happens in layers: variants, voices, translations, alternates, timing, structure, and recurrence. When writing tools refuse to get out of the way, expression suffers — and creative freedom with it.
What began as frustration gradually turned into curiosity: could this work differently?
TextyCat introduces MultiTrack Text Writing — applying multitrack thinking to language itself. It isn’t a feature or a trend. It’s the result of decades spent working with complex, layered material, where precision is the difference between coherence and collapse.
TextyCat is built deliberately, with respect for people who care deeply about their craft — because that is the world it comes from.
I’m always curious how others approach these questions.
Anton Haselbeck
Athens, Greece
I’ve worked on award-winning soundtracks, programmed for live performances by Steve Reich, and attended composition courses at Tanglewood in Massachusetts with John Williams and Henri Dutilleux. Those experiences reinforced a simple truth: precision matters, timing matters, and systems must hold under real-world pressure — not just in theory.
Along the way, I supported young artists early in their careers — one of whom later became the composer of a winning Eurovision Song Contest entry. Craft, when taken seriously, has a way of multiplying.
Later, when I moved into medical IT — a field where ambiguity is unacceptable and responsibility is non-negotiable — that shift sharpened something I already believed: the best tools don’t draw attention to themselves. They seemingly disappear, and leave room for critical thinking, focus, and responsibility.
TextyCat emerged at the intersection of those two worlds.
In creative work, that same principle becomes even more critical: tools should protect intuition, not interrupt it. After years of working with multitrack audio, I grew increasingly frustrated by how writing tools treat text as a single, flat object. Real writing — like music — happens in layers: variants, voices, translations, alternates, timing, structure, and recurrence. When writing tools refuse to get out of the way, expression suffers — and creative freedom with it.
What began as frustration gradually turned into curiosity: could this work differently?
TextyCat introduces MultiTrack Text Writing — applying multitrack thinking to language itself. It isn’t a feature or a trend. It’s the result of decades spent working with complex, layered material, where precision is the difference between coherence and collapse.
TextyCat is built deliberately, with respect for people who care deeply about their craft — because that is the world it comes from.
I’m always curious how others approach these questions.
Anton Haselbeck
Athens, Greece
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