Compatible Mics

AKG C214
AKG
C214
Regular Eyeball
AKG C3000
AKG
C3000
Regular Eyeball
AKG C314
AKG
C314
Regular Eyeball
AKG C414 XLII
AKG
C414 XLII
Regular Eyeball
AKG C414 XLS
AKG
C414 XLS
Regular Eyeball
AKG P120
AKG
P120
Regular Eyeball
AKG P220
AKG
P220
Regular Eyeball
AKG P420
AKG
P420
Regular Eyeball
Aston Origin
Aston
Origin
Regular Eyeball
Aston Spirit
Aston
Spirit
Regular Eyeball
Audio-Technica AT2020
Audio-Technica
AT2020
Regular Eyeball
Audio-Technica AT2020USB+
Audio-Technica
AT2020USB+
Regular Eyeball
Audio-Technica AT2020USBi
Audio-Technica
AT2020USBi
Regular Eyeball
Audio-Technica AT2035
Audio-Technica
AT2035
Regular Eyeball
Audio-Technica AT2050 (Special Instructions Shock Mount)
Audio-Technica
AT2050 (Special Instructions Shock Mount)
Regular Eyeball
Audio-Technica AT3035
Audio-Technica
AT3035
Regular Eyeball
Audio-Technica AT4033a
Audio-Technica
AT4033a
Regular Eyeball
Audio-Technica AT4040
Audio-Technica
AT4040
Regular Eyeball
Audio-Technica AT4047
Audio-Technica
AT4047
Regular Eyeball
Audio-Technica AT4047/SV
Audio-Technica
AT4047/SV
Regular Eyeball
Audio-Technica AT4050
Audio-Technica
AT4050
Regular Eyeball
Audio-Technica AT4060a
Audio-Technica
AT4060a
Regular Eyeball
Audio-Technica AT5047
Audio-Technica
AT5047
Regular Eyeball
Audio-Technica ATR2500-USB
Audio-Technica
ATR2500-USB
Regular Eyeball
Avantone BV-1
Avantone
BV-1
Fatboy Eyeball
Avantone CV-12
Avantone
CV-12
Regular Eyeball
Beyerdynamic FOX USB
Beyerdynamic
FOX USB
Regular Eyeball
Blue Bird
Blue
Bird
Regular Eyeball
Blue Raspberry
Blue
Raspberry
Regular Eyeball
Blue Spark
Blue
Spark
Regular Eyeball
Blue Yeti Mic Wired
Blue
Yeti Mic Wired
Fatboy Eyeball
Blue Yeti Pro Studio
Blue
Yeti Pro Studio
Fatboy Eyeball
Blue Yeti Pro USB
Blue
Yeti Pro USB
Fatboy Eyeball
Focusrite Scarlett Studio CM25
Focusrite
Scarlett Studio CM25
Regular Eyeball
Gauge Precision Instruments ECM-87
Gauge Precision Instruments
ECM-87
Regular Eyeball
Genesis GenesisHE
Genesis
GenesisHE
Regular Eyeball
Lauten Audio Atlantis FC-387
Lauten Audio
Atlantis FC-387
Fatboy Eyeball
Lauten Audio LA-120
Lauten Audio
LA-120
Regular Eyeball
Lauten Audio LA-220
Lauten Audio
LA-220
Regular Eyeball
Lauten Audio LA-320
Lauten Audio
LA-320
Regular Eyeball
Manley Reference Cardioid
Manley
Reference Cardioid
Regular Eyeball
Manley Reference Gold
Manley
Reference Gold
Regular Eyeball
Manley Reference Silver
Manley
Reference Silver
Regular Eyeball
MXL 2003A
MXL
2003A
Regular Eyeball
MXL 2006
MXL
2006
Regular Eyeball
MXL 3000
MXL
3000
Regular Eyeball
MXL 4000
MXL
4000
Regular Eyeball
MXL 770X
MXL
770X
Fatboy Eyeball
MXL 910
MXL
910
Regular Eyeball
MXL 990
MXL
990
Regular Eyeball
MXL 990HE
MXL
990HE
Regular Eyeball
MXL 990USB
MXL
990USB
Regular Eyeball
MXL Blizzard 990
MXL
Blizzard 990
Regular Eyeball
MXL CR89
MXL
CR89
Fatboy Eyeball
MXL Genesis
MXL
Genesis
Regular Eyeball
MXL R144
MXL
R144
Regular Eyeball
MXL R44 HE
MXL
R44 HE
Regular Eyeball
MXL Studio 24 USB
MXL
Studio 24 USB
Regular Eyeball
MXL Tempo
MXL
Tempo
Regular Eyeball
MXL USB006
MXL
USB006
Regular Eyeball
MXL V63M
MXL
V63M
Regular Eyeball
MXL V67
MXL
V67
Regular Eyeball
MXL V67G HE
MXL
V67G HE
Regular Eyeball
MXL V67i
MXL
V67i
Regular Eyeball
MXL V69 EDT
MXL
V69 EDT
Regular Eyeball
MXL V69 HE
MXL
V69 HE
Regular Eyeball
MXL V87
MXL
V87
Regular Eyeball
Neumann TLM 102
Neumann
TLM 102
Regular Eyeball
Neumann TLM 103
Neumann
TLM 103
Regular Eyeball
Neumann TLM 107
Neumann
TLM 107
Fatboy Eyeball
Neumann TLM 193
Neumann
TLM 193
Regular Eyeball
Neumann U87
Neumann
U87
Regular Eyeball
Oktava MK-105
Oktava
MK-105
Regular Eyeball
Oktava MK-220
Oktava
MK-220
Regular Eyeball
Oktava MK-319
Oktava
MK-319
Regular Eyeball
RODE K2
RODE
K2
Regular Eyeball
RODE NT USB
RODE
NT USB
Regular Eyeball
RODE NT1
RODE
NT1
Regular Eyeball
RODE NT1-A
RODE
NT1-A
Regular Eyeball
RODE NT1000
RODE
NT1000
Regular Eyeball
RODE NT2-A
RODE
NT2-A
Regular Eyeball
RODE NT2000
RODE
NT2000
Regular Eyeball
RODE NTK
RODE
NTK
Regular Eyeball
sE Electronics RNT
sE Electronics
RNT
Fatboy Eyeball
sE Electronics sE2200
sE Electronics
sE2200
Regular Eyeball
sE Electronics X1A Series
sE Electronics
X1A Series
Regular Eyeball
sE Electronics X1S Series
sE Electronics
X1S Series
Regular Eyeball
sE Electronics Z5600a II
sE Electronics
Z5600a II
Regular Eyeball
Sennheiser MK4
Sennheiser
MK4
Regular Eyeball
Sennheiser MK8
Sennheiser
MK8
Regular Eyeball
SHURE KSM 313
SHURE
KSM 313
Regular Eyeball
SHURE KSM 42
SHURE
KSM 42
Regular Eyeball
Slate Digital Slate ML1
Slate Digital
Slate ML1
Regular Eyeball
Slate Digital Slate ML1 Vintage
Slate Digital
Slate ML1 Vintage
Regular Eyeball
Slate Digital Slate Virtual Microphone System
Slate Digital
Slate Virtual Microphone System
Regular Eyeball
Sony C-100
Sony
C-100
Regular Eyeball
Sony C-800
Sony
C-800
Regular Eyeball
Townsend Labs Sphere L22
Townsend Labs
Sphere L22
Fatboy Eyeball
Wunder CM49
Wunder
CM49
Fatboy Eyeball
Wunder CM50
Wunder
CM50
Fatboy Eyeball
Wunder CM67
Wunder
CM67
Fatboy Eyeball
Wunder CM7
Wunder
CM7
Fatboy Eyeball
No Compatible Microphones Found

J Rhodes

Interview

 

When you think of the major hubs in the music industry a few obvious ones come to mind: New York, L.A. Atlanta, Nashville. The city that might not immediately roll off your tongue is Dallas.

So when Dallas native music producer, J Rhodes added a Billboard award, a Dove Music award, a Stellar award and a Grammy nomination to his resume for his production work on Lecrae’s much celebrated Anomaly record featuring the hit song, Welcome To America, you would think that Rhodes would have packed his bags for one of those music meccas and waited for the phone to ring with a whole slew of artists and labels looking to sprinkle a little of J’s magic dust on their own projects.  

But J Rhodes doesn’t roll with the pack mentality. He wants to help put Dallas, or more specifically Oak Cliff, Texas the Dallas suburb he grew up in, on the map as its own music mecca.

You could say Rhodes has been making money off his creativity for much of his life.  His earliest paid performances came from family members who used to reward J and his cousins for their improvised sketches by paying them with candy and money.

That trend continued into college where he was studying at the University of North Texas. It was there that he began to dabble with beat machines. His work immediately caught the attention of his peers and pretty soon, he was earning extra money selling his musical sketches to other aspiring artists on campus. But the artist would soon have to learn a new skill.

NECESSITY IS THE MOTHER OF MUSIC PRODUCERS

I used to be an artist when I was in college. But then my producer at the time, he left school. So it really was out of necessity that I had to learn production. And I found that as an artist, I was a lot of people's enemy. But as a producer I became a lot of people's friends.

"So I'm still the artist but the production side of it is really what kind of let me make my moves in the industry."

"So it was out of necessity but then it became my main weapon.”

That necessity drove him to eventually leave computer science behind in his senior year and pursue music full time. Rhodes honed his chops to a fine point and took on every beat battle he could find, which led him to L.A. where he crushed it at the ASCAP Beat Battle. There, his work caught the attention of Grammy winner Symbolyc One, who asked Rhodes to join his production team. Since joining with S1, Rhodes’ production resume now includes a star-studded cast of artists from the Game, Talib Kweli and Ab-Soul to Slim Thug, Rhymefest and Rhapsody.

While Rhodes can throw it down on stage he lets it all hang out in the studio. We asked J how he uses the studio to make his music magic.

"WEAPONS OF MASS PRODUCTION"

“I guess you could just do everything you want to do in the studio. It's like being a producer is more idea based and so where some people have their instruments to be their weapon, my creativity is my weapon and in the studio I have a lot of weapons at my disposal.”

So what would Rhodes reveal as one of those secret weapons?

"YOU GOT TO CAPTURE THE SPARK" 

“Usually when you get recordings back from artists they wouldn't match the beat that you made, you know. And it's a full package with music. You've got to have your beat that’s A1 and the vocals need to be A1 as well.

And so since I started using the Kaotica Eyeball it basically has taken away the necessity for my vocal booth. Sometimes creativity just sparks wherever you are and sometimes you don't want to have to go to the studio to do certain things. It may spark in a bathroom or whatnot and you just want to use that Kaotica to capture that spark. The technology has allowed us to easily carry around a portable recording studio. Basically, for me since I've had the Kaotica Eyeball, whenever creativity sparks I've been able to record maybe some vocals myself or an artist I've been working with has been able to record some vocals in the moment. So the gist is that the Kaotica Eyeball has pretty much become like a portable sound booth for me.”

We asked J how he came to know the Eyeball and how a product can change your workflow.

SAY GOODBYE TO YOUR VOCAL BOOTH?

“I was on a panel at ASCAP last year and Kaotica was a sponsor there. And then somebody just gave me this object I'm like, what is this? Is this some kind of microphone shield or a different take on a Reflexion filter? They kind of gave me a description of what it was and what it was supposed to do.

So I was initially kind of skeptical but once I brought it to my studio, man. See it really is all about workflow. There’s a lot of dope producers out there but it's the little separation points that every good item does for you. So the way that Kaotica Eyeball distinguishes me is the fact that I can record vocals quickly and not lose the quality. So at that point it's just another distinction between you and other producers. Because not only are you dope now but you're dope and you're quicker.

Like we used to have to go around the corner to set up the vocal booth. We had to set up the Ehrlich's and then another product that I used to use was the Reflexion filter. I say used to use because since the Kaotica came it just basically made the microphone shield a thing of the past. Because it's simple, it's quick and it's easy. You put the mike in it and you have studio quality vocals that quick.

And I just think that as technology grows in the future, I hate to say that the Kaotica Eyeball can replace the vocal booth but it's definitely going to give it a run for the money.”

 

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