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

Kc Da Beatmonster

Interview

On the short list in a city long on talent is one of ATL’s more talented producers who goes by the name Kc Da Beatmonster. Judging by the company he’s kept over the last 10 years, you could say Kc is sporting a monster resume of talent that spans well beyond the rap and hip hop community. He’s worked with The Migos. He did K Camp’s first record, which was “All Night.” He produced Jose Guapo’s first record, Played by a Bitch, which is the one everyone remembers. He’s got tracks with TI, 8-ball. He did a lot of work with Gucci man. Kc even has a track with the Grammy winning rock band, Green Day. Not bad for a man all of 27 years old and still forging full steam ahead.

Tell us a little bit about how you got here?

I came to start producing music at the age of 15. Coming up I started out in FL and basically migrated back to ATL from there. At the age of 15, I ended up doing a record for a group I started called The Rich Kidz. The track was called, “My Partna Dem”, which got me on the radio as a number one record. I had two number one records as a matter of fact with Rich Kidz.

"I started with nothing as a producer growing up in the game. I started on my mom's computer with some basic generic computer speakers."

  

How do you use the studio as your instrument?

I use everything. I'm coming here. I just basically play around and have fun with it you just do your thing. You come in here, you don't take it serious. You come in here and you play like this is you're playing ground this is what you do if you wanted to be serious and in coming here you're going to get a serious vibe but you want to catch a hit, have fun. That's the most important thing if you've got people in the studio with you make sure they’re vibing with you. Y’all be in here jumping around? Hey, listen to this for me. How does this sound you know what I’m saying. You got something you feel like could be in there.

"Take your time. This is your playground. This is your work. And you got to have fun doing it."

 

How important is the vocal to the track? 

It’s very important. Because if you have a distorted vocal how are you going to do anything? Like that destroys the whole track right there. If your vocals are distorted? Ain’t no mix. You've got to make sure that the vocals sound level, sound good and crisp. So when they go take it to be mixed and mastered it’s gone. You don't want to have to double back or get signed to a record label and they tell you Oh man we've got to do this whole record again. Because the vocals are distorted. It wasn’t recorded right. So that's the key thing. Vocals is just as important as the beat. Make sure that mix is slamming. That's the most important thing because you can't go nowhere without them. Trust me I've had that problem so many times.

 

So how has the Eyeball changed your production workflow?

"It's amazing! You can go anywhere. You could take into a bathroom. You could be in an airplane. You could be in a car. You can take this thing anywhere and record."

That's the cool thing about this product. It's amazing. It's not just a regular product that’s being put out there just to make money. It’s to improve your sound. It just sounds true. This is your work and it makes your work sound good wherever you go. You could take this thing wherever you want to take it to and not have a problem recording. It's my mobile vocal booth. You might run into a rapper that you might want to do a song where you say hey I got this right now I'll just set up right here. It’s on. We got a portable recording studio here with the Eyeball.

 

What's one secret that you'd be willing to share about how you put music together that would benefit other artists and producers?

"Listen to an orchestra. Listen to music that you don't normally listen to."

And like for movie soundtracks and stuff with a lot of instruments and you listen very carefully to how they play their instruments. If you can listen to an orchestra and be able to mimic how they played a string. Every little detail in every sound that they make inside that instrumental or whatever you're watching or whatever you’re listening to. If you are able to jot that down in your brain and then mimic it musically, you're going to go a long way.

 

What advice would you give to young producers just coming up who want to get to the place you are?

I advise producers to reach out to different genres of music. Don't just stay on the hip hop, R&B, trap. Go to raves and listen to EDM. Listen to Coldplay. You can’t get stuck in a box. You have to venture out. You have to reach out and try different stuff. You can’t just be stuck in the box. You got to be a people person to get somewhere in the music business. You cannot be one of those people that comes around a hang and be quiet.

You have to be that person that when you’re in the company of other artists and industry folks, be like ‘Yo I got this bangin’ track right here if you want to hear it. And you bop your head while you’re playing it and create a vibe. Maybe get that artist to start feeling it. Now maybe they want to flip it around. And be like. ‘Oh yeah. Come on. Pull up that track. Here’s how I would flip that.’ Now you just got your placement. Can’t be no wallflower in this business that's for sure. You have to be a lion.

"I’m just here to tell you you can do whatever you want to do. Anything that you want to do you can accomplish. You can work with anybody that you want to work with. Can't nobody tell you can't do that."

Focus on you and what you want to do and learn. The biggest key to the game is learn. Learn what you’re using. If you're going to use a product learn it in and out. Take your time. Don't be stubborn. Somebody tell you some advice. Listen to it. Don't say ‘no, I know how to do this’ because you don't. Apparently, that person knows more than you do. This is my game to young producers that are coming up in the game. Listen. That's all you've got to do.

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