The Eyeball fits most vocal recording microphones and shock-mounts. Mics which are side address with long/short-bodies having a diameter of (38mm to 70mm / 1.5” to 2.75”) If your mic does not fit we'll give you a full refund within 60 days.
How the Eyeball Works
The Kaotica Eyeball is an acoustic treatment device that isolates your microphone and creates a sound channel directly to your mic. By isolating and channeling sound, the Eyeball is able to accurately capture your pure vocal tone while greatly reducing room reflections and ambient noise. Think of the Eyeball as a studio booth alternative that fits over your microphone, sets up in seconds and transforms any space into a recording studio. Includes a integrated pop-filter.
In your closet or a cave
No tears! Smoke and choke around the Eyeball freely
No Stand, No Shock Mount, No Hassel
Works with what you have: a microphone
Won’t tip over or knock you out
Works with most Vocal Microphones
Bring out the best in your mic
Don’t throw your back out! It weighs less than your microphone
Dent resistant, won’t rust, Never needs Duct-Tape
A Practical Sound booth solution
Eat eggs cuz you want to, not just for the tray
Stop stealing your grandma’s precious quilts
Integrated pop filter
Spit all you want, only your voice reaches the microphone
The Kaotica Eyeball is an acoustic treatment device that isolates your microphone and creates a sound channel directly to your mic.By isolating and channeling sound, the Eyeball is able to accurately capture the pure vocal tone while greatly reducing room reflections and ambient noise. Designed for all vocal/voice-over applications either as standalone, mobile, or in conjunction with treated spaces. Includes an integrated pop-filter and fits most large diaphragm condenser microphones 38mm to 70mm / 1.5” to 2.75”
|Frequency response||0Hz - 30KHz +/-1.4dB|
|Max Peak:||140 dB|
|TL:||3.73 dB (average)|
|Polar Patterns:||Cardioid is recommended, but all types of polar patterns can be used with the Eyeball|
The frequency response chart was generated using a frequency sweep from 0 Hz - 30 KHz. All frequencies are captured equally, producing a flat frequency response. The Eyeball captures an accurate representation of sound, as the the low & high end frequencies of a signal can be lost in the recording process due to sound's tendency to disperse through air.
In respect to the comparative spectrograph below, on the left is a 3D representation of a vocalist singing without The Eyeball, on the right is a representation of the vocals inside of The Eyeball. The large spikes you are seeing are being produced by ambient noise & room tone. This includes things like structure born vibration, bleed & generally most other unwanted sounds. You can very clearly see on the right that the sound has been ‘evened out’, and the ambient noise and bleed is gone, leaving only the pure vocal tone to be captured by your microphone.
The THD comparison portrays sound traveling through air and sound in the Eyeball. The THD reading is dramatically decreased inside of the Eyeball, producing a more accurate representation of the sound source.
The Eyeball reduces the external environment and only leaves the pure tone to be channeled into the microphone. By reducing the external environment, phase anomalies and cancellation are diminished within an untreated space.
Based upon the volume levels indicated by the RMS and DBSPL readings above, sound is louder inside of the Eyeball. The louder volume level has many distinct advantages. An increase in the Signal to Noise ratio is apparent as the clean signal is increased while the noise ratio is substantially decreased. The reason for these amplitude increases is because sound is not being allowed to disperse through air, but is being channeled directly into your microphone without coloration.
The graph above portrays the envelope of a sound within the Eyeball (represented in red) and without the Eyeball (represented in purple). By comparing the Envelope (Attack, Sustain, Decay, Release) readings, we determined several key characteristics about sound within the Eyeball. Note the difference in Decay time (the drop of the waveform after the initial attack (rise). Within the Eyeball we see a smoother, slower, and more linear decay pattern, while the envelope of the sound without the Eyeball decays much quicker. This shows us how quickly sound is dispersed through air, and how much longer the sound is maintained inside of The Eyeball.