Compatible Mics

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

J.OLIVER

Producer | P-Diddy

Interview

"USING YOUR STUDIO AS A MUSICAL INSTRUMENT"

Recently, we caught up with Dallas based artist, rapper and one of the hottest up and coming music producers, J Oliver to talk about making his dreams a reality and how the Kaotica Eyeball has changed the way he makes his art.

You’ve probably heard some of J’s red hot production flare at work with the likes of Trey Songz and Kevin Hart on their track, “Push It On Me or Meek Mill’s Fck You Mean, Kirko Bangz “Old Ways” or French Montana’s “I Told ‘Em,”One of the signature sounds of J Oliver’s work is that he doesn’t have just one game up his sleeve.  He’s not just a rapper.His versatile style has also led him to work with a wide palette of artists, including R&B songstress Tinashe, Raheem DeVaughn, and the all-male group Day 26, launched by industry mogul Sean “P Diddy“ Combs. He is signed as an artist to Radio Raheem's Label Never Satisfied

IN THE BEGINNING

“I started out when I was really young, when I was like 12 or 13 years old. I just wanted to be in competition with my brothers. We came in making music because we all wanted to be in like Scratch magazine. That was a big thing to be in Scratch Magazine. My brothers, they used to kick my ass when it came to making music so I wanted to be better than them. So that's how we got started. Just making music. We knew nothing about getting paid no dollars, no money, no nothing man. We just generally liked music and I wanted to be better than Ferrell, Cool and Dre so I was on it.”

"THE (NOT QUITE) RAGS TO RICHES STORY"

We all love a good rags to riches story but they don’t always pan out like in the movies. At least not at first. When J came of age he quit his day job and decided to leave the rugged streets of Baltimore to pursue his dreams in sunny L.A. Armed only with $50 bucks in his pocket and a bogus contract, it wouldn’t take long before young Oliver would have to head back home again and rethink his whole game.

Eventually, his work couldn’t be denied because the word on the street was that J Oliver had this “big sound” that had become his signature and people wanted that sound. That sound found the ears of Baltimore native Bad Boy artist, Los, who became like a big brother to Oliver and pushed him to his limits. Oliver told us that another major catalyst in his career came when he met Miami-based Radio Raheem, who would eventually sign him to his label.

USING THE RECORDING STUDIO AS MUSICAL INSTRUMENT

“As a producer, I use the recording studio as an instrument. I mean, it’s everything from the pre-amps to making your vocal sound good to using the same preamp for the guitar lines if I want to add guitar. I can put the harmonica or the acoustic guitar in the vocal booth. It’s everything, it’s a total musical facility. I mean what can you not do in the studio?”

"IT’S ALL ABOUT THE VOICE"

Often times, we like to talk about the beat or the cool hook when we’re describing that hit song we like but there’s really one thing that matters above all else when it comes to making music. So we asked J just how important is the vocal to the song.

“The vocals are the main part of the song! I tell that to people all the time and people try to hit me with “you can't sell an a cappella vocal CD but you can sell an instrumental CD”. But I say no, bro. The vocal is the most important piece of any production. So like I've learned to stop putting so much musical elements inside of a beat because the vocals still have to sit in there and that's the thing that you will hear the most.”

THE KAOTICA DIFFERENCE AT HOME

"I've tried a lot of the products out there like the Reflexion Filter. I feel like with the Kaotica Eyeball it’s always better. If you're in your home music studio or anything like that it’s like your own mobile vocal booth without having to go to a bigger studio."

You know, a lot of people record on their mics with no studio acoustic treatment and you hear everything going on in the room and it makes it sound cheap. And so it's like I’ve used this Eyeball plenty of times, hundreds of times.

TRAVELING WITH THE EYEBALL

It seems J Oliver is always on the go because he’s so in demand these days. When he’s on the road working with these various recording artists, whether in a hotel, home music studio or other non-studio environments, he’s got to get consistent results so he can use those mobile tracks on his records. Here’s what he had to say about taking Kaotica on the road as a portable sound booth.

“What I like about the Kaotica Eyeball is it’s mobile so you can bring it around with you. Like I said, sometimes you can't go to a big studio and the Eyeball helps when I’m on the road. It helps me in the hotel room when I record and helps when you’re in your friend’s house recording if you come in and you know I hear everything and the computer is buzzing away. You need to control that. Let's face it, this is a crazy money industry and everybody don't have it like that to buy that type of stuff so you know it's cool to have that Eyeball with you. It’s a game changer.

HOW TO GET YOUR PRODUCER GAME ON

“The best advice that I could give other producers is to never give up. And to really use their surroundings to network and meet with other people. So if say, you want to get your music heard by industry people you know are backstage at a concert, act like you’re on phone talking business when you go up to security and then if security stops you just be like ‘man I'm with the crew’ you know and walk in there with a keyboard. See you've got to think of new things to get you into where you need to be at in order to build that network. You could be a terrible producer who’s well connected and still get a song placement. But a more talented producer may not get a placement because he doesn't have that network. So your network is by far the biggest thing.”

WHY MUSIC MATTERS

“Music is life, you know"

Music gets you through everyday life because everybody has a story and a lot of people's stories are relatable to everybody. Like with music it just doesn't matter what genre of music it is. If you listen to the lyrics then you know that song is talking to you. So music will get you through your day. Even if you're having a negative day music can turn it into a positive.”

“I want people to take away the emotions that I put into my music...The realness. Everything that I go through in life.” After working with artists like T. Cole, whose song writing credits include both Chris Brown and J Oliver realized he had finally arrived.

 “It got to a point where I was like, ' I can do this.’ That point where it’s no longer a dream, it’s your occupation and you have to take it seriously because now it’s not about you anymore. It’s about your family and your team. It’s bigger than you.”

 

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