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

P-Nazty

Why i don't use Microphone Filters

Interview

You could say that musical royalty courses through the blood of one of Atlanta’s brightest new producers, Pierre Slaughter, a.k.a. P-Nazty, who hails from Tupelo, Mississippi, birthplace of the King of Rock and Roll himself, Elvis Presley. Mr Nasty has been calling ATL his home ever since relocating there with his family in his teens.

As has been the path for many musical talents before him, P-Nazty got his musical education first in the church before honing those skills further in the recording studio.

The pivotal moment for Nazty’s career came with an intro to another rising star beatmaker, Mike Will Made-It, It was this formidable creative pairing that would become the current hip-hop collective dynamo known as the Ear Drummers. This uber talented crew forged hits for Ciara (Body Party), Future ft. Pharell and Pusha T (Move That Dope), Mike Will Made-it ft. Miley Cyrus, Wiz Khalifa, & Miley Cyrus (23), Miley Cyrus (We Can't Stop). P-Nazty is also credited for discovering the collective now known as Rae Sremmurd and the Sremmlife Crew.

P-Nazty was kind enough to share his studio wisdom with the Kaoticalife crew.

 

How did you get started as a producer?

"In church. The first beats I ever made was on a Casio keyboard with my cousin, Riff back when I was like 8." 

And the next time I kind of like took it seriously was when I was like 15.  I got another Casio keyboard and start making beats on that you know. That’s how I got started. Just me working you know.

 

How do you use the studio as an instrument in your craft?

The studio plays a major part. I remember when I was when I was making beats, probably when I was 17 I didn't really have that much to work with. It was kind of like Acid Pro and my keyboard and my desktop. It was just like Fruity Loops three or four. I was writing some of my own shit. And back then Lil Drone was popping so I was kind of like remaking little drum beats and whatever that club feel was. I was recording on my Acid Pro Six and recording on my Casio keyboard. So I would record the beat through my desktop on my Acid Pro from the Casio. And then record like a hook to it. Since then everything is just kind of been like motion. Like I always keep some type of studio equipment around around me.

"I've got the Kaotica. I think I was one of the first guys to actually get that."

When I was recording in my home music studio I was always trying to find a way to close the spacing around the mic so I could make like a virtual vocal booth or maybe you'd call it a portable sound booth.  I would put pillows up around our room over the whole space. But there was so much space between the walls that the mic would pick up all the sound of that big open space. So I was thinking about how to close that space around the mic for a long time because nobody ever thought to do it before. But then y’all came around and invented the Eyeball and now here it is.

And so this is really really dope. As far as recording in any type of environment I keep the keyboards I keep the deejay boards. I keep the laptops, drum pads and my MPKs. Whatever it takes to make a hit. The Kaotica Eyeball is my mobile vocal booth.

"The Kaotica is a definite must have around the studio at all times to record."

 

How important are the vocals to a track?

In this day and age you can have an instrumental and get the people moving too or you can have a hit with vocals. Shit they got hit instrumentals out there. Look at Skrillex and Diplo. They do a whole lot of that stuff.

But vocals most of the time on a track is critical. They can take the whole record to another level. Just from a simple idea to what the producer can do producing vocals. Vocals are very important in the sense of making a hit because you can't just play a whole bunch of music on the radio and not be anything you can relate to in the story. Having killer vocals on the track is what it needs to be. And it got to be hard too. Don’t put no bullshit on a track.

 

How has the Eyeball helped your vocal tracks?

Like I said I used to think I could get rid of that room sound with a sock. I don't know where I got that idea and it did kill some of that sound but it killed my vocals at the same time. I would put things around the mic and over the mic but it never added up to this piece of work right here (points to the Eyeball). I bought all these products to help control the sound.  This one cost $80. That one maybe $70 and another might be $60. I’d put all this stuff up around the mic and none of it would work. Compared to this Eyeball all that stuff is just crap. Now I've got a portable recording studio I can take anywhere.

 

What advice would you give to young producers?

"Slowly but surely. I would advise you to dream big. Don’t let nobody stop you from what it is you really want to do. And know what it is that you really need to do. And that is I like."

Sometimes your shit might not be it. You got to suck it up and be like ‘my shit ain’t it right now. I need to make it IT’ so that time in that process you’re going through it’s a transformation. That’s what that really is. You need to be finding yourself and crafting your sound and making it what you want it to be. You want to be the one who predicts what stuff is going to sound like. And so that's what makes you who you are.

"Don't never lose sight what the main focus is. And that's working. So invest in yourself. Get yourself a Kaotica."

View more producers videos

HipHop Demo
HipHop Demo
Recorded on a LA Patio
Eric Bellinger
Eric Bellinger
Recording Hits at Home
Greyson Chance
Greyson Chance
Artist - Song Writer
Pozzie Maserati
Pozzie Maserati
Hollywood Hills
You can follow us on Facebook and Instagram