Compatible Mics

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.


Record Anywhere

 In your closet or a cave

Flame Retardant

 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
THD: 6.789%
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.

3D Spectrograph results on how the Kaotica Eyeball reduces ambient noise


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.

Frequency Spectrum


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.

No Eyeball  20.8553%
Eyeball 6.7996%


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.


No Eyeball 74.5
Eyeball 80.55
No Eyeball -35.4
Eyeball -18.3

Envelope graph portraying the smoother decay within the Kaotica Eyeball

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.

Slikk Muzik - Multi Platinum Producer | Ariana Grande | Baby Face | Lecrae |

Kaotica Life
"Running on faith"

  That’s how one might describe the career path of Oscar/Grammy nominated, Golden Globe and multi-platinum award winning music producer Rickey "SlikkMuzik" Offord, born and raised in Dallas, TX.

With no formal training, the self-taught musician acknowledges God for giving him the gift of music

Which he has been making since the tender age of 5 years old. Based on his pure faith, he left his job in corporate America and moved to Hollywood to pursue a music career full time. That leap of faith paid off handsomely when Capitol Records offered him a record deal with Rodney “Darkchild” Jerkins.


Slikk's versatile production style runs the gamut from the most lush, beautiful gospel songs to the hardcore street hip hop beats and everything in between.

Though many have compared his production style to that of Jerkins, Slikk likens his own unique style to fall somewhere between Jerkins and Timbaland’s heavy percussive style. Slikk has honed that style to good use, selling millions of records for a star studded cast of talent that includes mainstream artists like Ariana Grande, Baby Face, Ginuwine, Lecrae and Trevor Jackson to name a few.

We got to catch up with Slikk and asked him to share some insights on where it all began for him and navigating some of the challenges of recording in a modern, ever changing environment.

How did you get started in music?

Pretty much just growing up in the church playing the drums and playing piano man, just freestylin’. By the time I was 13 I found out I was making beats.

How do you use the recording studio as an instrument?

 I think anything can be an instrument you know. So it starts out with the idea in your ear. So the studio for me just pretty much brings everything to life.

What are some of the problems you face when you receive tracks from artists you didn’t record?

Normally like the most common problem that I ever get when it comes to people sending me vocals is if they're like distorted or the quality of the vocal don't match with a chorus and a verse. Different microphones. Or not using a real studio microphone. That's normally the most common problem I get.


I first got started and it was all about getting a nice isolated vocal that a producer can work with or if I was producing and mixing and getting the vocals that someone could work with. It helps to know a little bit about acoustics and how to get separation working in a home music studio.

How has the Kaotica Eyeball enhanced your work flow?

"You know when I first started out it was like recording in the bedroom closet or the bathroom."

With the Kaotica Eyeball it just makes everything so much more professional now. You know it gives a warmer sound to the vocal. It eliminates all the distortion, all the extra feedback. It takes all that out so that's what I appreciate about it.

How has the Eyeball helped with your mobile recordings?

I love to travel. Being able to record on the road when you have that inspiration in that moment and being able to get a high quality recording of that is crucial. Having my Kaotica Eyeball with me is like carrying around the best portable sound booth

How important are vocals to the song?

Honestly man, being signed to Rodney Jerkins man, he pretty much changed my entire perspective on that. Of course, the beat’s got to be knocking you know. But vocal production is definitely important. The chorus has got to be solid and the melodies. Everything needs to be catchy and needs to be a hit from the beginning. Not just the beat but the entire song.


What advice would you give to aspiring producers trying to get to where you’re at now?

Consistency. You know just being consistent. Just keep being different, man. Not trying to get caught up in a trend. Find your own name, find your own sound and really sticking to it and just mastering your craft man and just staying at it. Consistency, man.

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