Compatible Mics

AKG 414
AKG
414
EYEBALL
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
Lauten Audio Lauten Audio Clarion FC-357
Lauten Audio
Lauten Audio Clarion FC-357
FATBOY
Lauten Audio LT-386
Lauten Audio
LT-386
FATBOY
Lewitt LCT 240 Pro
Lewitt
LCT 240 Pro
EYEBALL
Lewitt Lewitt LCT 550
Lewitt
Lewitt LCT 550
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 550
MXL
550
EYEBALL
MXL 770
MXL
770
FATBOY
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 Neumann U89I
Neumann
Neumann U89I
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 TM49
Neumann
TM49
FATBOY
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
Pearlman TM1
Pearlman
TM1
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
Roswell COLARES
Roswell
COLARES
FATBOY
Roswell DELPHOS
Roswell
DELPHOS
FATBOY
Roswell MINI 47
Roswell
MINI 47
Roswell MINI 87
Roswell
MINI 87
Samson C01
Samson
C01
Samson CO1
Samson
CO1
Samson CO3 & COS3U
Samson
CO3 & COS3U
EYEBALL
Samson MTR-201 | 231
Samson
MTR-201 | 231
Samson MTR101
Samson
MTR101
Samson VR-88
Samson
VR-88
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
Warm Audio 251
Warm Audio
251
Warm Audio FC-357
Warm Audio
FC-357
FATBOY
Warm Audio WA-47
Warm Audio
WA-47
FATBOY
Warm Audio WA-87
Warm Audio
WA-87
Wunder CM49
Wunder
CM49
FATBOY
Wunder CM50
Wunder
CM50
FATBOY
Wunder CM67
Wunder
CM67
FATBOY
Wunder CM7
Wunder
CM7
FATBOY
No Compatible Microphones Found

Kc Da Beatmonster

Producer | Prodigy - Chief Keef - TK Kravitz

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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