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

Sean Paine

Engineer - Gucci Mane - Chief Keef

Interview

Sean Paine, part time rapper, full time and highly sought after recording engineer and quietly business savvy entrepreneur, is a name you need to know if you’re looking for the people who are moving and shaking up the ATL scene.

A graduate of Full Sail University, Paine worked his way up through the hip hop ranks from assistant engineer at Atlanta’s Patchwerk Studios to landing the gig as the go-to engineer for Radric “Gucci Mane” Davis. He has since become Mane’s right arm while the star rapper was serving time in prison.

Much of that had to do with the fact the Paine’s got skills that go far beyond the mixing board.

Gucci saw Paine’s work ethic and organizational skills and pegged him as the right man for the job of keeping the Gucci Mane brand squarely in the public eye while he was “away”. From behind prison walls, Gucci Mane guided Paine, giving him the arduous but enviable task of putting together a steady release of stellar material culled from Mane’s vault filled with the fruits of his prolific work ethic. (The man has released over 100 mix tapes!)

Paine took the initiative to get on the phone and secured major features with a veritable who’s who of rap superstars, including Snoop Dogg, Jadakiss and Migos, to name a few. Mane had hundreds of verses already in the can and would drop some the verses speaking from a prison phone. Then Paine would seek out the artists to feature from those “sessions”. In two years, Paine dropped 30 mix tapes on the world!

But Paine’s many talents have spread far and wide, having also graced the tracks of Lil Wayne, Young Thug, 2 Chainz and Future. His rising star has also caught the attention of major industry execs. Atlantic Records prez, Craig Callman, called on him to consider an A&R spot, seeing Paine’s obvious ear for fresh young talent.

Meanwhile Sean Paine, the independent and prolific artist in his own right, has also been hard at work putting out a steady stream of material on his own that includes the mixtapes, Good and Bad, Lions, Tigers and Bears and Oh My in 2016. People talk about his crazy work ethic but Paine gives all the credit to Gucci Mane.

“This guy is a fucking machine. Ain’t nobody outwork Gucci in the studio, period. That’s where a lot of people get their work ethic from.”

With a music track record like that you might not guess that Paine has got a background in finance and a burning desire to go to Harvard. Inspired by his grandfather, who started with nothing and built a two billion-dollar business, Paine says he wants to become a black billionaire.

It seems like Sean Paine is only just getting started and his music brand may be but one of many flags he plants in the fertile soil of entrepreneurship.

 

Kaotica sat down with Sean and let him riff on his beginnings and finding his path to the driver’s seat.

 

How did you become a producer/engineer?

Well, I started out as a young kid messing around with my older brother. He was into music. He had a little tape recorder and we would record ourselves. And with tape, you had to get it all right the whole time you know. You couldn’t mess up.

And then we got into Pro Tools, the very first one. That was kind of a learning curve for me learning how to follow the signal flow and all that. I kind of started like a young egg just watching, learning, you know. Seeing the music culture and wanting to be involved in it.

 

So at the level you are at now, how do you use the studio as an instrument?

"I mean you know those are the speakers, these are the references right here, my ears. I think my ears are the best instrument I use. But having a room that’s acoustically treated certainly helps."

 

How important is the vocal to the track?

The vocal is the main part of the track in my opinion. It’s the core. Sometimes I just focus on the vocal first. And then feel the beat and bring the elements in all around it. The vocal is half the battle if you ask me. That's the most important part. If you hear garbage in then garbage out. You hear like background noise or maybe some extra little bit of white noise in the microphone and it's just not acoustically sound or has extra reverb because you didn't have a vocal booth and recorded in a closet or maybe a home music studio without any studio acoustic treatment. It just takes away from your mixing capabilities. You kind of have to mix around it. So I think the cleaner the vocals the more control and more creative you can get with the mix.

 

How has the Eyeball impacted your workflow?

"It helped my productivity on the road for sure. You know like when we just went overseas me and Gucci could pull it up in a hotel room."

Put the Kaotica Eyeball on and hit record. Sound like you’re here in a proper studio, you know. It takes away the whole reverb from the room sound. It's more of a clean sound as well like when you're in a real studio booth but it's a mobile vocal booth. So it doesn’t sound say like a six by nine room. Well, we do still get the ambiance of the room but it’s controlled. For that the Eyeball is perfect.

 

So think back 5 or 10 years ago or maybe even 15. What advice would you give to that self?

I would have said ‘we got to invent the Kaotica Eyeball!’ I mean you go from buying mattress covers at Wal-Mart to getting into the real soundproofing stuff and you spend hundreds of dollars. But you could just isolate all that just by putting the Eyeball around the microphone. It's like nobody thought of that and that would have saved a ton of money. And workflow, your space. You can just take it anywhere you like. Like if I’m feeling creative right now I can sit on my stool right here and go. You can just create now with the snap of your finger. Like that.

You can follow us on Facebook and Instagram