Myd locked himself in the studio for 168 hours and livestreamed every minute — but did it really help him finish an album?Myd is still donning the sporty, dark Ray-Bans he wore during his seven-day live stream in his LED-lit recording studio. With these sunglasses on, Myd recorded music, collaborated with friends, cooked meals, attended 1-to-1 yoga and massage sessions, hosted DJ parties, spoke with fans on the phone, and triggered smoke machines, all within the walls of his studio in France. Only when he was asleep, still streaming via a night vision camera, could the tens of thousands of Twitch viewers see him without his shades — it was the only time those LED lights weren’t completely destroying his eyes, he says.
What drove Myd, real name Quentin Lepoutre, to document these seven days so intimately? Aside from obvious reasons, like marketing and fan engagement, the French producer was really just trying to hit a deadline set by his label, Ed Banger, for his upcoming album All that Glitters Is Not Gold.
READ MORE: Myd’s 10-hour Christmas Dinner soundtrack features mixes from Busy P, Laurent Garnier, Sarah Story and more
“I mean, it was pretty simple,” he says, chuckling. “I lost the two songs I was about to release [The Wizard and Song For You]. In an album campaign, you have key dates to hit — luckily, I had the backup of the unfinished songs, but I needed to get in the studio and finish them again. But I was like, ‘How can I make that process more fun and special?’”

The jokester producer has been a promising act in the indie dance scene since signing to Ed Banger in 2017. Tracks like 2017’s The Sun and 2021’s Moving Men (feat Mac DeMarco) have racked up millions of streams and helped propel him onto stages like the Paralympics Paris 2024 opening ceremony. He’s also had some less conventional performances, like the time he played a tour around Paris in a truck with label boss Busy P, and his successful series of weekly CoMyd-19 sets, which saw Lepoutre DJ’ing and speaking with viewers on a hotline during the COVID-19 pandemic.
Myd during a livestream. Image: Press
Lepoutre has a knack for engaging with his fans. But before this 168-hour live stream, the artist hadn’t given his audience much of a look at his studio process and the work he puts into it.
“I wanted to show the real me,” he says. “I wanted you to see who I am, day and night. And also show what inspires me, who my friends are, who I like to DJ with — but, also, it could be watching videos, getting inspired by video games. It was part of all that. And sleeping, too. People know I love to sleep now.”
Lepoutre delivered big time on his promise. As mentioned, the streams (all available on Twitch) went way beyond just watching him play synths and click around on Ableton Live; they helped Lepoutre break down the “fantasy” he once had that music-makers are more productive when they spend more time in front of their DAW, he says. “I discovered little by little that it’s not the solution; it’s about having your brain in good condition, taking care of your health, and seeing people getting inspired. It’s as important as what you will do when you are in front of your computer or in front of your synths or drum machines, because the spark that makes a good song.”
Myd’s ideal is four to six hours of studio time a day, not at night, and not placing any pressure on himself while he’s in there. He says that opening a blank DAW project can be daunting — what are you supposed to make? The only way to get over that “frightening” feeling, he adds, is to get into a routine of being in the studio and constantly flexing your creative muscles. Lepoutre thanks the enigmatic Gesaffelstein for helping him realise this lesson.
Myd’s workstation. Image: Press
“We used to be on the same label,” explains Lepoutre. One day he told me, ‘I’m starting my new album’ – I don’t remember which one, maybe his second album — and I was like, ‘Oh, that must be so cool’. And he said, ‘No, that’s not cool. That’s frightening as fuck.’ And he was already big [at this point] and had a thing going, so I’ve never forgotten that — it made me realise that it’s part of [being creative]. And a lot of artists, especially young ones, need to understand that it’s just part of music production.”
Was being locked in the studio for 168 hours a frightening experience for Lepoutre, then? Not exactly.
Although he was relatively isolated from the outside world — he left his smartphone, Twitch comments and social media outside of the studio — Lepoutre was more creative than usual. He was working faster, more efficiently, and was feeling more inspired to finish the two tracks. In lieu of a smartphone, he hooked up a hotline (as seen in the CoMyd-19 series) and a makeshift fax machine to receive messages from viewers, and was inviting friends over every day to jam and keep ideas fresh. Such friends included Pedro Winter aka Busy P, Canblaster, Antoine Bourachot and more.

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Each collaborator joined Myd, not necessarily to finish a part of the song, but to bring new ideas to his growing bank of sounds. “That’s really how I make music and start albums,” Lepoutre says. “I create the palette. My studio is made for happy accidents to happen; I can plug anything into an amp and record it and pass it through a pedal — any instrument and sound that I like. So I invited Canblaster with his modular synthesiser, and the way it sounds here…It sounds like my album, but it brings his perspective. I also invited a percussionist and we made ambient sounds with percussion and flutes. It was really good.”
Lepoutre is inspired by the tactile gear in his studio, too. For his upcoming album, including the tracks The Wizard and Song For You, the producer often reached for his Sequential Prophet-5, which he calls the “weird cousin” of the Roland Juno synths and with a more futuristic sound — “it’s important for me to have something sharper and colder to add to the weirdness.” For drums, Myd can’t stay away from the Roland TR-909‘s groove and unmistakable sound — “it always sounds like a 909, but it can make a track so special.”
A new addition to his studio is the Rupert Neve Designs‘ Shelford Channel — a “wonderful” compressor, EQ and preamp that Lepoutre now uses on all his recordings. His “last essential piece” is the Lexicon PCM91 reverb, which he says gives him the “sweaty” sounds that he relates to being in nightclubs, where he’s been performing and DJing a lot recently.
Image: Press
The footage from the stream and the way Lepoutre talks about the 7-day lock-in make it sound like a breeze. But, frankly, it didn’t come without its challenges. The biggest challenge for him is finishing music, which he points out is probably the same for many musicians. Even without the cameras, Lepoutre would’ve struggled, but the first day or so of the stream was unnerving — he received no calls, no messages and no feedback. “It was only later that people joined the live and understood what was happening,” he explains. “Nowadays, when you send a message or post on social media, you expect a response really quickly. And it sounds weird, but the mindfuck for me was not getting any feedback.”
“But did it help my music? Maybe, because I was not thinking at all about the classic feedback. Like, ‘If I use this synth, it’s not cool because it’s a Behringer and not a Moog’. I was just doing music because I was doing music, so it was pretty interesting to detach totally from feedback. Also, yeah, it was also hard living in the same place and people spamming the smoke machine from Twitch,” he laughs.
Myd and Jersey. Image: Press
In the end, Myd finished those tracks ahead of time. And, at the time of writing, he’ll be dropping his new album in less than a month, with a new single, All that Glitters is not Gold (feat. Channel Tres, Trueno), out now. Does he recommend that other artists lock themselves in a studio for a week, too?
“Definitely, yes…But lock yourself in an inspiring environment. You have to find yours — that’s maybe the most complicated part. But I think getting a bit away from social media, not listening to too much of other people’s music…Find what inspires you as an artist and get surrounded by it.”
Sign up for Myd’s new album info at allthatglittersisnot.gold
The post Myd locked himself in the studio for 168 hours and livestreamed every minute — but did it really help him finish an album? appeared first on MusicTech.

From Create buying Monstercat to WMG earnings… it’s MBW’s Weekly Round-UpThe biggest stories from the past week – all in one place…
Source

May Top Tours Top Chart powered by BandsintownThe May Top Tours Top Chart powered by Bandsintown is out. Katy Perry and Bruno Mars lead the May chart with debuts from R3HAB, DAYA and Richie Hawtin.
The post May Top Tours Top Chart powered by Bandsintown appeared first on Hypebot.

Unintended consequences – the year ahead for streamingStreaming may be maturing from a revenue perspective but with two-tier (‘artist centric’) licensing and supremium, 2025 is set to be a year of transformative change in both product and business terms. While each of these initiatives were designed with clear objectives, it is not so much the immediate consequences but the second order consequences that warrant most attention. As is so often the case, it is the unintended knock-on effects of actions that will likely prove to be most impactful, for both the business and culture of music. Here is what some of these may be for two-tier licensing and supremium.

Second order consequences of two-tier licensing:

An industry underclass: It is all too easy to dismiss small, long-tail labels and artists as ‘garbage’ and ‘flotsam and jetsam’ but this risks being seen as an elitist view from the top. The long tail is a mix of the good, the bad, and the ugly – just as commercially successful music is. But the demonetisation of

The Magnolia might be the most alluring synth launched at this year’s SuperboothWhile Frap Tools is typically known for its Eurorack modular synths, the Italian company is branching out. Magnolia comes as Frap Tools’ very first keyboard synthesiser, and it’s rammed with all of the brand’s signature analogue sounds, from the Brenso to the Cunsa.
The Magnolia boasts an eight-voice polyphony, with two ‘Carrier’ and ‘Modulator’ oscillators. The pair of oscillators are derived from the company’s 30HP Brenso, reworking the module’s two triangle-core oscillators.
READ MORE: My Forever Studio: TOKiMONSTA nabs a historic synth
The ‘Carrier’ or ‘West Coast’ oscillator boasts through-zero frequency modulation, allowing you to capture sideband-rich analogue frequency modulation sounds. The oscillator also has a wavefolder and flip sync capabilities. The second ‘Modulator’ or ‘East Coast’ oscillator allows you to toy with pulse width modulation and fine-tune.
Elsewhere, the ‘sound seasoning’ Cunsa module’s quadruple analogue pingable multimode resonant filter has been repurposed for the Magnolia’s filter section. There’s also 24 dB/Oct resonant high-pass and low-pass filters.
Credit: Frap Tools
The Magnolia also understands that good things come in threes. That’s why it comes with three loopable attack, decay, delay, hold, release and sustain envelopes. There are also three digital low frequency oscillators.
Taking one look at the Magnolia, and it’s clear that there’s plenty of room for experimentation. We’ve not even mentioned the arpeggiator, 16-step sequencer, bi-timbral programs (boasting SINGLE, MORPH, DUAL, and SPLIT MODES), or all-analogue signal path yet. And there’s 512 preset memory slots, so you can truly go wild creating new projects.
The synth also has an industry favourite keyboard from Fatar, equipped with polyphonic aftertouch capabilities. You can also keep track of your modes and filters thanks to helpful LEDS on every source – and you can switch modulations on/off with a simple toggle.
The company insists that the Magnolia is “fun to play”, and it certainly looks to be. A promo clip of the Magnolia in action highlights just how versatile and exciting the synth can be.
From alien spaceship glitching, to epic fantasy whirring, to eerie piano tones, the Magnolia seems to be quite an impressive debut onto the high-end keyboard synthesiser market.
Those attending Berlin’s Superbooth this weekend will be able to experiment with two pre-production units at Booth B049. Frap Tools aims to release the Magnolia synth by the end of summer.

The post The Magnolia might be the most alluring synth launched at this year’s Superbooth appeared first on MusicTech.

Two new plug-ins from Acon Digital Acon Digital have launched two essential plug-ins designed for the modern drum producer. 

Roland Juno-60 and Moog Rogue among 12-piece Andrew Weatherall gear auctionA collection of studio gear belonging to late British DJ and producer Andrew Weatherall is now up for auction. His family is selling 12 pieces of his production arsenal via Soundgas, including sequencers, vintage synths and pedals.
The auction is now live, and is scheduled to end Sunday May 11 at 11pm BST. Highlights of the collection include a Roland Juno-60, Moog Rogue, Dunlop TS-1 Stereo Tremolo pedal, and an Ensoniq DP/4 parallel effects processor. There’s also a Roland Rhythm TR-77 drum machine, a Sequential Circuits Pro synth, and a Tech 21 Comptortion pedal.

READ MORE: Moog Messenger: Everything you need to know on features, pricing, and availability

Andrew’s brother Ian says the family’s intention with the sale is to get his gear into the hands of musicians so it can continue to be used for music making.
“We have kept [Andrew’s] whole archive/possessions in storage, with plans for display/exhibition in the near future,” Ian writes. “Musical equipment does not appreciate being stored away, unused, for great lengths of time… and with that in mind we have instructed Soundgas, as experts in their field, to help us re-home Andrew’s collection.”
He says it’s important that Andrew’s gear continues to be used to “create, push boundaries, but above all, see the light of day, and be cherished by people who recognise Andrew’s contributions to music and beyond”.
“This is what Andrew would have wanted, so if you are successful in purchasing anything sold here, please cherish the fact that you own something of Andrew’s,” Ian concludes.
Many of the items have already seen bids, with the Moog Rogue sitting at a bid of £1,029.99 (significantly past its estimate of £500-£750). The Roland Juno-60 currently sits at a bid of £1,600, but bear in mind there’s still two days to go, so they’re likely to go for quite a bit more.
View the full collections and, if you wish, place a bid, over at Soundgas.
The post Roland Juno-60 and Moog Rogue among 12-piece Andrew Weatherall gear auction appeared first on MusicTech.

Flou: An Affordable AI Music LawyerTired of handshake deals turning into legal nightmares? Confusion at live shows because there was no contract? Can't afford a "real" lawyer? While not a substitute for music attorneys, Flou is an affordable AI music lawyer that helps musicians, producers, and managers create and manage music contracts.
The post Flou: An Affordable AI Music Lawyer appeared first on Hypebot.

Fircomp 2 by Jon V Audio is now available for FREE
Jon V Audio has updated the pricing of Fircomp 2, a digital compressor plugin previously priced at £23, to a pay-what-you-want model, with no minimum. You can now download this outstanding compressor plugin for free or choose to support the developer with a donation. Fircomp 2 is one of the cleanest, most transparent digital compressors [...]
View post: Fircomp 2 by Jon V Audio is now available for FREE

Teenage Engineering just gave its Field System a sleek black makeover – and we want it more than everIn search of gear that matches your studio’s dark, minimalist vibe? Look no further, for Teenage engineering is giving its ultra-portable Field System a fresh look.
Starting 10 June, three of the tech company’s compact audio devices – the TP-7 recorder, TX-6 mixer, and CM-15 microphone – will be available in a sleek black finish.
While the internals remain unchanged, the updated exteriors give the devices a distinctly different vibe, adding a chic twist to the company’s signature retro-futuristic aesthetic. One device, however, is being left out of the blackout treatment: the OP-1 Field, which will retain its current silver finish.

READ MORE: Novation just launched a slew of new products at Superbooth, including a limited-edition Bass Station II with artwork from an acclaimed graphic designer

TE’s original Field System included the OP-1 Field, the TP-7, TX-6, CM-15, and most recently, the OP-XY – a $2,299 sequencer, synthesizer, and sampler.
A successor to the Swedish brand’s OP-Z synth, the OP-XY is billed as an “all-in-one powerful synthesizer and composer with deep, direct sequencing capabilities”. It takes the advanced sequencing of the OP-Z and places it in a smaller enclosure, reminiscent of the iconic OP-1.
In other news, Teenage Engineering’s EP-133 K.O.II recently received its first major OS update, nearly one and a half years after the sampler was released.
The new OS boasts a slew of “knockout features” including the introduction of resampling and hands-free sampling, increased polyphony from 12 mono and six stereo sounds to 16 mono and 12 stereo sounds, allowing for denser and more expressive arrangements.
There’s also a new song mode, which makes it easier to “chain scenes and create longer, more structured track arrangements,” as well as sidechaining, which allows “one sound to control the volume of another” – perfect for controlling those kick and bass grooves.
Learn more at Teenage Engineering.
The post Teenage Engineering just gave its Field System a sleek black makeover – and we want it more than ever appeared first on MusicTech.

LANDR Sampler uses AI to organise your sample library – could this be a godsend for producers?LANDR Sampler is a new AI-powered sample organising plugin described as the “smartest way to play your sample library”.
Building off the Montreal-based company’s reputation for integrating AI into music production tools, LANDR Sampler functions as both an instrument and a sample library organiser.

READ MORE: Will GTA 6 change the way gamers discover music?

Users can drag in their entire collection of samples – whether they are from LANDR’s sample collection or not – and the plugin uses AI to categorise them. From there, a simple click prompts the AI function to search through the library for similar sounds and even create new combinations. Any singular sample or newly created sound can then be played chromatically using the standard keyboard interface.

The plugin also includes a sequencer and precision slicing tools for creating loops, chops, and other manipulations stemming from the combinations fuelled by LANDR’s AI functionality.
“Hit a creative wall? Break through with one click,” LANDR says. “LANDR Sampler auto-generates unique sample combinations, curated textures, and surprising mashups – perfect for unlocking happy accidents and sparking new ideas.”
Additionally, LANDR Sampler has a chromatic playback function, so you can turn any sample into a fully playable instrument. It also features precision slicing tools for creating loops, chops and rhythms, while a built-in sequencer allows you to quickly create dynamic patterns without leaving the plugin.
“Creators today sit on massive libraries of inspiring sounds that too often go unused simply because they’re hard to find,” says Patrick Bourget, VP of Product at LANDR. “LANDR Sampler changes that. It brings forgotten gems back into the spotlight and unlocks new creative momentum – with just one click.”
LANDR Sampler is available now. For more information, head to LANDR.
The post LANDR Sampler uses AI to organise your sample library – could this be a godsend for producers? appeared first on MusicTech.

Big Fish Audio releases FREE Momentum v2.0 Loop Slicer Plugin
Big Fish Audio has released Momentum 2.0, an update to their free loop slicer and sample manipulation plugin for Windows and macOS. I covered the first version of Momentum in our news section in 2020; it’s worth reading if you need a refresher. Momentum’s core functionality remains intact in the new version: it’s a powerful [...]
View post: Big Fish Audio releases FREE Momentum v2.0 Loop Slicer Plugin

LANDR Sampler plug-in released LANDR have unveiled LANDR Sampler, a powerful new plug-in which is intended as a tool for transforming bulky sample libraries into a playable, intuitive instrument.

Microsoft employees are banned from using DeepSeek app, president says Microsoft employees aren’t allowed to use DeepSeek due to data security and propaganda concerns, Microsoft vice chairman and president Brad Smith said in a Senate hearing today. “At Microsoft we don’t allow our employees to use the DeepSeek app,” Smith said, referring to DeepSeek’s application service (which is available on both desktop and mobile.) Smith […]

The ASCAP Foundation Musical Theatre FestStephen Schwartz and Julie Garnyé performing “The Wizard and I” at the 2025 ASCAP Foundation Musical Theatre Fest at the Wallis Annenberg Center for the Performing Arts. Photo credit: Cheryl Mann ProductionsOn May 5-6, the ASCAP Foundation held the 2025 ASCAP Foundation Musical Theatre Fest, hosted by legendary composer and lyricist Stephen Schwartz at the Wallis Annenberg Center for the Performing Arts (The Wallis). According to a press release, "before the Fest, Schwartz told Variety that 'each night will contain nuggets of enlightenment.' Indeed, the two dazzling evenings offered a behind-the-curtain experience exploring the process and artistry of musical theatre with some of Broadway’s biggest composers.""On Monday, May 5, the Fest opened with 'Songs from the Cutting Room Floor,' a showcase for the unheard musical gems that didn’t make it into some of Broadway’s biggest shows. Schwartz, together with composers, lyricists and librettists Irene Sankoff & David Hein (Come From Away) and Karey Kirkpatrick (Something Rotten!, Mrs. Doubtfire), delivered a beautiful evening of intimate performances and stories about spectacular songs that had to be sacrificed to create a perfect musical. The evening was supported by the Gary Geld Musical Theatre Foundation." "On Tuesday, May 6, Schwartz hosted The ASCAP Foundation Musical Theatre & Librettist Workshop, a unique double bill of new musicals that gave audience members a sneak peek at what could be Broadway’s next smash hit. The Workshop kicked off with the creative team of Julian Hornik, Khiyon Hursey and Mark Sonnenblick, who presented selections from their musical, WEEKEND. For the second show of the evening, Roslyn Catracchia and Peter Seibert presented an excerpt of their musical Piney Needlesmith and the Road Less Traveled.""Following the performances, Schwartz hosted a collaborative and instructive discussion with each writing team and expert panelists Kevin Bannerman (Anastasia), Jay Dyer (Alfred Hitchcock Presents), Winnie Holzman (Wicked), and Karey Kirkpatrick (Something Rotten!). The second evening was supported by the Kenward Elmslie Fund."Visit ascapfoundation.org for more info.The post The ASCAP Foundation Musical Theatre Fest first appeared on Music Connection Magazine.