Entertainment
How PlaqueBoyMax Made A Signature Setup
New Jersey native PlaqueBoyMax, born Maxwell Dent, has seen his meteoric rise to fame for streaming and music since 2022. Alongside this growing fame, Max has upgraded his recording setup from the most basic and budget of microphones and interfaces, to studio sessions in some of the most famous recording studios in the world, alongside producers like frequent collaborator Fred Again (often stylized Fred again..). Max’s setup is a case study in going from DIY bedroom workflow to a fully‑routed hybrid studio and streaming rig, without losing the speed that made his early clips feel so off‑the‑cuff. What makes his current setup interesting isn’t just the price tag, but how it’s designed so he can record vocals, talk to chat and cut songs live, all on the same grid.
In those earlier tutorials, Max is almost apologetic about how barebones his rig is: a Scarlett 2i2 on the desk, an SM58 or AT2020 on a stand, Audio‑Technica headphones into a cheap splitter so a friend can listen in, and everything running through FL Studio. The workflow is simple: drag a YouTube beat into FL, find the key and tempo with a site like Tunebat or similar analyzers, then build a vocal chain from the DAW’s built‑in EQ, delay, reverb and limiter. For pitch correction, he points viewers toward Antares Auto‑Tune and budget alternatives like Slate Digital’s Metatune, turning that basic chain into something closer to a modern rap preset. It is the definition of an accessible starter kit: one interface, one mic, one DAW, and a handful of plugins that come standard or are easy to pirate if you’re a teenager on a laptop.
The PlaqueBoyMAX vocal sound that people now try to reverse‑engineer is a more polished version of that chain, with third‑party plugins doing the heavy lifting. Community presets and breakdown videos point to him leaning on EQ stages like Waves VEQ3 or VEQ4 for tone‑shaping, plus an exciter or enhancer such as Waves Vitamin to pull his voice forward without just cranking the top end. From there it is the classic modern stack: Auto‑Tune for continuous pitch, compression to level out the performance, then short room reverb and slapback delays that keep things intimate even when the beat is wide. It is still built in FL Studio, but instead of only stock plugins, he layers color EQs and enhancers similar to the way his collaborator Fred again.. stacks analog‑style tools in Ableton and on outboard gear.
Hardware‑wise, the jump from the SM58 and AT2020 to a Neumann U87‑class mic instantly changes how that chain behaves. Condenser mics at that level pick up more top‑end detail and room tone, which means his EQ and de‑essing can be subtler while still landing that bright, hyper‑present vocal that cuts on TikTok and Twitch VODs. Max uses a dedicated USB mic like the Elgato Wave 3 for streaming, keeping his recording chain and his broadcast chain separate. The Wave series is designed for creators: plug‑and‑play on Mac or PC, built‑in clip protection and a software mixer that can route game audio, DAW output and mic to different virtual faders.
If you look at the streamed studio sessions with Fred again.., you can see how this philosophy scales up. Those sessions often run on a two‑computer workflow: one machine dedicated to the DAW and recording, the other capturing the screen, camera feeds and audio mix for Twitch, bridged by virtual channels and an interface capable of multiple cue mixes. A Stream Deck or similar controller sits on the desk to instantly mute talkback mics, switch scenes or drop markers, so a private conversation can happen while the beat still plays for viewers. Cameras range from a proper mirrorless body on an HDMI capture card in the control room to a simple webcam in the booth.
What ties all of this together is that Max’s setup is optimized for what his audience expects him to do on any given night: write hooks in real time, bounce between Discord, Twitch chat and FL Studio, and turn the best ideas into actual releases. The bedroom rig made that possible on a budget, but the current high-end configuration lets him keep the same spontaneous energy at a far higher technical ceiling. No matter what the setting, PlaqueBoyMax has excelled at giving people chances to watch the music being made as it happens.
Bing bong! If you’ve ever been to New York City, you know the iconic sound of the subway. Or you’ve heard the onomatopoeia echoed by one of New York’s many content creators. America’s largest city is swarming with talent chasing the attention economy. This is how some of New York City’s newest and brightest social media stars are shaping that moment.
If your TikTok algorithm is even slightly New York-centric, you’ve seen the chaotic sparkle of Side Talk New York, the “1-minute street interview show” that’s become both a meme machine and a cultural archive. Filmmakers Trent Simonian and Jack Byrne have turned shouting matches outside MSG into high-speed anthropology. A man declaring “Bing Bong” after a Knicks win? That’s folklore now (the phrase was popularized by frequent guest host Nems). But the genius of Side Talk is in the small moments of joy and absurdity across boroughs that it captures. The pulse of the city translated directly into pixels.
If you’re lucky, you might catch an interview done with microphones attached to Metro Cards on your Subway journey. Subway Takes, created by Kareem Rahma and Andrew Kuo in 2023, has interviewees defending their hot takes live on the train while the host, Rahma, agrees or disagrees. The platform is one of many that have revitalized interest in the city, which suffered greatly from the woes of the Covid-19 pandemic, causing a huge increase in hospitalizations and deaths, as well as shuttered businesses, brought tourism to halt and brought an interest into uplifting local communities and highlighting the rich and unique culture and atmosphere of New York.
Especially in tourism and food content, there is a renewed interest in New York, from places of interest to tourists, to old-school local businesses that have survived generations. Rob Martinez, the name behind Eating With Robert, has amassed a huge following on TikTok, YouTube, Substack and Instagram for his videos and writing about amazing food finds. Martinez, originally from Long Island, began his journey by highlighting his favorite local eateries in New York, and has expanded his food content globally, traveling elsewhere in the United States and abroad to highlight local food cultures and deserving small businesses. –
Another way New Yorkers have garnered attention is through their recipes, not the glossy, studio-lit kind, but those that feel born in apartment kitchens, somewhere between nostalgia and innovation. Future Canoe, a YouTuber who reviews and cooks food in humors videos, with New York as his backdrop. The videos often pair experimental recipes (trying to attempt AI click bait recipes, trying “struggle meals”and reviewing viral NYC dishes). In the same spirit, Farideh Sadeghin, the former Munchies host now helming her own YouTube channel, captures that quintessential “cook with me” energy. Her collaborations—whether grilling ribs on a Brooklyn rooftop or testing a Lower East Side deli’s secret sandwich—turn everyday cooking into cultural conversation. It’s not just about the food; it’s about how food folds into city identity, class, and accessibility.
Another lively example of coverage of neighborhood favorites and the revival of New York is Brooklyn Bites, mainly known via their Instagram account @brooklynbitess. Run by first-generation Italian-Americans Sabrina and Giuseppe, their page reads like an ever-expanding family table: clips from Sunday sauce, neighborhood pizza spots, and trips back to Italy all sit side by side. They spotlight local restaurants and bakeries as lovingly as they document the kind of comfort food made by nonnas, showing Brooklyn and the Italian diaspora that raised them to the world. The tone is casual and deeply affectionate, the hosts pull you into a shared cultural memory, one bite at a time.
Altogether, what connects the content of Subway Takes, Eating With Robert, Future Canoe, Brooklyn Bites, and Side Talk is a collective insistence on presence. These creators reject sanitized portrayals of New York in favor of the messy, immediate, lived-in version. The platforms differ in focus, but they share a rhythm: hyperlocal storytelling charged with digital intimacy. In post-pandemic New York, the city’s return is being championed by creators.
Darren Watkins Jr., better known as IShowSpeed, crossed 50 million YouTube subscribers this week on January 20, 2026, which was his 21st birthday. The milestone marks the peak of a rapid rise that now includes a real music career in addition to streaming and live content. Since 2021, the Cincinnati-born creator has released songs that have earned hundreds of millions of streams and has performed his music live at festivals and stadium events.
IShowSpeed’s first released song was the humorous “Dooty Booty”, released August of 2021. However, the more serious “Shake”, released on November 24 of the same year, was Speed’s first mainstream success. The track sampled the Fugees’ “Ready or Not” and Ray Charles’ “Hit the Road Jack,” combining nostalgic hip-hop elements with high-energy delivery that aligned with his streaming persona. The music video reached over 230 million views on YouTube, introducing millions to his music beyond his existing fanbase. The success of “Shake” proved that IShowSpeed’s appeal extended beyond his stream entertainment value. Listeners responded to the track’s infectious production and playful aggression, and the song became a reliable fixture in his live sets. On Spotify, “Shake, Pt. 2 (Get Get Down Version)”, a remix to the song, has accumulated over 71 million streams, and remains one of his most-played tracks nearly five years after release.
Following “Shake,” Speed has released multiple projects that showed range and experimentation. “World Cup,” released during the 2022 FIFA World Cup, became another major entry in his discography, with over 91 million Spotify streams. The song tapped into his international reach and real-time entertainment instincts, delivering music tied to global events he covered on stream. Speed’s releases span multiple languages and genres. Collaborations with Brazilian artists and Portuguese-language tracks like “Amar De” featuring MC Kevin o Chris and MC CJ reflect his willingness to adapt his music to his international audience, capitalizing off of local connections and travels. Spee’s total catalog has over 229 million combined streams on Spotify oline. While not all of his 22 releases achieved the scale of “Shake” or “World Cup,” the breadth of Speed’s output demonstrates commitment to music as a serious creative venture rather than a secondary project.
IShowSpeed’s first major festival appearance came at Rolling Loud Portugal in August 2023, where he performed alongside DJ Scheme. For Speed, performing at Rolling Loud Portugal validated his transition from content creator to working musician. He performed “Shake” and his World Cup track, establishing his live setlist and proving he could deliver energy to a crowd outside his typical streaming environment. Since his festival debut, IShowSpeed has maintained live performance as part of his brand. He continues to perform live at events and venues during his international tours, frequently incorporating music segments into his IRL streams. These performances reach his existing audience while introducing his music to new listeners through festival platforms and media coverage.
IShowSpeed’s music strategy mirrors his broader content approach. He tours internationally, documents his travels on stream, and uses those experiences to create music. Speed benefits from a young, digitally-native audience that follows him across platforms, translating stream viewership into music streaming and concert attendance.At 21, IShowSpeed has already built multiple revenue streams and creative outlets. His music career, while secondary to his streaming dominance, shows measurable success. Over 229 million Spotify streams, multiple viral videos, and festival performances establish legitimate standing in music industry circles.
For Speed, future growth likely depends on his willingness to invest more heavily in music production and touring. His current approach balances streaming content with music releases and occasional live performances. Now, IShowSpeed represents a new category of creator: someone whose primary fame comes from streaming and personality but whose music career has real traction. His path demonstrates that building a music career no longer requires traditional gatekeepers or industry backing. A large, engaged audience on streaming platforms can sustain a music career independently.
What began as seven friends recording themselves playing FIFA has now become a hugely successful entertainment and commerce company. The Sidemen (KSI, Zerkaa, Miniminter, TBJZL, Behzinga, Vikkstar123, and Wroetoshaw) have turned a decade of internet clout into a diversified, nine‑figure business. Their output looks less like a creator channel and more like a small network that programs different formats for different levels of engagement. That structure gives them both the attention and the operational footprint of a lean digital studio with its own product
The Sidemen operate a compact media built around a flagship YouTube channel for larger videos, auxiliary channels for gaming, behind‑the‑scenes, and reaction content, and their premium streaming service Side+, as a subscription tier for the most invested fans. Together, they reach tens of millions of subscribers and deliver a consistent baseline of content that also helps them mark their brands. Their calendar leans on set pieces such as long‑form challenges and charity football matches that play more like live events than standard uploads, with weekly videos and shorts filling in the gaps between those spikes. Their latest charity match filled a Premier League stadium, attracted millions of live viewers, and raised a multi‑million‑pound total for U.K. charities, showing how a creator‑led match can now move audience and capital at the scale of a mid‑tier sports property.
The group’s first meaningful business move outside of content creation was Sidemen Clothing, positioned from the outset as a standalone apparel line rather than a basic merch shelf. The brand has shifted toward seasonal drops and collaborations that sit closer to streetwear than fan gear and gave the group a direct‑to‑consumer revenue stream with higher margins than standard ads. From there, the playbook expanded into category‑specific brands that could stand on their own. Sides, their fast‑food concept, uses ghost kitchens and franchise partners to serve customers across multiple markets, with reporting that the business has reached seven‑figure weekly revenue as it scales locations and delivery volume. XIX Vodka, their move into spirits, lets the Sidemen monetize an aging core audience through a premium product that can live in retail, nightlife, and events where creators usually appear as short‑term endorsers rather than long‑term owners.
Analysts and business press now estimate that the broader Sidemen ecosystem is worth nine‑figures when adding up channels, brands, and IP, with most of the upside sitting in assets they control. Ads across their channels are estimated to generate millions of dollars per year on their own, but the more material story is how that attention converts into subscriptions, food orders, alcohol sales, and apparel purchases where the group participates as equity holders. Internally, equal revenue splits and a shared company structure keep all seven members aligned, which reduces the incentive to peel off for individual deals and helps explain why the group has stayed intact through multiple growth phases. That alignment also supports slower, more capital‑intensive bets such as brick‑and‑mortar Sides locations and in‑house production infrastructure that would be hard to justify inside a looser collective.
Their latest phase is about turning a decade of uploaded content into catalog and licensing opportunities. The Sidemen Story, their documentary distributed on Netflix, moves part of the business away from platform‑dependent content toward a film‑length asset that can live across territories and windows and sit alongside traditional entertainment IP. For a company built on weekly releases, that type of project functions as a hedge against changes in recommendation systems and ad markets and puts them on the radar of partners who do not normally transact at the YouTube channel level. Around that core, the group continues to run live events, recurring charity matches, and new product launches in food, beverage, and merchandise that do not rely on a single platform to succeed. The result is a creator business that now looks less like an influencer collective and more like a self‑financed entertainment and consumer brand portfolio with seven founders still on screen to market what they own.
