Milan Beker helped record Big Sean’s most vulnerable album yet and Nicki Minaj’s Megan Thee Stallion diss
Milan Beker knows all too well how good work leads to more work. The accomplished engineer/producer has helped record most of Big Sean’s latest album, Better Me Than You; parts of Metro Boomin’s NOT ALL HEROES WEAR CAPES, and Nicki Minaj’s scathing Megan Thee Stallion diss song, “Big Foot” because his name carries weight in the music industry.
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“I literally went straight to [Nicki Minaj’s] house from whatever coffee shop I was at. It was a great experience. I can't say enough good things about Nicki,” Beker tells REVOLT. “When she met me for the first time, she told me I was only the second person to record her in the last eight years.”
In this installment of “Studio Sessions,” the engineer/producer explains how working with Rich the Kid turned into an 18-hour recording marathon, how he helped Big Sean lay down his most vulnerable music on Better Me Than You, and what it’s like having sessions at Nicki Minaj’s home. Get into the exclusive chat below.
What was your first recording session with a major label artist?
It was an 18-hour session for Rich the Kid at the old Interscope studio, also known as No Excuses Studios. I was a runner at the time and came in with the intention of just being a runner. They couldn't find an engineer, and I was thrown into the session at the last minute. I had to just get ready and put all my skills to use. It was tough because no one tells you it's going to last for 18 hours.
After Rich the Kid, you connected with Metro Boomin for the NOT ALL HEROES WEAR CAPES album. How did that happen?
I got connected to Metro through his security guard, Flea. He met me in the kitchen, found out I went to Berklee College of Music, and we got to talking. He learned I played the keys, recorded me playing the piano, and sent it to Metro. Metro liked it and invited me in. Our energies matched, and I was very blessed to be a part of some of those final sessions for the album. I worked on songs like “Overdue” featuring Travis Scott. I also worked on “Ready” with Lil Baby and Gunna, but that ended up on Lil Baby’s Street Gossip album.
One of the most impressive things I saw Metro do was be relentless in seeking inspiration. I remember working late on a Saturday night — it was about 5:00 a.m. LA time — and he ended up scrolling through radio stations playing church sermons because it was 8:00 a.m. on the East Coast. I had never seen that before. He hooked it up so he could record a portion of whatever he wanted right in FL (Fruity Loops). It was really cool to be a fly on the wall for that.
What skills have earned you the trust of artists like Metro Boomin and Rich the Kid?
I always prioritize being likable and maintaining being a cool hang in the studio. I can sense the energy in the room. I know when to say something and when to just hang back and vibe out. When it’s time to do my thing — recording or producing — I make sure I do everything to the best of my ability.
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Looking through your credits, one unexpected song you recorded was Nicki Minaj’s “Big Foot.” How in the world did you find yourself in that situation?
It was a Saturday morning, and I had planned to take the day off from the studio. I had absolutely nothing to do. Then I got a call from her A&R, Josh Berkman, who I know pretty well. Her engineer was unavailable, which was rare because they're very close and always work together. Josh asked if I was available to go to Nicki's house. I said, “Of course” and went straight there from the coffee shop I was at.
It was a great experience. I can't say enough good things about Nicki. She was very friendly. When she met me, she told me I was only the second person to record her in the last eight years. It was the only diss track I’ve ever worked on, so the energy was more aggressive. It was impressive seeing her write everything, come up with everything and really take the lead on how she wanted the sound and the record to turn out.
How does Nicki’s home studio compare to commercial studios?
Obviously, it's not the same as coming into a commercial space. I believe it was a guest house or pool house converted into a studio space. I definitely felt like a guest in her space and just wanted to make sure everything worked for what we were trying to achieve.
You recorded a big chunk of Big Sean’s newest album, Better Me Than You. He must’ve really respected your work ethic to bring you into the making of his most personal LP.
I first met Sean during a session with ATL Jacob at Republic Studios. Sean came by to work on some music, and I expected him to bring his own engineer. But he came alone, and I ended up recording him. He asked me a few questions about where I was from, my background, and stuff like that. I totally did not think anything of it. I was just being super friendly. At the end of the session, he came up to me and said, “I really like your energy. Maybe we can work in the future.” I think that was a Friday. The following Monday morning, I got a text that they booked Westlake Studio D, which is one of the best studios in the city. They wanted to see if I was available. That was a surreal moment for me.
I knew right away we were working on the album. When I started with him, it was October 2022, and he told me he was 60 percent done (laughs). “Precision” has been there for a very long time. “Typecast” was also one of the songs that was on the tracklist for a while. I think the first pass at “Precision” was recorded in 2021 by his other engineer, Tom Kahre. It has definitely been years in the making. There were a few songs that stayed from 2021/2022, but maybe half of the album was done this year.
Did Sean work with guest artists in the studio?
Kodak Black came to Sean’s house to record. It was a great experience working with him and meeting his team. The tones of his and Sean’s voices are different, and their processes are different. I wouldn't take the same approach with Kodak as I do with Sean just because they're different people and may have different expectations of how they want to sound. Kodak, in particular, is very particular about effects and how he sounds. He doesn't really like a lot of changes.
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What’s a typical session with Sean like?
It all depends on what we were working on any given day. I have a template ready if he just wants to go in and record something new as opposed to a lot of the later sessions. Those were really editing sessions where I'd open up songs that were worked on. It's usually very free flowing with him. He's really good about making sure that the energy is right in the room, and that whatever we're doing always feels like it's an open environment to make the music the best that it can be. He has never been afraid to go down an unfamiliar road or take someone's opinion. He's always willing to try everything. He's willing to take any avenue to see whether or not that can make the song better.
Has his self-care and holistic lifestyle influenced sessions?
Sean always brings that mindset into the studio. The energy is always positive, and if there’s something off, like the wrong vibe on TV, we change it. Sean’s such a big fan of “Dragon Ball Z” and anime, so we'll definitely have a crazy anime up there.
This is Sean’s most personal album. How heavy were the sessions for songs like “Black Void”?
It was very heavy. This is a person who has had such an incredible career filled with so much; I’m sure he carries so much day in and day out, and music is his outlet. The music is his outlet to really open up about whatever he wants to talk about. As an engineer, my job is to facilitate whatever's going on. If it's getting really heavy, I just fall back and let it happen. That's so important.
What are your plans for the rest of 2024?
I want to keep moving forward with what I’m doing. We have more music coming out. We have a deluxe on the way. Hopefully, we have new music on the way. I'm always trying to find new stuff to work on.
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