7 lessons on music-making from a breakfast with BabyfaceThe room was silent during the Breakfast with Babyface session at Warner Chappell Music’s songwriting camp in Las Vegas. When a producer and songwriter with that much prowess talks, you listen closely.
The Grammy-winning musician, real name Kenneth Brian Edmonds, has been in the game since 1977, pioneering the sound of modern R&B as a solo artist and collaborator. He’s created hits for everyone from Madonna, Bobby Brown and Whitney Houston to Ariana Grande, SZA and  , and co-founded the influential LaFace Records.
At the WCM songwriting camp, held in September, Babyface sat down to share the lessons he’s learned over his five-decade career. Whether you’re making music at the highest level or making beats in your bedroom, the artist’s hard-won wisdom will apply to you.
Here are the crucial takeaways from the Breakfast with Babyface interview.
Leave your ego at the door
“Quincy Jones said it a long time ago: Leave your ego at the door. If you do that in any writing session, then you have a much better chance of coming out with something,” says Babyface when asked how to make the most of a collab session.
“Some people walk in with their ego; they think they know exactly how it should be, and they try to control the room. And so nothing comes from it. When I walk into a room, I walk in as an equal. The best idea could come from me, or it could come from someone else. Or I might be able to help them with that idea and take it further. It’s really important to go into [the studio] without an ego and go in there with the idea of collaborating — not just dictating, but actually collaborating.”
Know when to collaborate — and when not to
It’s easy to get excited about working with an artist you admire. But, as Babyface says, sometimes it’s worth taking a step back and asking yourself, ‘Is this really the right partnership?’
When evaluating collaborators, Babyface says he’s “always trying to think of whether I can bring something to the table. I want to walk into the room because I can actually contribute and move it along.”
“Me and Prince talked a couple of times about possibly working together. I was like, ‘What can I do for you?’ [laughs] It was exciting — the idea of walking into a room with Prince — but I want to walk into it and actually get something good. And there have been times when I’ve tried to insert people, and nothing really came out of it. I’m good with that, but I want to believe, before I walk in there, that something actually can happen, or that [we] have an idea and maybe something can happen.”
Keep an open mind about music you might not like at first
“Never put yourself in a box,” says Babyface. “Music is universal, and you should be able to walk into any room and write with anyone at any time, whether it’s pop, country, R&B or any music, period.”
The artist speaks from experience, having worked with artists across numerous genres and achieved success in various scenes. It’s important, he says, to approach all types of music openly.
“You should be able to walk into the room because you love music, and you listen to everything,” he continues. “If something comes on the radio, then I didn’t particularly like it at first, I’d reevaluate it in my head and say, ‘What am I missing on this?’ I’m not gonna hate on this because ‘our music was better back then’. That’s stupid to go on.”
“You’ve got to keep an open mind and understand it’s good to pick up other people’s taste and put that in your arsenal, so to speak. That allows you to walk into any room and write with anyone. You really gotta figure that out.”
Relationships are important, even when making music
Maintaining a positive rapport with artists in and out of the studio is crucial as a producer, especially for creativity. But, just as important is maintaining good relationships with fellow music-makers to ensure more work comes through the door.
“The really good producers who are having success today have good relationships with artists, and they feel comfortable with them,” Babyface explains, after being asked about the vital business skills required as a modern producer.
“If you can build a vibe and make an artist feel comfortable, then you can stay in the room with them. If you come in saying ‘Well, I’ve written this and I’ve written that, and you should just roll with what I say,’ then…You might still see success. But I think the long-term writer-producers last because they create good relationships with people, and because of that, they’re able to walk into many rooms.”
Try to retain your publishing rights
Publishing might be seen as a last step in the music-making process, or even as an afterthought. But, as you grow your career, you might look back — like Babyface — and wish you’d paid more attention to the publishing side of music earlier on and not jumped into unfavourable deals and signings.
“I didn’t do things necessarily right in the beginning, as with most beginning artists,” the producer says.
“I was just excited to have a song on the radio, and didn’t think that it actually turned into money. And I was lucky over the years that I could turn it around, but if I could go back in time, I certainly would have approached things differently and held on to things.”
“At some point, you need the help financially, and you gotta do whatever deal you gotta do. But if you can hold on to [your publishing], the value of what it becomes…it can grow to something amazing.” Babyface looks to Diane Warren as an inspiration in this arena — the American songwriter has always owned 100 per cent of her publishing.
“Try not to take a quick deal for a quick payday. You gotta put it in your mind that what you’re creating, you own it.”
Let yourself move on from your previous success
Getting a hit track is a goal for countless artists. But, sometimes, once that’s achieved, imposter syndrome might set in, and the artist may doubt if they can repeat the success they had. Squash that doubt, says Babyface.
It’s common nowadays for musicians to sell their catalogue, which likely includes their biggest hits and prized tracks. Babyface has heard from several artists who’ve done this and are left wondering whether their best work is behind them. Squash those doubts, Babyface responds.
“Don’t be so stuck on what you’ve done in the past,” he says. “There’s another life beyond what you’ve already done. So many times I’ve had different writers coming to me after [selling their catalogue], saying, ‘Okay, so what do I do now?’ Go write another hit! Dig in, figure it out. You figured it out once, before you can figure it out again.”
Keep the passion
Remember why you started making music, and why you love doing it. Keeping hold of that passion is imperative in staying creative.
“I wasn’t doing music as a business plan or anything. I was just writing songs,” recalls Babyface of his earlier days. “I just love to write songs. When everybody else was out partying or something, I was inside somewhere with a four-track, writing songs because it was fun. That was my idea of partying.
“You get more work done when you really have a lot of passion, as opposed to just doing it for like, ‘Oh, I want to place this song on so and so, so I can make this money.”’ It should be really about the song first. The song should always come first.”
[Editor’s note: These quotes have been edited for brevity and clarity.]
The post 7 lessons on music-making from a breakfast with Babyface appeared first on MusicTech.

Antelope Audio is giving away MG4+, its faithful digital recreation of a classic Series 500 six-band EQAd feature with Antelope Audio.
Antelope Audio has announced that its Native plugins are now available as individual perpetual licenses. Each plugin reflects years of research in analogue modelling and circuit design, capturing the character and depth of studio hardware in a flexible software form that fits seamlessly into any DAW.
To mark the launch, Antelope Audio is offering the MG4+ plugin free of charge. Inspired by a classic Series 500 EQ, MG4+ enhances the original with refined high-frequency control and linear phase operation, delivering smooth detail and uncompromised fidelity.
The Series 500 hardware unit which MG4+ is based upon has found its way onto the records of hundreds of chart-topping artists, with engineers choosing it time and again to achieve a perfectly pristine vocal sound. And here’s your chance to add a digital recreation to your mixing arsenal totally free of charge.
To claim your copy of MG4+, simply follow this link, enter your email address and Antelope Audio will provide you with download instructions. Easy as that!
“The unit that inspired us to create MG4+ is an amalgam of intuitive controls, careful design, and ground-breaking features,” says Antelope.
“Just like the original hardware, our digital reincarnation of this game-changing EQ will yield results as soon as you add it to your FX chain so why wait any longer?”
Antelope Audio’s ever-expanding library of native plugins is rooted in a rich legacy of analogue sound shaped in professional studios. And that heritage lives in every plugin.
Each plugin combines the soul of the hardware that inspired it with the precision of modern digital design. Through faithful emulations of original analogue hardware devices, including pitch correction units, delays, reverbs and distortion, Antelope Audio continues the pursuit that started it all: the timeless craft of perfect sound.
It’s worth noting, too, that if you already own Antelope Audio’s Synergy Core audio interface, buying one of the brand’s Native plugins also unlocks its real-time version, processed via the Synergy Core’s DSP for zero latency rather than your computer’s CPU.
You can explore Antelope Audio’s library of over 75 plugins via its official webstore, and unlock them all instantly with its access-all-areas pass, Antelope Cosmos, which is available on a 14-day free trial.
The post Antelope Audio is giving away MG4+, its faithful digital recreation of a classic Series 500 six-band EQ appeared first on MusicTech.

Opusonix streamlines Mix Review and Collaboration for Modern Producers
Opusonix is a web-based platform (with a free tier) designed to simplify mix reviews, client collaboration, and project management for producers and audio engineers. At its core, Opusonix brings all the moving parts of a typical mix project, like audio tracks, feedback, revisions, and task lists, into a single, organized workspace. So, if you’re working [...]
View post: Opusonix streamlines Mix Review and Collaboration for Modern Producers

Wes Audio unveil the ng78 The latest arrival to Wes Audio's Next Generation outboard range introduces a stereo FET compressor based on the 1178.

Antelope Audio launches individual plugin licenses and gives away MG4+ EQ for free
Antelope Audio has officially introduced individual perpetual licenses for its Antelope Audio Native plugin range, marking a new chapter for the company’s software ecosystem. To celebrate, the developer is offering the MG4+ EQ plugin as a free download for a limited time. Previously, Antelope Audio’s plugins were primarily tied to its Synergy Core interfaces, where [...]
View post: Antelope Audio launches individual plugin licenses and gives away MG4+ EQ for free

How William Carkeet recorded an organ in a derelict Primark store, then turned it into a plugin“I wanted to get out of my studio,” says William Carkeet of the idea that led to his new EP, prmrk. Having long been drawn to space in music and production, the sound artist, composer and film music editor took a decidedly unique approach: recording a bellow organ in a Primark store that’s been derelict since 2012.

READ MORE: Hybrid music production in 2025: The good, the hard, and the recall

While he mostly performs as one half of art-pop duo Robbie & Mona, and is known for his work with composer Jerskin Fendrix on Yorgos Lanthimos’s movies Kinds of Kindness and Bugonia, Carkeet likes to strip things back when it comes to his own music. “I always want the listener to feel like they’re inside the actual space the music was recorded in,” he adds.
This was certainly true of the decisions that led to him composing prmrk. “I wanted to stick to one simple concept and force myself to find different ways of making that idea interesting,” he says. The new approach felt rewarding to Carkeet because “normally you rely on layers, melodies, bass, beats and plug-ins to make a track engaging, but when you strip all that away, whatever you’re doing has to hold its own”.
Image: Press
With this in mind, he says that creating the five-track EP was an exploration of what he could do with the instrument and the space. “I’m not much of a keys player,” he admits, “so whenever I mess around with instruments or gear, there’s always a big element of experimentation and an approach to make whatever it is not sound like what it is.”
As for the building, Carkeet says that it “chose him”. Not only does he work part-time at the nearby Margate School of Art as their art technician, but his students had been using the second floor of the Primark building as storage during the school’s restoration works. During this time, he also needed to relocate his organ. “I originally moved it out of the school and into the Primark to protect it from the dust, so it was surrounded by a load of building supplies for a while,” he recalls.
Although Carkeet would pop in every now and then to have a play on it, he later decided to put the organ downstairs in the empty ground floor “because it had a huge reverb”. After convincing one of the builders to help him carry it downstairs, he began recording. However, the location presented a number of problems – chief among them “noise that sounded like ghosts running around upstairs”.
Image: Press
This, Carkeet says, made it “a struggle to record when it got dark”, though there were also some challenges during the day. “The space has huge windows and doors opening onto the seafront, so while I was recording, people walking by would peek in, maybe wondering if I was a ghost,” he laughs. With this in mind, he says the recording of the EP “almost turned into a performance piece in itself”.
While there weren’t many technical issues, one “hassle” that Carkeet faced along the way was the cabling. “I didn’t have XLR leads long enough for room mics, so I ended up daisy-chaining loads together to make these super-long cables.” He also found it hard to resist the temptation of adding other elements to the compositions. “I had to stop myself from reopening sessions and tinkering,” he says, adding that he even made a rule where he could only work on the tracks while in the Primark building. Following this restriction meant that he couldn’t sneak in extra layers later on in his studio.
The project also saw Carkeet experiment with low-quality recording and sample rates. “When audio is slowed down and stretched digitally, it starts to introduce artefacts into the audio to replace the missing code,” he explains. Usually, Carkeet considers, these are two things that engineers and producers usually stray away from because they can be “an audible sign of poor quality or imperfections”. However, for this project, it seemed to be the right fit: “this was what I was searching for as it felt like it represented the neglected, degrading structure of the Primark building”.
While it could be inferred that Carkeet is keen to convey a deeper meaning with his prmrk project, he says that’s not the case. “I guess there’s a comment on the state of the UK economy with the decline of the high streets and underfunded councils, but I’m actually trying to stay clear of the obvious political stance it brings up.”
Image: Press
Instead, friends he’s spoken to who grew up in the area have shared with him their “romantic nostalgia” for the building. “Apparently, when it was open, all the teenagers in the area would go on dates to the Primark building.”
Viewing the structure as rare and unique yet “rough round the edges” thanks to graffiti, smashed glass, dead pigeons and mouldy 70s-style carpets, Carkeet also decided to create a DIY reverb plug-in using a frequency sweep of the building.
“It’s basically a digital archive of the space,” he says of prmrk_impulse response — AKA track six of the CD version of the EP (whose front cover includes instructions on how to add the WAV file into a compatible plugin). “So when the building is eventually turned into a bar/restaurant or luxury flats, we’ll still be able to access its sonic environment”.
Intentionally creating sonic imperfections to mirror the building’s dilapidated feel may have been Carkeet’s plan, but the outcome of this technique was never certain.
“There’s no real way of controlling it,” he admits. “You have to give the music over to the ghosts in the code basically,” he adds, referencing the influence that a research project called ‘The Ghost in the MP3’ has had on him over the past few years. “It could sound bad or amazing, but I’m always searching for those unpredictable things in production.”
‘prmrk’ is out now on Spinny Nights
The post How William Carkeet recorded an organ in a derelict Primark store, then turned it into a plugin appeared first on MusicTech.

GRAMMY Winning NYC Jazz Singer/Songwriter/Arranger Makes It WorkThis week, Ari is joined by Grammy-winning jazz singer-songwriter Nicole Zuraitis to discuss her journey through live recording and touring.

Bitwise Solana Staking ETF notches $55M trading volume on debutBitwise’s Solana staking ETF saw $55.4 million on its first day, the highest of all crypto ETFs this year, alongside the launch of Hedera and Litecoin ETFs from Canary Capital.

Waabi unveils autonomous truck made in partnership with VolvoThe move comes as Waabi announced earlier this year that it was partnering with Volvo Autonomous Solutions to build a custom purpose built truck based on Volvo’s auto autonomy platform using Waabi's software stack.

BMI's Inaugural Composer Lab Champions the Next Generation of Composers(L-R, top) Catherine Nguyen, Tan Onwimon, Kaman Chang, BMI’s Louie Stephens, Adam Smalley, BMI’s Tracy McKnight, Thanh Tran, Nathan Barr, Ishaan Chhabra, Ed Shearmur, Peter Golub, Emiliano Mazzenga, Diego Ratto, (L-R, bottom) Kevin Smithers, Ishaan Tyagi, Natasha Frank, Andrew Asemokai, and Sadie Currey during the BMI Composer Lab at Bandrika Studios in Tarzana, CA. Photo credit: JC Olivera for BMI. (Photo credit: JC Olivera for BMI) 

According to an announcement on Tuesdy, "BMI® recently concluded its inaugural Composer Lab, a one-of-a-kind program designed to nurture and uplift the next generation of composers. The two-week online workshop and nine-day in-person intensive in Los Angeles brought together ten exceptional emerging composers for an immersive experience led by acclaimed composer and former director of the Sundance Film Music Program Peter Golub, and BMI’s VP of Film, TV & Visual Media Tracy McKnight."

"Over the course of the program, the finalists experienced guest sessions with industry luminaries across film, TV and visual media," a statement reads. "These sessions offered rare behind-the-scenes insights and invaluable mentorship from a roster of industry professionals and BMI composers including Nathan Barr, Kathryn Bostic, Sean Callery, Sherri Chung, George S Clinton, Chanda Dancy, Bryce Dessner, Stephanie Economou, Fil Eisler, Kurt Farquhar, James Newton Howard, Mark Isham, Christopher Lennertz, Nami Melumad, Tony Morales, Blake Neely, Thomas Newman, Carlos Rafael Rivera, William Ross, Ed Shearmur, Rob Simonsen, Dara Taylor and Harry Gregson-Williams.""In addition to these masterclasses, finalists engaged in collaborative scoring exercises and honed their craft in a hands-on creative environment," it continues. "The Lab culminated with a professional orchestral recording session at Nathan Barr’s Bandrika Studios, where finalists had the opportunity to conduct alongside the Hollywood Cinematic Orchestra and record original compositions developed throughout the program."“With the BMI Composer Lab, we set out to create a space where new voices in composition could hone their craft and gain access to the kind of mentorship and resources that are often out of reach,” said McKnight. “Over the course of the lab, we achieved that and so much more. We found that the composers also developed a strong sense of community through collaboration with their peers and the guidance they received from our wonderful mentors, who shared invaluable tools and industry insights to help propel their careers forward.""Through initiatives like the Composer Lab, BMI is proud to champion emerging talent and provide meaningful opportunities that shape the future of music for film, TV and beyond."

The post BMI's Inaugural Composer Lab Champions the Next Generation of Composers first appeared on Music Connection Magazine.

All of Spotify is Out Of Office for its annual Wellness WeekSpotify is in the midst of its annual company-wide Wellness Week October 25 to November 1, 2025. During this time, Spotify employees worldwide are encouraged to take a paid break to focus on their mental health and well-being. 
The post All of Spotify is Out Of Office for its annual Wellness Week appeared first on Hypebot.

Original E39 Head Unit ModernizedAlthough most modern cars have moved to using proprietary components nearly everywhere, especially when it comes to infotainment systems, for a brief moment which peaked in the 90s and 00s most cars shipped with radios that fit in a standard size opening called a DIN slot. If you wanted a new Pioneer or Kenwood stereo it was usually a simple matter to slide the factory radio out and put your choice of aftermarket head unit in its place. [Stefan] has an E39 BMW from this era and wanted to upgrade the factory radio but use the original hardware instead of replacing it.
This isn’t just a simple stereo upgrade either. [Stefan] has gone all-out for this build which he started in 2020. Beginning with a Kotlin/Jetpack Compose Linux application to handle control input from the vehicle’s various knobs and buttons he moved on to a map application and an on-screen keyboard. From there he implemented VGA to send video to the OEM screen, and now has a fully functional system based on a Raspberry Pi. It does everything the original unit can do including playing music and showing the feed from the backup camera, plus adds plenty of new, modern features like Bluetooth.
For a certain classic car enthusiast, this build hits a sweet spot of modernizing a true classic like the E39 without removing or permanently modifying any OEM components. The amount of work that went into it is pretty staggering as well, with [Stephan] putting in over 100 hours of work just to get the video signal timing correct. We also like it because it reminds us of the flash-in-the-pan “carputer” trend from the late 00s where people in the pre-smartphone age were shoving all kinds of computing horsepower in their trunks.

forward audio faIR Progressive MetalUnleash the Complexity of Progressive Metal. The 'faIR – Progressive Metal' impulse response (IR) pack is meticulously engineered to capture the intricate dynamics and technical sophistication that progressive metal demands. Designed for the architects of complex soundscapes, this IR pack is your gateway to unlocking the nuanced tones and expansive sonic palette found in progressive metal's ever-evolving landscape. Whether you're crafting ethereal clean passages or delivering crushing, polyrhythmic riffs, 'faIR – Progressive Metal' equips you with the sonic versatility to create emotionally compelling and technically precise tracks. Super Blends: The Evolution of Progressive Sound. At the heart of 'faIR – Progressive Metal' lies the revolutionary 'Super Blends' concept — a carefully curated collection of IRs designed to embody the dynamic range, clarity, and expressive depth essential for progressive music. These Super Blends are created using blends of anywhere from two to four, and sometimes even a dozen, strategically positioned microphones to capture the multifaceted personality of legendary progressive cabinets. Each IR is engineered to maintain crystal-clear articulation through complex compositions, delivering the emotional punch that progressive metal's dynamic sections demand. Revolutionary Progressive Tone Crafting. 'faIR – Progressive Metal' sets a new standard by offering a premium selection of tones, meticulously captured from the industry's most revered microphones and cabinets. Experience everything from the precision of the Shure SM57, the detailed nuance of the AKG C414, to the commanding presence of the Sennheiser MD421. This pack features the focused power of the Mesa 4×12 Rectifier, articulate Marshall 1960AV response, and clear definition from Engl cabinets — all driven by Celestion Vintage 30 (UK Made) speakers, renowned for their dynamic range and tonal versatility. Whether you're dialing in ambient cleans or tech-metal ferocity, this pack provides unmatched flexibility and quality, opening up a landscape of progressive tones built for modern players. Read More

Suno, in talks to raise $100m at a $2bn valuation, just released its most advanced free AI music tool yetSuno’s rapid sequence of updates and new products highlights the growing competition among AI music-making platforms
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Auburn Sounds releases Selene, a versatile FREE algorithmic reverb plugin
Auburn Sounds is a developer we’ve covered multiple times at BPB, with plugins like Graillon 3 (a vocal pitch correction tool), Inner Pitch (a pitch shifter), and Lens (a spectral multiband compressor/expander). Now, they have released Selene, a free algorithmic reverb plugin for macOS, Windows, and Linux. Selene, a versatile algorithmic reverb plugin, is the [...]
View post: Auburn Sounds releases Selene, a versatile FREE algorithmic reverb plugin