Milos Betko started to work as a recording supervisor in 1992. As an employee of the Slovak Radio he recorded plenty of compositions with the Big Band Radio Bratislava, Radio Folk Instruments Orchestra and Slovak Radio Children’s Chorus. He contributed towards the release of 8 CDs anthology of the Slovak mainstream popular songs just as a numerous singles of young bands and singers. For the radio purposes he also recorded a great deal of the incidental and scenical music. On the field of classical music he produced a lot of premiere recordings of the Slovak contemporary chamber music.

In 1994 he started to work as a freelance recording supervisor and orchestral and film music became his principal line. He have recorded about 120 CDs and almost 50 movies for more than 90 record labels and film production companies with large number of symphony and chamber orchestras, choruses, ensembles and more than 170 highly professional soloists (almost all kind of instruments and singers), conducted by nearly 50 conductors from all over the world.
He recorded music by more than 300 composers of all styles and genres. Classical music - from early music to the contemporary and experimental music, church music, vocal music, opera, operetta, film music, movie soundtracks, game music, up to the music for commercial spots.

He has recorded in many kind of halls, from the professional recording studios and concert halls, through the various types of theatres, up to the churches and castle rooms cross the Slovakia, Czech Republic, Austria and France. He collaborated with a number of sound engineers and he is familiarized with the recording technologies from magnetic tape through the HD multichannel systems, just as various editing softwares. 
At present he edit all the recorded music himself at his ProTools home studio.

Himself a composer, Milos Betko deeply understand other composer’s ideas, questions of scores writing and problems of their style interpretation, so, he knows how to get things from a score. As a violinist he very well knows the matters concerned to the execution of all stringed instruments which created the bone of an orchestra. He is acquainted with the psycho-physiological processes present at the recording sessions and he is able to lead musicians towards their top performances. His minutely work during the post-production phase (listening, editing, mixing, sound finalizing) effect the forcing-out the maximum of the recorded material.
He is targeted at the pure intonation, precise rhythm and perfect sound balance because these are the essential ingredients of what is called ‘music expression’.

His stern professional motto is: “If there is the only take of a section of music recorded – we can only hope that it's usable. If there are two takes of the same section – one of them is usually better. If we have three – one should be the best. And finally, if we have four takes – there is a justified hope that one of them is really good.”