3/12/2024 0 Comments Michael jackson concert soundboardI don't think it leaves room for doubt.Ĭlick to expand.how can you say it's too much? that part of the performance, had such a powerful and important message. I think the only comparison that can prove anything is one between the studio vocals and the Brunei audio, like I posted above. I am again not sure what this comparison can prove. She has also included an update in which she compares the YouTube audio with the audio she uploaded. I find it quite strange that she calls her upload 'indisputable evidence'. I am happy to upload it if someone wants it, though I would not be surprised if there is still an active link in 2000 Watts.ģ. It has been shared on MJ and bootleg forums for a very long time (pretty sure it's more than 10 years at least). In other words, the 'raspiness' is the result of the waveform distortion, not a difference between the two sources or Michael's voice being raspier than usual.Ģ. The YouTube audio actually has the same amount of clipping, but because the volume on it is lower and the bit rate a bit lower, this is less noticeable. ![]() I am almost certain that this is why she thinks she hears more 'raspiness' in her audio. However, the audio she uploaded is clipping badly (basically, the waveform is distorted because the volume was increased too much). I'm 99.9% sure both files are the exact same source actually. She says she hears differences between the YouTube audio and the audio she uploaded. ![]() This is, not coincidentally, also exactly where the studio acapella ends.ġ. In any case, there is no doubt that it is playback right until the final 'hoo', which is noticeably different from the previous 'hoo's'. I corrected for this, but did not spend much time on it, so if the two tracks go ever-so-slightly out of sync that's the reason. This is likely because of a file or tape conversion. ![]() The audio files also did not have the exact same tempo. The only difference you might hear is some additional reverb in the Brunei audio. I just EQ'ed the Brunei audio a bit so that the vocals stand out more. In any case, I made a file with the audio she uploaded panned to the left and the studio acapella (that is, the center channel from the video version on the HIStory Vol II dvd - which explains the LOUD sound effects from the video in it, lol) panned to the right. To be honest I find it rather surprising that someone could think these vocals are live. With the exception of the 'tell me what about it' ad-libs at the end (which have never been disputed and are indeed fantastic), everything is lipsynced. Listen to the difference below.She is wrong. That’s precisely what’s happening in “Thriller”, with the detuned Jupiter-8 pad panned to the right, and the CS-80 sound panned to the right. One of the great things about layering is that you can hard-pan the separate tracks to create a wide stereo sound. The second patch, likely the CS-80, uses a single sawtooth wave for a thinner sound, and the filter is in a lower position than the first patch. Our recreated patch has a small amount of LFO modulation on one of the oscillators to create a lush chorus effect. The first patch, likely the Jupiter-8, uses two detuned sawtooth waves with the filter cutoff around 650 Hz. Despite the heavyweight synths used, the sounds are relatively simple and can be created with any polyphonic synth. ![]() In the book Let’s Make HIStory, Anthony Marinelli says the synths used for the “Thriller” verse pads are a Roland Jupiter 8 and a Yamaha CS-80. Layering can create rich sounds with more depth than a single sound. The warm verse pads on “Thriller” were created by layering two different synths playing the same chords. The team had to work around the clock to complete Thriller on time. Storybook, which Michael Jackson and Quincy Jones were simultaneously working on in the same studio. This tight deadline was compounded by the E.T. The album also featured guest appearances from pop legend Paul McCartney on “The Girl is Mine”, rock guitar virtuoso Eddie Van Halen on “Beat It” and Vincent Price, the ‘King of Horror’, on the title track.Įpic Records wanted the Thriller ready for release in November, just in time for the Thanksgiving shopping season. Many of the big players on Off the Wall returned, including songwriter Rod Temperton, session keyboardists Greg Phillinganes and Michael Boddicker, and the late Bruce Swedien on engineering duties. Thriller was the follow-up to 1979’s Off the Wall, MJ’s first collaboration with producer Quincy Jones, as well as Triumph with The Jacksons, released in 1981.įollowing the Triumph tour, Quincy Jones began to assemble a dream team of musicians and engineers at Westlake Studios, California in August 1982.
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