contatti
Jackson treated his vocals as a complex percussive and melodic layer rather than just a delivery system for lyrics.
: To keep the "punch" of the rhythm section, Swedien would record the drums on a 24-track tape and then put it away, never playing it again until the final mix. This prevented the tape from wearing down and losing high-frequency detail during months of overdubbing.
: Unlike standard practices of the time, Swedien recorded almost every sound source—from vocals to synthesizers—on pairs of tracks to maintain a natural, wide stereo field.
: Swedien famously avoided over-compressing Jackson's music, believing it "sucked out the excitement". He preferred using automation and subtle gain adjustments to maintain the dynamic life of the audio. The Voice as an Instrument
Jackson treated his vocals as a complex percussive and melodic layer rather than just a delivery system for lyrics.
: To keep the "punch" of the rhythm section, Swedien would record the drums on a 24-track tape and then put it away, never playing it again until the final mix. This prevented the tape from wearing down and losing high-frequency detail during months of overdubbing. Micheal Jackson Audio
: Unlike standard practices of the time, Swedien recorded almost every sound source—from vocals to synthesizers—on pairs of tracks to maintain a natural, wide stereo field. Jackson treated his vocals as a complex percussive
: Swedien famously avoided over-compressing Jackson's music, believing it "sucked out the excitement". He preferred using automation and subtle gain adjustments to maintain the dynamic life of the audio. The Voice as an Instrument : Unlike standard practices of the time, Swedien