Michael Jackson

In this clip (time stamp 1:20) Michael Jackson can be seen tracking vocals with Stevie Wonder, Michael is using the Shure SM7B Dynamic Mic to capture his vocal. Tracking engineer is Bruce Swedien.

This is the vocal mic, then known as simply the SM7, that Bruce Swedien used to record Michael Jackson's vocals on Thriller, the best-selling album of all time

Visible in this ca. 1987 photo of Jackson.

In the section of the source URL's page called THEN: "The Vintage Keys of Thriller" by Michael Boddicker, the studio engineers working with MIchael Jackson are said to have used a Synclavier.

Quote: "The “Beat It” digital gong. Tom Bähler played a demo sound that came with his Synclavier — literally a factory patch, right out of the box." Although referred to simply as a "Synclavier", the accompanying image is apparently of a Synclavier II.

In the section of the source URL describing The “Human Nature” signature synth string part, quote:

"That was Steve Porcaro’s track. He used a Yamaha CS-80 with glide (chromatic instead of portamento) at the head — it’s got that nice little CS fuzz around the sound. That fuzz was also part of a multi-layered sound I used for the four-chord basic string vamp on “Billie Jean” — Michael Jackson himself played that part on a CS-80 in one take."

In the section of the article "THEN: The Vintage Keys of Thriller" (by Michael Boddicker) describing the “P.Y.T.” synth noodle that answers the chorus vocal: "

That was a Roland Jupiter-6 “wang bar”-style pitch bend doubled with, and controlling, a Sequential Circuits Prophet-5, thus the sort of smear you can hear on the “wobble” between the top two notes."

In the section of the article “THEN: The Vintage Keys of Thriller” (by Michael Boddicker) included in the source URL describing the “P.Y.T.” synth noodle that answers the chorus vocal: “That was a Roland Jupiter-6 “wang bar”-style pitch bend doubled with, and controlling, a Sequential Circuits Prophet-5, thus the sort of smear you can hear on the “wobble” between the top two notes.”

In the section of the article “THEN: The Vintage Keys of Thriller” (by Michael Boddicker) included in the source URL describing the big synth blasts that begin “Thriller.”: "A Roland Jupiter-8 in double four-voice mode, with the modulation “wheel” opening the filter."

The lush pad on “P.Y.T.” (after Michael sings “I’ll take you there . . .”). It sounds multitracked, but really, it’s not. It’s a singletrack sample of Michael Jackson’s voice, done on an E-mu Emulator I — serial number 1, in fact! We then used this mode the Emulator had where you could sample the sound twice, then detune one of the voices while in “unison” mode. It was recorded with lots of top end added, and Bruce Swedien’s special reverb known as “spit.” Quincy Jones would say, “Sven, put some spit on it!”

The synth basses on “Thriller,” “P.Y.T.,” and “Wanna Be Startin’ Somethin’.” Those were my two Richie Walbourn-modified Minimoogs, set side by side, with engineer Bruce Swedien’s special multiple-mono compression.

In these photos, the king of pop plays the guitar and says that little boy fantasized about becoming the lead guitarist of a rock band.

Singer Michael Jackson on the set of music video 'Scream' 1995, Los Angeles, CA plays the guitar Gibson Flying V.

In the section of the article “THEN: The Vintage Keys of Thriller” (by Michael Boddicker) included in the source URL describing the main comping sound of “Don’t Stop ’Til You Get Enough.” Quote: "Andy Leeds owned an Eddy Reynolds-modified, flat-top Rhodes 88.”

The main comping sound of “Don’t Stop ’Til You Get Enough.” Andy Leeds owned an Eddy Reynolds-modified, flat-top Rhodes 88. This was the same Rhodes used by David Foster and David Paich on so many hit recordings of the ’80s. We put that through my Paul Rivera-modified Roland CE1 chorus.

Don't know the exact model, but apparently he used Sony microphone on Bad Tour...