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.

The Snare Drum in Michael Jackson's 'Billie Jean' & Jenniffer Lopez 'Still' by Bruce Swedien

Visible in this ca. 1987 photo of Jackson.

Bruce Swedien owned Two Vintage Original Telefunken 251 E - one is pictured in the Bad Sessions Movie being used by Stevie Wonder while MJ was on the SM7 'Just Good Friends' but this Mic was used by MJ on 'Another Part Of Me' 'We Are The World' & a number of MJ's Lead Vocals - It was one of his most used & popular Lead Vocal Mics

MJ used the M149 from time to time - Bruce owns a Pair of them & loves them on Vocals & Choirs etc

MJ had a Telefunken (AKG) C12 Mic in his Neverland Home Studio - Bruce also owns a Pair & this Mic was used from time to time on MJs Vocals - also on the Choir of 'We Are The World'

Bruce Swedien owns a Pair of Neumann M49's & used one of them on Michael Jackson's Lead Vocal on 'Earth Song' & Bruce Swedien's Pair of M49's on the Choir of 'Man In The Mirror'

Steve Hodge Head Engineer for Jimmy Jam & Terry Lewis (Flyte Tyme Studios) Tracked the Vocals of Janet Jackson (Various) AKG C12 & Michael Jackson AKG The Tube on Duo Song 'SCREAM' from the HIStory Album

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.”

When Noel Lee brought in his New 'Cable' Bruce Swedien was a bit Sceptical - But after hearing the whole Studio Line replaced with Studio Pro 1000 Cable both Bruce Swedien, Michael Jackson & Quincy Jones were all blown away with the impact & it was decided to Record, Mix & Master the whole Album on Studio Pro 1000 Monster Cable - That was the 'Bad' Album & MJ kept that as his Standard forever after on ALL Albums until his death - I personally only seen Studio Pro 100 Monster Mic Cable, Patch Cable, Instrument Cable & some old Beldon Cables in Bruce Swedien's Private Studio

Bruce Swedien & MJ used Apogee Conversion on the last Michael Jackson 'Invincible' Album

Bruce Swedien would often use a SSL G Desk to compile everything (excessive stereo tracks / drums etc) for the Drum PreAmps & Automation of the First Generation RAW Mix

It is well known that since the 1980's Bruce Swedien does all his Final Stems Mixes & compile on his Own Favorite Harrision 32C Desk - In his private home studio West Viking he uses this desk for everything - All of Michael Jacksons Music (Post 1980s) was done on the Harrison Desk although inital tracking & compiling may have been on usually an SSL or Neve Desk

Violas and Cellos in Michael Jackson's 'Billie Jean'

When Noel Lee brought in his New 'Cable' Bruce Swedien was a bit Sceptical - But after hearing the whole Studio Line replaced with Studio Pro 1000 Cable both Bruce Swedien, Michael Jackson & Quincy Jones were all blown away with the impact & it was decided to Record, Mix & Master the whole Album on Studio Pro 1000 Monster Cable - That was the 'Bad' Album & MJ kept that as his Standard forever after on ALL Albums until his death

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...