As some of us know, Thriller was actually officially mixed in 5.1 in 2001 for SACD, however instead, Sony gives us the worst sounding SACD mix of Thriller which even non MJ fans consider the worst sounding SACD ever released. Sony Pictures has similar issues with the release of The Fifth Element however Sony released a revised version. So why dont they do this with Thriller which is of greater importance than The Fifth Element. Sony should release Thriller 5.1 on Blu Ray. However they should do the 5.1 mix again because when Thriller was initially mixed in 5.1, it was during the infancy of 5.1. It would be great if Bruce Swedien mixed Thriller in 5.1, however Bruce is not into 5.1 mixing. From what I can establish form the article below, Michael had the artist's approval clause in his contract that stipulates that Michael can veto what Sony want to release.

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Going by the below article, Sony have spent millions mixing Michales albums in 5.1. Seems there were arguments as to whether Thriller should be left as is or mixed in 5.1, it appears that Michael was against the 5.1 and vetoed its released. Being that Michael was fighting with Mottola at the time and Mottola was one person who requested the 5.1 mix against Michael's wishes just added fuel to their feud. Mick Guzauski who mixed Thriller in 5.1 mixed the previously-unreleased 'For All Time' for T25. We all know cover-ups are occurring everyday, with the CIA, the FBI, the military andMichael Jackson?

You better believe it. With the 25th anniversary of Thriller past, it may seem surprising that no 5.1 surround version of one of the greatest albums of all time has ever been released — especially because the 6-channel mix for much of the album has been in existence since 2001. The intrigue began seven years ago, when mixer Mick Guzauski (www.jdmanagement.com (got a call from Tommy Mottola and Al Smith at Sony Records: Would he be interested in doing a surround mix of the Quincy Jones-produced Thriller — the album that has sold an estimated 100 million copies and won seven Grammys? “I said, ‘Yeah!’” Guzuaski recalls.

“Thriller has great production, great music, great parts. I thought something like that could really work in 5.1.” Early on, however, Guzauski got the feeling that things might not move smoothly for Thriller. “There were arguments going on within Sony,” he says. “Some people thought strongly that it should be left as is and not mixed in surround, and some thought that it should.

While that was going on, there were all the well-publicized problems between Michael and Tommy, and Michael and the law.” Nonetheless, later in the year, Guzauski's Lawrence Swist-designed Barking Doctor Recording studio (Mount Kisco, N.Y.) received a prized shipment in the form of the raw Thriller sessions, transferred from 30 ips analog to Sony 3348 48k/24-bit digital tape. Working with his longtime assistant Tom Bender (Thriller engineer/stereo mixer Bruce Swedien was invited but was unavailable), Guzauski hunkered down behind his Sony Oxford console and got to work on converting Thriller from stereo to multichannel. “The approach wasn't to change anything,” he explains. “Bruce did an incredible job recording that album. Naturally, [my approach] is going to be a little different — different studio and different mixer — but I wanted to give the album a little more space to live in while staying true to the original mixes.” Mixing down to six tracks in Pro Tools, Guzauski began to sink his teeth into the hits that make up Thriller, giving the surround treatment to “Billie Jean,” “Thriller,” “The Girl Is Mine,” “Baby Be Mine,” “Wanna Be Startin' Something” and “Beat It.” “The appeal of surround is there's so much more space to place stuff in,” says Guzauski. “Where Thriller benefited most from this was mainly in the vocal arrangements. There are so many cool things in the background that didn't draw your attention in the stereo mix, but really helped in 5.1.

“The song ‘Thriller’ gave us the most opportunity to be expressive with the surround soundfield: the door slamming, the guy walking around — all the effects there were fabulous.” Listening on five Tannoy SRM 10B monitors and a JBL subwoofer, Guzauski reached mostly for outboard gear such as his EMT 140 plate, Sony DRE777 and Eventide SP2016 reverbs. “There actually weren't a lot of reverbs and delays on that record,” he observes. “Michael's vocals were very well-recorded, so there wasn't any dynamics correction needed. It was just finding the balance and positioning, and getting it to fit in the mix.” Into 2002 and in the middle of mixing “Beat It,” Guzauski got another call from Sony. “They put a hold on it,” he reports, “and said, ‘We don't know if we're going to finish it.’ They said they'd restart it several times, but the last time was in 2004, when I got a call saying, ‘We want to finish Thriller. What would it cost?’ Two hours later, it came on the news that Michael's Neverland ranch had been raided for a second time. That's the last I heard about it.” In the wake of label infighting, legal wrangling and Jackson's personal problems, the only place in the world to hear true 5.1 surround mixes of Thriller is sitting next to Guzauski at Barking Doctor.

“It's one of the most classic records ever made,” he says, “and it works great in 5.1. I just know a lot of people would love to hear it like that.” If a great mix truly contributes to the commercial fortunes of a record, then Mick Guzauski has got to be the King Midas of pop music. By a recent count, he had mixed 27 Number One singles by such artists as LeAnn Rimes, Eric Clapton, Mariah Carey, Earth, Wind & Fire and Boyz II Men. And that's just the tip of the iceberg. Factor in the artists Guzauski has worked with who didn't happen to peak at Number One, and you've got names like Kiss, Aaliyah, Kirk Franklin, Whitney Houston, Jennifer Lopez, Quincy Jones, Britney Spears, Joan Jett, Talking Heads, Barbra Streisand and many more. Given Guzauski's impressive track record, it's no surprise that the self-proclaimed King of Pop himself — Michael Jackson — called on the veteran engineer to mix the 5.1 channel version of his 1982 masterpiece Thriller, still the best-selling album of all time. Without a firm deadline or a specific release plan for the new version of that classic LP, Guzauski has been able to approach it at a leisurely clip, starting with two mixes (“Wanna Be Startin' Somethin'” and “Billie Jean”), then moving on to other projects and eventually returning to Thriller.

We caught up with Guzauski at his Barking Doctor studio in Mt. Kisco, N.Y., just after he had completed those two mixes.

He seemed to take great pleasure in playing them for visitors, while also talking about some of the other work he has been doing recently. For Thriller, Guzauski had transferred the original analog masters — which were on two synchronized reels of Scotch 2-inch tape — to 24-bit DASH reels, using the converters on his Sony Oxford digital console to feed his Sony 3348HR multitrack. Once in the digital domain, the tracks were mixed through the Oxford, using a minimum amount of outboard processing, and recorded to six channels of Pro Tools via the AES/EBU outputs of the Oxford, which fed the Digidesign 888 24 Pro Tools interface. Guzauski also transferred the original version of Thriller onto the same Pro Tools session that contained the multichannel information. This allowed him to refer quickly to the 2-track master as a template for how to do the surround mix.

“I really wanted to respect what Michael did,” he says. In addition, the stereo version gave Guzauski a roadmap for the edits that were done on the original master so that he could duplicate them in the Pro Tools domain. With a dedicated surround mix matrix and panning joysticks, the Oxford is made to order for multichannel mixing, according to Guzauski. “It's set up pretty much so that you can go into the multichannel mix mode, in which case every channel feeds the multitrack buses, and you can pan to 5.1 or 7.1 channels,” he explains. “Panning is easy. There's a divergence control and a sublevel control on every channel. The console is made for 5.1, so you don't have to resort to a makeshift method.

You can concentrate on the mix rather than, ‘How do I bus this to make it do this?’” Rather than start with a stereo mix and then pan elements to the rear channels, Guzauski tried to conceive of his Thriller mix as a multichannel experience from the ground up. “I thought to myself, ‘Now that I have the space to put things in, where do I put them?’” he recalls. “I didn't do any live panning or movement right away, but I basically tried to set up a nice sound field, starting with the center and building out.” The center channel in Guzauski's Thriller mixes consists of kick drum, snare, bass and lead vocal, with different degrees of divergence into the front side speakers for each of those elements.

“In the case of music with a lot of punch, like Thriller, it's nice to have three [front] speakers to do that with,” he says. The subwoofer channel predominantly contains kick and bass, sometimes with a small amount of added subharmonic synthesis from a dbx 120X Subharmonic Synthesizer, according to Guzauski. Among the outboard effects he used for the mixes are two Sony 777 sampling reverbs, an Eventide SP2016, a TC Electronic 3000S effects processor, a Sony V-77 and an EMT 140 plate. He also used Distressor dynamics processors and Drawmer analog gates on some signals. Ironically, Guzauski had not done much multichannel mixing when he got the call to do Thriller.

His surround experience was limited to a couple of quad albums in the late ’70s and a few experimental 5.1 mixes in his studio. Undeterred by his lack of experience and not intimidated by the prospect of working with Jackson (after all, Guzauski has worked with virtually every pop star other than Jackson), the award-winning engineer took on the project with the same level of gusto he applies to all his endeavors. “I just thought it would be fun,” he says. “I was planning to get into doing 5.1 mixes, so I had collected three pairs of Tannoy SRM-10Bs, which I love. I hadn't set them up yet when I got the call to do Thriller, so we set them up and listened. [Sony Music Studios VP of engineering] David Smith came down with a real-time analyzer and the room measured very well, so we kept it that way.” Asked if his quad experience was relevant to Thriller, Guzauski says, “Not at all.

The quad mixes I did [for jazz artist Chuck Mangione] were designed to try to create a natural front-to-rear ambience of an orchestra in a room, rather than using it for effects. On the other hand, Thriller lends itself to being creative. There's a lot of movement in the music. You can really choreograph the sound.” Although Thriller was not recorded with surround mixing in mind, the disposition of the original multitracks worked well in a circular medium, Guzauski says. “All the elements are there to spread out,” he says, adding that producer Quincy Jones and engineer Bruce Swedien “did a great job recording [the album]. The parts that work well in the rear aren't married to the elements that are in the front. It's not so much that each sound has multichannel ambience on it, because it doesn't.

It's more about movement and choreography than a live performance in the hall.” As he proceeds with the surround mixes for Thriller, Guzauski has a few other 5.1 channel projects to add to his schedule: the Eric Clapton/B.B. King album Riding With the King and Clapton's latest solo project, Reptile, both of which Guzauski mixed in stereo. Now that he has enough perspective on surround mixing to compare it to stereo, Guzauski offers the following comparison between the two arts: “I find 5.1 easier. You don't have as much competition for available space. If you're doing a stereo mix and it's complex, you have to carve around stuff frequency-wise, reverb-wise and level-wise. In 5.1, you have that much more space for placement.

You can move stuff out of the way for something else.” If anyone should know about frequencies, levels, reverbs and placement, it's Guzauski. He's got the hits to prove it. SE 2002 SACD Review: Michel Jackson’s Thriller is the defining album of mainstream pop music in the 1980s. Produced by the legendary Quincy Jones, Thriller literally wrote a new playbook for what it takes to create a great pop record from then on. To this day, Thriller stands as the largest-selling pop record of all time, with over 47 million copies sold, although Jackson’s fall from popularity (to put it politely) has allowed country singer Garth Brooks to take over the title of “the best-selling artist of all time.” With the format war between DVD-Audio and Sony’s SACD raging on, titles like Thriller give cause for music lovers and audiophiles alike to give SACD a shot. While this stereo SACD is not a hybrid title (meaning it cannot play on a CD player at all), it is frequently one of the first discs people pick up when getting into SACD. I was no exception.

My first trip to Tower Records on Sunset Boulevard in Hollywood was complete with the purchase of Thriller, among other high-profile SACD titles. What I heard when I got home was nothing short of heartbreaking. The sound of the remastered SACD had some improvements over the 16-bit CD in terms of openness in the height and width of the soundstage, but the bass was seemingly missing from the mix. Other SACDs were better in terms of bass, notably Dave Brubeck’s classic Time Out and Joe Satriani’s Strange Beautiful Music. The highs were thin and edgy, even compared to Thriller on CD on the same transport, through the same DACs and the same AV preamp.

To say I was disappointed would be to put it too mildly. I felt sold out and left wondering if ***** actually ever heard the SACD of Thriller before it was released. If so, and if he approved it, you might make the argument that he has had plastic surgery on his ears and can no longer hear what I consider to be the smooth, dynamic and present sound that I expect from a cutting-edge new audio format like SACD. Musically and creatively, Thriller is as good as it gets in the pop genre. You know the hits, because the record is almost exclusively comprised of them. The concept of the celebrity duet is in full effect with “The Girl is Mine,” with Jackson fighting it out over a girl with Paul McCartney.

Music industry lore states it was during the recording of Thriller that McCartney, one of the wealthiest people in all of music thanks to music publishing, taught Jackson about the profitability of owning music publishing catalogs. Soon after Thriller became a hit record, the likes of which no one had ever seen before, Jackson got himself in the bidding for the early Beatles catalog. McCartney had plenty of cash at the time to make the acquisition, but thought he was bidding directly against Yoko Ono, not his music publishing prodigy Jackson. In the end, it was Jackson who landed the Beatles publishing rights, which is pretty much of an evergreen of an investment. It is also rumored that he recently put up his Beatles catalog as collateral with Sony Music versus the incredible promotional budget needed to promote his last flop of a record from 2001, ironically entitled Invincible.

Part of the incredible success of Thriller was the newly-developed power of MTV and no song more than the title track of Thriller made a greater impact on the network, even to this day. The John Landis-directed video, the Vincent Price narration and an infectious backbeat make for an all-time great pop song.

Unfortunately, SACD doesn’t (or hasn’t to date) offered videos as an added value, unlike the competing format DVD-Audio. A version of the uncut video and/or “The Making of Thriller” video would have greatly added to the value of the Thriller SACD for those with SACD players that have any kind of video outputs, which many do. An even better pop song than “Thriller” is “Beat It,” which is a pretty soft political statement about gang violence.

It was more about the video and its “West Side Story”-inspired choreography. More Jackson lore comes into play on “Beat It” with the Eddie Van Halen’s guitar solo. As a (terrible) guitarist myself, it is my opinion that Eddie Van Halen is the only guitarist second only to the immortal Jimi Hendrix on the list of all-time greatest to ever play the instrument.

His solo, rumored to have been amazingly recorded in one take, is my favorite Eddie Van Halen solo of all time, including those on all of the studio Van Halen records. “Billie Jean” is one of the biggest sonic disappointments on the record. While the tune musically is so very tight with a truly solid beat and melodies that pass the test of time, the audio on the SACD sounded even shriller than the CD. The tone of the high hat is more lively on the SACD but definitely more bright and thin. This was a particular disappointment to AudioRevolution.com music editor Bryan Dailey, who actually studied with Billie Jean drummer Ndugu Chancler.

The mids on the tune are more open on the SACD, but the bass is better on the CD. I demand more from a high-resolution audio format with a specific mix designed to sound great on a dedicated player. The unsung hero on Thriller is “P. The Amazing Spider Man Game Rhino Dlc Management. Y.T (Pretty Young Thing).” Without any kind of political statement, this neat little pop track has a tight bass line that accents a great Jackson vocal performance.

Sampled and effects-laden backup vocals make up the rest of the sonic picture on “P.Y.T.,” but the shrillness of the high hat and cymbals were tough for me to take. It pains me to not be able to rave about the audio quality of Thriller on SACD. It is deserving of the ultra-rare 10 on a scale of 1 to 10 for performance. Its 3 for sound is about as low as I can remember giving to any record on any format.

That is how disappointed I am in the way this title sounds. I have heard much better recordings, both newer and older than Thriller, on SACD and expect more from such an important record.

I urge you not to judge SACD on one listen to Thriller in this format. SACD can do better sonically. These quotes are a fantastic read, using the information provided I think its possible to mix you're own Thriller 5.1 that will have a similar sound, again Mick didn't use the acapella solely on the centre channel so even if it was released an Acapella would still contain the drums, bass etc. Which is basically what I can get with a HQ.wav stereo rip after extracting, also the song Thriller is hard panned especially the effects, taking a rip from the widest stereo you can elimate nearly all the bass, drums and Michael, at the beginning being left with only the Michael howling ha ha. There are also alot of hidden low frequency bass notes hidden in the outer stereo which cannot be heard very well until the centre is eliminated, they will make you're stereo rumble.

It just goes to show the sheer class that was used in making Thriller the greatest album of all time. Guzauski's 5.1 mix hasn't been heard still as the end of one of the articles makes plain. The article I do have on the 5.1 mix was that it had been completely cancelled with Mick again saying he'd love for the public to hear what he'd done. Given Guzauski's impressive track record, it's no surprise that the self-proclaimed King of Pop himself — Michael Jackson — called on the veteran engineer to mix the 5.1 channel version of his 1982 masterpiece Thriller, still the best-selling album of all time. One of the articles above mentions that it was Michael Jackson who called in Mick to do the 5.1 Thriller mix. And that is correct - it goes something like this.MJ called Mick on board after learning Sony were trying to mix Thriller. The fighting meant Mick's work was never released on the 5.1 mix he'd done, but Sony put out an inferior mix on the SACD.

That's pretty much the story as I've had it since 2002 in a long-ish article which includes quotes from Mick. I should be able to get it in a couple of months - article I mean.

Well Im glad MJ is on board for 5.1 mixing. It means we have hope yet.

I have a few 5.1 DTS Upmix's of Michaels albums uploaded. If you want, PM me. Have Bad, Dangerous, HIStory CD1 & 2 in 5.1 Here is Bad (DTS - 5.1): Downloads are 99mb each, this file has 7 parts 635mb total size.

Below is a tutorial on how to make your own 5.1 Upmix: If you don’t know what DTS is please read on, otherwise you can skip straight to the tutorial. CD’s play music in stereo, which means that there are two audio channels on the disc, left and right. Listen to the beginning of Stranger In Moscow with headphone’s and you’ll notice it. 5.1 systems, use 6 speakers, 3 at the front, (Left, Centre and Right). 2 at the back (Back left and Back right) and the Frequency Effects channel (or LFE for short). There are three methods to utilize all speakers, they are: Dolby Digital DTS Digital Surround (DTS stands for Digital Theatre System and this is the method in this tutorial) Sony Dynamic Digital Sound (SDDS) The main use for DTS is to create the feel that the audio of the music or movie you are watching comes from all around you, if you watch a movie and there’s a cop car chase, you may hear sirens from the left of your living room moving over to the right whilst the rest of the movie plays from the front speakers, it’s designed to put you in the picture. Some artists, (Jean Michael-Jarre and Kraftwork to name a couple) use 5.1 systems to enhance their music and it sounds great.

A DTS Upmix cannot replace the real thing but it’s a decent approximation. A DTS Upmix, is a way of ‘faking it’ – since the original music you’ll be working from comes from a CD which is in stereo so you need to alter the track and ensure the correct alteration is sent to the correct speaker. This normally is to create ambiance at the back, bass from the LFE and main vocals from the centre. One final note on DVD systems, some offer you option to play your CD’s on all the speakers anyway so you may think what’s the point? – If a DVD player does this as an option, what you are getting is the left and right, played normally through all the speakers.

A DTS upmix is intended to give you the original stereo from the front left and right speakers, then utilize the rest of the speakers for what they were intednded for, i.e. Special effects – and this brings the experience to life.

I encourage you try this, once you know how to, it’s actually quite easy and please feel free to ask questions or if you get stuck with something, post here and I’ll do my best to offer help. To create, you will need: 60 minutes (for a newbie) 30 minutes each time there after 4 Gig Free Space (approx) Freerip (www.freerip.com (Goldwave (www.goldwave.com (Surcode DTS Encoder (www.Minnetonkaaudio.com () CD Burning software capable of burning a cue sheet (Nero does it) To test, you will need: 1 Blank CD A 5.1 Speaker system (normally, your 5.1 DVD player but some computers do it) Notes: A) Source Data: Always use an original CD when ripping music, MP3’s, even lossless encoding will not convey the appropriate data that is required for DTS up mixing. When ripping your data, rip to PCM WAV.

B) Wav File Format: When saving the files detailed in this tutorial, you must ALWAYS save them as: Type: 'Wave' and set the file attributes to '16 bit, mono, signed' C) Maxing Volume: (Steps, 8, 9, 17 & 18) – I suggest in this tutorial to increase the volume of your rear speakers to 300% - you may change this depending on your personal preference and room set up, (a smaller room requires less, a larger room requires more, tweaking this option to perfection will come with a few attempts. Special Effects: As you explore Goldwave, you will find other effects that you can play around with, what is mentioned in this tutorial are how to get the Oops channels (Steps 7 and 15).

The Oops channel is intended to create background 'ambience' however after exploring you may wish to create funky effects in place of ambience. Remember, that whatever effect you create you should be aware that the volume should not drown out the volume from the front left, right and centre speakers. Rip your CD (to WAV (one complete wav file) and name it Master. Be sure to create a cue sheet ( your software should be able to do this) otherwise you won’t be able to burn it to disc effectively. Open master.wav in Goldwave; 03. Click 'Edit', 'Channel' 'Left' 04.

Click 'File', 'Save Selection As.' And name the file 'left_front'. (Remember Note B) 05.

On the Goldwave toolbar, click 'Edit', 'Channel'; 'Right'. 'File', 'Save Selection As.' And name the file 'right_front'.

(Remember Note B) 07. 'Effects' and then 'Invert'; 08. Click the maximise button (wait for the scan to finish) 09. Change the maximum volume to 300% (Either use the slider or enter 9.6 dB) (Remember Note C) 10.

Click on 'Edit', 'Channel' and 'Both'. 'File', 'Save Selection As.'

And name the file 'right_Surr'. (Remember Note B) 12. 'File' and 'Close' 13. Open the original master 14.

'Edit', 'Channel'; 'Left'. 'Effects' and then 'Invert'; 16. Click the maximise button (wait for the scan to finish) 17. Change the maximum volume to 300% (Either use the slider or enter 9.6 dB) (Remember Note C) 18. Click on 'Edit', 'Channel' and 'Both'.

Click 'File', 'Save Selection As.' And name the file 'left_Surr'. (Remember Note B) 19. 'File' and 'Close' 20.

Open the original master. Click 'Low/Highpass' button (on the top toolbar) 22. In the Filter options, click the Dynamic radio button and choose 'Lowpass' filtering 23. Change the initial Hz to 80 (2000) and the final Hz to 120 (22050) Change the 'Steepness' to level 5, click OK 24. Click 'File', 'Save Selection As.' And name the file 'SubBass LFE'. Download Free Illbleed Dreamcast Iso Roms.

(Remember Note B) 25. 'File' and 'Close' on the Goldwave toolbar; 26.

Open the original master 27. Click the “Maximise' button (wait for the scan to complete) 28. Adjust the slider to 0.5 and then click 'OK'; 29.

Click the 'Parametric EQ' button 30. Choose the Treble Boost from the 'Presets' option and click ok 31. Click 'File', 'Save Selection As.' And name the file 'centre'.(Remember Note B) Hard Part Over, You now have 7 wav files, the original master, and 6 for the DTS Upmix, if you’re short on space and/or finished with your master, delete it. Open Surcode DTS Encoder 32. Choose the save destination for your DTS Upmix 33. Change the sample rate to match your Wav File (Try 44.1) 34.

Click the icons on the software and select the appropriate wav file 35. Click encode Easy Part Over If you are happy you’ve done all this right, you can delete everything except the new file you’ve just created with Surcode DTS Encoder and the cue sheet you created right at the beginning.

Burning Process 36. Ensure the cue sheet and the new DTS Wave File are in the same folder 37. Open the cue sheet with notepad and ensure the file name of the wav is the same as what the cue sheet says and add the word “WAVE” after it. Your cue sheet probably reads: “FILE 'master.wav'” make sure your DTS Wav file is called Master.wav or change your cue sheet to read “FILE “example.wav” WAVE” 38. Save the cue sheet 39.

Use your burning software to burn the cue sheet to disc, then whack it in your 5.1 system. Remember, when you’ve done one, upload it and share with us.:-).

Well Im glad MJ is on board for 5.1 mixing. It means we have hope yet. I have a few 5.1 DTS Upmix's of Michaels albums uploaded. If you want, PM me. Have Bad, Dangerous, HIStory CD1 & 2 in 5.1 Here is Bad (DTS - 5.1): Downloads are 99mb each, this file has 7 parts 635mb total size. Below is a tutorial on how to make your own 5.1 Upmix: this mix it's your work or original. Here is The Beatles Revolver (5.1 - DTS): 1.

Taxman 2:35 2. Eleanor Rigby 2:04 3. I'm Only Sleeping 2:57 4.

Love You To 2:57 5. Here, There and Everywhere 2:22 6. Yellow Submarine 2:36 7. She Said She Said 2:34 8. Good Day Sunshine 2:07 9. And Your Bird Can Sing 1:58 10. For No One 1:57 11.

Doctor Robert 2:12 12. I Want to Tell You 2:26 13. Got to Get You Into My Life 2:27 14. Tomorrow Never Knows 2:56 You need to have a CD or DVD player with DTS output connected to a Home-Cinema amplifier with DTS input. Or Play Windows Media Player with AC3Filter: http://rapidshare.com/files/152956302/ac3filter_1_51a.exe.