The Recording Studio as a Creative Tool
The Recording Studio as a Creative Tool
This essay will investigate the creative methods behind the ‘Thriller’ album. The main practitioner of this essay will be the engineer behind the ‘Thriller’ album Bruce Swedien, whom will sometimes be referred to as ‘Swedien’. His methods and theories will be the main focal point. Bruce Swedien has engineered for several of Michael Jackson’s albums including ‘Bad’ this essay will therefore also seek to make reference to some of the creative methods he implored on this album.
In this essay the established and new, experimental methods used during the recording and production of ‘Thriller’ will be subjects of interest. The implementation of these methods, the theory behind them and their effect on the resulting sound will be of paramount importance. Sounds on songs of the ‘Thriller’ album which used these methods will also be identified and analysed.
The ‘Thriller’ album was recorded in 1982 using 24 Track tape machines. It was produced a on an analogue Harrison 4032 mixing console and has been listed as the best-selling album in the Guinness Book of Records for more than 25 years. In an era before the digital revolution before the development of innovative recording hardware and software ‘Thriller’ still remains the bestselling album of all time. The talent of Michael Jackson is a key contribution to this success however so are the recording and production techniques. This essay will assess the importance of these methods in contributing to the albums success despite the evolution of digital technology to this day. ‘We wanted the sonic values of ‘Thriller’ to recharge the industry’ A statement made by Engineer Bruce Swedien outlining a main aim of the ‘Thriller’ album. Bruce Swedien also states in his book, ‘In the Studio with Michael Jackson:
These true stereo images add much to the depth and clarity of the final production. I have a feeling that this one facet of my production technique contributes more to the
This essay will investigate the creative methods behind the ‘Thriller’ album. The main practitioner of this essay will be the engineer behind the ‘Thriller’ album Bruce Swedien, whom will sometimes be referred to as ‘Swedien’. His methods and theories will be the main focal point. Bruce Swedien has engineered for several of Michael Jackson’s albums including ‘Bad’ this essay will therefore also seek to make reference to some of the creative methods he implored on this album.
In this essay the established and new, experimental methods used during the recording and production of ‘Thriller’ will be subjects of interest. The implementation of these methods, the theory behind them and their effect on the resulting sound will be of paramount importance. Sounds on songs of the ‘Thriller’ album which used these methods will also be identified and analysed.
The ‘Thriller’ album was recorded in 1982 using 24 Track tape machines. It was produced a on an analogue Harrison 4032 mixing console and has been listed as the best-selling album in the Guinness Book of Records for more than 25 years. In an era before the digital revolution before the development of innovative recording hardware and software ‘Thriller’ still remains the bestselling album of all time. The talent of Michael Jackson is a key contribution to this success however so are the recording and production techniques. This essay will assess the importance of these methods in contributing to the albums success despite the evolution of digital technology to this day. ‘We wanted the sonic values of ‘Thriller’ to recharge the industry’ A statement made by Engineer Bruce Swedien outlining a main aim of the ‘Thriller’ album. Bruce Swedien also states in his book, ‘In the Studio with Michael Jackson:
These true stereo images add much to the depth and clarity of the final production. I have a feeling that this one facet of my production technique contributes more to the