In The Studio With Michael Jackson: A MUST for fans of the King of Pop

    Childhood Audio aufgetaucht – Update


    4. November 2014


    In schlechter Qualität hat ein Besucher eines früheren Brad Sundberg


    Seminars einen illegalen Mitschnitt von MJs Childhood-Aufnahmen


    veröffentlicht.


    Für die “In The Studio with Michael Jackson V.2.0″ Seminare von Brad


    Sundberg haben die Anwälte der Nachlassverwaltung die Verwendung von


    unveröffentlichten Audioaufnahmen mit Michael Jacksons Gesang untersagt.


    Deshalb durfte Jacksons langjähriger Tontechniker zuletzt in London,


    Kopenhagen und Frankfurt auch eine private Filmaufnahme von den


    Childhood-Aufnahmen nicht mehr zeigen. Michael sei darin zu sehen wie er


    live mit einem ganzen Orchester den Song Childhood aufnimmt. Aus der


    Gesangskabine kann der King of Pop das Orchester sehen, das er über


    seine Kopfhörer hört. Euphorisch und begeistert über die Umsetzung des


    Orchesters seiner Komposition (Michael schwinge und dirigiere mit den


    Armen und rufe “yes, yes”) singt Michael voller Hingabe den Song in


    einem Anlauf ein. Später werden nur einige Zwischenrufe und Räuspern aus


    der Vocalspur entfernt.


    Obwohl untersagt war, Aufnahmegeräte auf sich zu tragen, hat soeben ein


    Besucher eines früheren Seminars einen illegalen Tonmitschnitt vom


    beschriebenen Video veröffentlicht. (siehe ganz unten, Re-Upload).


    Interssant anzuhören, aber ebenso schade, da somit das Vorgehen der


    Nachlassverwaltung bekräftigt wird.


    Update: Bruce Swedien schreibt in seinem Buch “In The Studio With MJ”


    (hier bei Amazon.de


    http://www.amazon.de/dp/1423464958/ref=n…wismichjackc-21


    oder CeDe.ch) ebenfalls über die eindrücklichen Aufnahmen von Childhood


    und Smile:


    “Michael sang live mit dem Orchester. Wir nahmen beide Songs in einer


    Session in der Hit Factory in New York auf. Diese live vocal takes sind,


    was wir hauptsächlich benutzten um die beiden Songs fertig zu stellen;


    Ich denke Michael fügte jedem Song nur noch eine oder zwei Zeilen hinzu.


    Seine live vocals waren so fantastisch!”


    “Als wir die Aufnahmen zu ’Have You Seen My Childhood?’ und dem Charlie


    Chaplin Song ’Smile’ mit dem Orchester beendet hatten, fragte Michael,


    ob er ins Studio raus gehen und die Musiker des Orchesters treffen


    könne”, schreibt Bruce Swedien. Er habe Jeremy Lubbock (Arrangeur und


    Dirigent) darauf angesprochen, der natürlich nur mit “Unbedingt”


    antwortete. “Während der Aufnahme hat das ganze Orchester Michael über


    ihre individuellen Kopfhörer singen gehört. Als Michael ins Studio lief


    um das Orchester zu treffen, gab ihm das Orchester stehende Ovationen!


    Jedes Mitglied des 50-köpfigen Orchesters stand auf und klopfte mit


    seinem Bogen den Notenständer, so laut sie konnten! Jeremy stand auf


    seinem Dirigentenpodium und applaudierte ebenfalls so laut er konnte!


    Ich applaudierte selbst im Kontrollraum so laut ich konnte! Michael war


    begeistert!”


    Wer sich noch ein Ticket für den Event mit Bruce Swedien vom kommenden


    Samstag, 8. November in Paris sichern will: http://www.b-2014.com/


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    Quelle: jackson.ch, youtube.com, damienshields.com, div.


    Weiterlesen unter http://www.jackson.ch/childhood-audio-aufgetaucht/


    Copyright © jackson.ch

    I hope everyone is having a great weekend. The response to the seminars continues to blow me away. As I have said many times, I can't sing, I certainly can't dance, I wasn't Michael's best friend, I wasn't the "magic" behind the projects. I was part of an amazing team; I liked working for him, and I guess he liked having me around. Now, as my schedule allows - I enjoy bringing my guests "into the studio" and giving them a day they will long remember.


    The interest continues to grow, and I am both humbled and excited. I love meeting new people and visiting studios and cities all over the world. 2015 is going to be a very busy year!


    The tentative schedule is as follows:


    January 10, 11 – Tokyo, Japan
    January 17, 18 – Osaka, Japan
    February 21 – New York, NY
    April 18 – Seattle, WA
    May 23 – Toronto, Canada
    June 25, 26, 27, 28 – Cologne, Germany (Very special event in the works)
    July 4, 5 – Spain (likely Barcelona)
    August 29 – Chicago, IL
    September 5 – Orlando, Florida
    October 10 – Las Vegas, NV
    November 7, 8 – Rio de Janeiro, Brazil

    The Headphone Challenge.


    In my recent series about the mechanics of working with Michael in the studio, (speakers, then microphones), I want to briefly discuss
    headphones.


    I wrote about headphones some months ago, but we have many new FB followers since then, and... I'm in a writing mood.
    And yes, this one will be slightly technical... sorry.


    Cyndi McCarthy Finno asked a question a week ago about what singers listen to in the their headphones. A good question, particularly if you have not worked in studios. Let me try to explain how a studio can be used to record vocals - as there are different methods. For obvious reasons I'll focus on how we recorded Michael's vocals.


    A studio is designed in such a way that the control room (the room with the console, recording gear, big speakers, etc.) is acoustically separated from the studio, or overdub room - where the singer... sings. This means that music playing in the control room cannot be heard in the studio, where the singer is going to sing. So we give the singer headphones to listen to the song.


    Now, if you have ever sung along with a song on your headphones or earbuds, you might think that your voice sounds good, but in reality it might be completely out of tune - because you can't hear yourself. (Note - everyone else can, so please sing softly). So in the studio, we send the feed from the microphone back to the headphones, and mix it with the music. This way the singer can hear themselves, which is essential for tempo and pitch. It also gives the engineer the option of giving the singer a special mix, for example adding a bit more keyboard, if they need help finding the notes.


    This is also very common for live events, when you see the singer with custom in-ear receivers to hear their voice and the music, at the right
    blend, even in an arena of screaming fans. It takes some getting used to, but a good engineer can give the singer the exact mix they like.


    Back to the studio, which brings us to the headphones themselves. Back during the Bad album, we had a hard time finding headphones that
    Michael liked, and would get loud enough for him. He liked his headphones loud... like jet-engine loud. We went through Sennheisers,
    Sonys, AKGs, etc., until we finally found a pair that held up pretty good to MJ volume: The lowly Fostex T-20.


    The Fostex T-20 gave Michael the volume and clarity he wanted. Like the Shure SM-7, the Fostex is not the most expensive model available, it just worked the best for us in this application. Michael wanted loud, we gave him loud. The other piece of the puzzle is the power feeding the headphones. We weren't using iPod-type amplifiers - we were using the exact same amplifiers used to power the studio monitors. In other words, we were pumping 200-300 watts per channel into a little pair of headphones. (We can discuss headphone impedance another time, just stay with me).


    So, let's recap. Michael wants to drop a lead vocal on "Speed Demon." We've already got the tapes ready with a lot of empty tracks for his
    voice; the microphone and preamp are all set; the "headphone mix" is already prepped on the console; the studio is empty except for a very
    small crew; the lights are dim in the studio so Michael can be comfortable; we have hot water ready for him to sip on between takes;
    and the headphones have been tested - at jet-engine volume. We even have a back-up set of phones ready to go, because soon or later (more
    likely sooner) he will blow them up.


    All the pieces need to come together for a good vocal recording, from microphone to preamp to console to headphones - and the dozens of bits in-between. But the best studio, the best engineer, the best headphones, the best everything cannot replace the most important element of all: The singer. We just did everything we could to capture his voice as accurately as possible, and make the experience for him as comfortable as possible.


    Cyndi McCarthy Finno, I hope that answers your question.


    Brad

    Good Morning/Gutten Morgen!


    As of last night I fully secured the studios in Toronto and Germany for our May and June events!
    Brad Buxer and Michael Prince are confirmed for Germany, with the dates as follows:


    Session One:
    June 25 - In The Studio With MJ
    June 26 - Bradx2 (with Brad Buxer and Michael Prince)


    Session Two:
    June 27 - Bradx2 (with Brad Buxer and Michael Prince)
    June 28 - In The Studio With MJ


    Please note that Session One and Session Two are essentially the same - each a two-day event with very similar content, allowing guests to
    choose the Thurs/Fri slot or the Sat/Sun.


    Tickets will be sold as a two-day ticket, for either Session One or Session Two. Standard Two-Day Ticket will likely be around $329 USD for the two days, and VIP will likely be around $399 USD for the two days. VIP ticket will include the new surround-sound virtual tour of Neverland, preferred seating for all events, extra time with the team, etc.


    Note
    that this will be in Dieter Dierks Studio, where "Blood On The Dancefloor" was recorded, among many other major projects. Dieter will
    likely share some stories from those sessions as well.


    I am working on a few more surprises - but I can't give those away just yet.


    The following week (July 4th and 5th) I will be in Madrid, Spain for a weekend of "In The Studio With MJ" seminars.
    Brad Buxer and Michael Prince are not scheduled for Spain.


    Tickets will go on sale by this weekend - once we finalize a few remaining details. A lot of work has gone into prepping for this, so thank you for your patience! As always, I will do all I can to make it a very memorable, respectful, educational and fun event for all of our guests.


    https://www.facebook.com/inthestudiowithmj

    Never let it be said I don't listen.


    After making the announcement for ticket sales yesterday, there were many requests for a single-day ticket option, so we have spent quite a bit of time
    re-designing the Cologne event.


    Each day will be different, so guests can preselect which days are of most interest to them, and buy tickets for one, two, three or all four days.


    Day One (Thursday, June 25)
    "In The Studio Unplugged and Off Script"


    A day in the studio with Brad Sundberg, taking you on the new "surround-sound" multi-layered audio and video tour of Neverland.
    I have been working hard on this one-of-a-kind virtual tour of the ranch that was such a part of my life for so many years. Also, we will have a
    "Shoes Option" session, where I will dig into my bag of songs and videos that don't usually make it to my normal seminar. Want to hear a
    song twice? This is a good event to attend. Lastly, we will dig into the HIStory album and Skype in one or two of my friends to share their
    stories about the incredible album HIStory. Likely there will also be some surprises.


    Day Two (Friday, June 26)
    "Bradx2" with Michael Prince - "The Early Years"


    Brad Buxer and Michael Prince will join us for a full day of stories and music about Brad's early years with Stevie Wonder and Michael
    Jackson. We will cover the Dangerous album, the Dangerous tour, the HISTory album and the HIStory tour.


    Day Three (Saturday, June 27)
    "Bradx2" with Michael Prince - "The Later Years"


    We will resume our discussion with Brad and Michael, and dig into projects like Blood On The Dance Floor, Invincible, Live At The Apollo,
    MJ & Friends, plus private concerts. We will discuss recording on the road, and at Neverland. And of course we will talk about This Is It.


    Day Four (Sunday, June 28)
    "In The Studio With MJ" v2.0


    I will present my latest version of the seminar, covering my years with Michael through Captain EO, Bad, Dangerous and HIStory. The complete
    seminar, with new segments that have been added recently.


    All of this will take place at the beautiful Dierks Studios outside of Cologne, Germany - where Michael recorded "Blood On The Dance Floor"!


    Start times for each event will be 12:00 noon, with durations of about 7 hours per day.


    Tickets will go on sale tomorrow, and you will have the choice of buying for one event, two, three or all four. Pricing will be as follows:


    1 Day - $199
    2 Days - $299
    3 Days - $379
    4 Days - $439 VIP


    Seating will be limited for all events, and tickets are non-refundable, so choose carefully and plan accordingly. This is a very unique
    opportunity to meet, listen to and ask questions with three of the guys whose work with Michael span decades - in the studio, at the ranch, and
    on tour.


    Tickets go on sale tomorrow. Will You Be There?

    UK loves MJ - 1 Std. ·


    Michael liked his speakers loud!! ~ Another little snippet from Brad
    Sundberg ~ [Pic 1 Brad with the '2 Bad' sound system mentioned in this
    story ~ added and not connected Pic 2 'Smooth Criminal']


    I built a giant sound system for Michael for the filming of Ghosts. It
    was huge... there are photos of it on this page .... Anyway, this thing
    was so huge, the speakers were on rollers and we would place them just
    outside of the camera's viewfinder, but aimed at Michael like a couple
    seven-foot cannons. The crew all had hearing protection, and the power
    amps (240 volt!) were on a film-grade generator, as they drew too much
    power for a standard wall circuit. You know that breakdown in the song
    "2Bad"? It was so thunderously loud on that set (it was in an airport
    hanger), that it would pound on your chest if you walked in front of
    those speakers. It. Was. Crazy. And of course, Michael loved it.


    Brad's next 2 seminars are in Seattle and Germany for info see this link ~


    http://inthestudiowithmj.com/events/


    Brad's original story of the '2 Bad' playback system from July 2013 ~


    Back in 1996 Michael was about to start shooting Ghosts,
    and he asked me if I would build him a monster sound system, something
    loud enough to shake a building. As always, he wanted to feel the music
    as much as hear it. We had a few speakers left over from the HIStory album, so I built what you see here.


    Tech moment: With a Crown amps cranked to max, I estimate this system to
    be in the 20,000 watt range, capable of producing more than 122 db of
    sound. In layman’s terms, it got loud.


    We also built it on wheels, so we could roll it in as close to Michael
    as possible, yet still be out of director Stan Winston’s shot. As I
    watched Michael (dressed as the mayor) dancing today, I could still
    picture (and hear) those speakers exploding with music, and him pushing
    us to crank them louder and louder.


    If you haven’t seen Ghosts in a while, check it out again for some of the most incredible dance moves, make-up and special effects of the time.


    Photo ~ https://www.facebook.com/media/set/?


    For all info on Brad's upcoming seminars ~ https://www.facebook.com/inthestudiowithmj


    https://www.facebook.com/permalink.php?s…tif_t=notify_me

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