A Conversation with Really, Really Brad Sundberg

Willa: This week Lisha McDuff and I are so honored to be joined by Brad Sundberg, who worked with Michael Jackson for nearly two decades. He served as Technical Director on the Bad, Dangerous, and HIStory albums, and helped design the sound system at Neverland. While working on Bad, Michael Jackson gave him the nickname Really, Really Brad, as in “I’m Brad, I’m Brad, I’m Really, Really Brad.” That cracks me up!

Over the past year Brad has been offering seminars in the U.S., Canada, and Europe to share his insights as well as sound recordings from his work with Michael Jackson. Several of our friends and contributors – Lisha, Susan Fast, and Joe Vogel – attended his recent seminar in Toronto, and from everything I’ve heard it was incredible! Lisha asked Brad if he’d like to talk with us, and he said yes. Brad, thank you so much for joining us!

Brad: Thanks Willa, great to be able to hang out with you and Lisha.

Willa: I’m eager to hear more about your seminar, In the Studio with Michael Jackson. And I understand you’re planning a very special one at Walt Disney World about recording Captain EO. Is that right?

Brad: The seminars are a lot of fun, and I think this will be my 10th one! Each one is a little different, sometimes I add or remove segments as time dictates. Back in 1984 I first met Michael at Westlake Studios where he was recording Captain EO with Matt Forger. Matt and I have remained friends over the years and have worked together on countless Michael projects. Disney has strongly hinted that EO will be closing in 2014, so I thought it would be fun to bring Matt out to Orlando and do a seminar with Matt, with a strong emphasis on the Captain EO project. To make it even more fun we will do one full day in the studio for the seminar (with “Family Friday” dinner included!), then attendees will have the option to meet up with us at Epcot the next day to watch EO a few times together, ask more questions, and hang out in the park all day. I think it is going to be an amazing weekend for MJ fans.

Lisha: I’d say that’s an understatement! The seminar I attended in Toronto was truly incredible, plus I don’t think nearly enough has been said or written about Captain EO, so this is something I wouldn’t want to miss. Watching Captain EO at Disney’s Epcot Center is a totally different experience than seeing the film any other way, right? Not only was Captain EO the first film to include 4D effects (it is a 3D film that includes special effects inside the theater as well), it was also the first surround-sound film ever made.

Brad: That is correct! I was talking with Matt Forger several months ago, and we were talking about EO. I was a runner (get food, vacuum, roll cables, etc.) at Westlake in ’84/’85, when Matt was recording Captain EO. Disney actually developed a true-digital surround-sound system just for EO. Matt had to replicate how the theater would sound in the studio, so he had speakers all around the room, cables everywhere … it was awesome! But it allowed him to mix the music so it still sounds like Michael, but it also fills those giant theaters that Disney built.

Lisha: I’ve always wondered how that was initially planned and worked out, so I’m really anxious to hear more from Matt Forger about this. I did have the opportunity to see the film at Disney a while back and I remember there were speakers all around the theater, even in the back of the house behind the audience. Captain EO is historically important for a number of reasons, I think, especially in how it conceptualizes sound and the 4D effects. It must been have a thrill, Brad, to have witnessed all this being put together.

Brad: Here’s a funny side-note: my wife and I have always been Disney fans, and we would often go to Disneyland on Sunday nights for dinner. We were there on the Captain EO opening weekend, along with half of Los Angeles, and it was fun to see something I had been a very small part of in the studio take over Disneyland! We still have our original t-shirts, geeky as that may sound. And yes, the theater does have some Disney “4D” effects in it that make the experience far more immersive than seeing it on a computer screen. Plus the theater sound systems were originally tuned by Matt, so they sound amazing.

Lisha: I don’t think that sounds geeky at all! I’m sure you’re glad you hung onto to those original t-shirts – that’s such a great memory. And I agree that the sound system is amazing, plus I love all the special theatrical effects as well.

For example, I remember there are cables under each seat that create movement that is synchronized with the film. When the spaceship does its crash landing you can actually feel the impact of the crash in your seat. Another great effect is that there are tiny fans and misters installed in the seat backs, so when Hooter makes his elephant sounds, you get a little blast of air and mist right in your face, as if it’s coming right from his trunk!

Willa: That’s funny!

Lisha:  It is! There are lots of special lighting effects too coming from every imaginable direction, even from under the seats, and a sparkling disco ball effect that happens when the “Supreme Leader” is transformed into a beautiful goddess. On the big screen there are lots of details that you can’t see watching it any other way, like the small colorful lights that ornament Michael Jackson’s electrified costume.

I thought the surround-sound effects were really fun, too. I especially remember the battle scene and the sound of laser gunfire moving rapidly throughout the theater. I could hear it zoom overhead from the back of the theater all the way to the front, immersing the viewer into the action of the film.

I’m afraid once Captain EO closes at Disney, there won’t be a way to experience the film as it was originally intended by its creators, Michael Jackson, George Lucas, and Francis Ford Coppola, one of the most stellar creative teams ever assembled! This could really be the last chance to get to experience it.

Willa: Wow, Lisha. You’re making me feel like I really need to get down there before it closes. I haven’t seen Captain EO since, hmmm … 1986, I think, at Epcot Center. And I remember the seats jolting and vibrating but I don’t remember any mist from Hooter’s trunk! And I don’t remember that soundscape you’re describing so vividly – I can tell you’re a musician! I just remember that the sound and visual and physical effects were all pretty incredible.

Brad: Captain EO is unlike any sci-fi movie or music video (short film) ever created. It was a huge budget (for the time), and the talent pool is pretty remarkable. Yes, the costumes and hairstyles scream 80’s!! But it was the 80’s, and it was fun. I can’t say, nor do I know for certain when the attraction will close, but the rumors are growing that its days are numbered, so I would rather do an event now than wish I had in a few months.

Lisha: I understand the budget for this film was unprecedented. At a cost of $30 million for a 17-minute film, that comes to $1.76 million per minute! It’s the most expensive film per minute ever made, and it was a major undertaking for Disney, Lucas, Coppola, and Michael Jackson. As you said, Brad, half of Los Angeles turned up for the premiere!

For the fans who never had the opportunity to see Michael Jackson perform live, the 4D film experience might be as close as it gets, don’t you think?

Brad: Sadly, I suppose that is true. Did either of you ever get a chance to see him live?

Lisha: No, unfortunately! I’m one of the new fans. Several people have said it’s impossible to know what it was like to see Michael Jackson perform live unless you actually experienced it for yourself. How about you, Willa? That’s something I’ve wanted to ask you. Did you ever get to see Michael Jackson perform live?

Willa: No I didn’t, and for the opposite reason. I’ve felt a strong connection to Michael Jackson since I was really young, in elementary school, and it just felt so intensely personal I couldn’t imagine seeing him in a stadium with thousands of screaming people. And he never did a concert anywhere near where I happened to be at the time – I’m sure if he had, I wouldn’t have been able to resist. But still … I should have gone anyway. It’s hard to explain, but the first concert I ever saw was Aerosmith – a friend talked me into it and it was really fun, but pretty overwhelming for me – and I just couldn’t picture seeing Michael Jackson that way. It just didn’t feel right. I really regret it now though.

Lisha: Oh, me too. I really regret it – what was I thinking?

Willa: How about you, Brad? I imagine you were able to see him a few times. …

Brad: Can I tell you a quick story or two? When I was still in college in 1984 the Victory tour tickets went on sale in LA at Dodger Stadium. I really wanted to go, but you had to buy tickets in clusters for four in sort of a lotto set-up. It was complicated and expensive, and I just didn’t make it. Fast forward just four years to 1988, and I was watching the show with my wife from backstage at Madison Square Garden!

Willa: Wow!

Brad: Now here’s the crazy thing – I had worked with and been around Michael extensively on EO and Bad, but I had never seen him on a stage. It was electrifying – it was like I knew him, but at the same time I had no idea who he was.

Willa: You know, I’ve heard several people say that, like Bruce Swedien and Frank Cascio, and I’m so curious about it. That must have been amazing to see him transform from his off-screen self to his on-screen self.

Brad: I was fortunate to see him perform many times on the Bad, Dangerous and HIStory tours, as well as during his rehearsals with the band and dancers. During one show in Paris in ’97 during the HIStory tour, my daughter Amanda (7 at the time) was on stage with several other kids during “Heal The World.”

Willa: Oh, that’s wonderful!

Lisha: Incredible.

Brad: That was fun to see. But my favorite tour story was backstage during the Bad tour, at MSG NYC. Pepsi was the sponsor, and they had a “VIP Lounge” backstage. My wife Debbie and I were roaming around backstage, and I ducked into a bathroom. On the way out, headed back to the stage, I walked into the “VIP Lounge” to grab a Pepsi. There was only one other person in there: super-model Christie Brinkley! I said hi and we chatted very briefly, and I said I hoped she would enjoy the show, and walked out. Deb was waiting for me a short distance away, and she started laughing as soon as she saw me. I kept walking, and she laughed harder. I was dragging about 6 feet of toilet paper on my shoe. I told her who I had just met, and she laughed all the harder! OK, I’m getting off topic, and I’m embarrassing myself… what was the question again?

Lisha: Ok, I’m crying with laughter. Sorry, but that’s really hysterical! I hope that everyone is getting a sense of how much fun it is to hear you tell these stories!

Willa: That is funny! So I know very little about how musical films are made. Which generally comes first – filming or recording? What I mean is, with Captain EO were the songs recorded first, and then Michael Jackson sang to match them during filming? Or did the filming come first, and then he sang the songs to match the film? And at what point did you become involved in the Captain EO project?

Brad: That’s a great question, and the truth is somewhere in the middle. The music is recorded first, but sometimes the music needs to be edited to fit a certain scene. He was lip-syncing on film to the music Matt recorded in the studio. Captain EO was (to the best of my memory) in very early production when I started working at Westlake.

Willa: And what does that mean, “very early production”? I really do know very little about all this. Were the storyline, characters, songs, dialogue, choreography all pretty much set, or were details still being worked out?

Brad: I don’t know for certain, because we were only working on the music. Having been around many productions, my assumption is that most of the story had been written, but ad-libs and last-minute changes generally come in to play.

Willa: That’s interesting. And how involved was Michael Jackson in those last-minute changes and other decisions? Was he focused pretty exclusively on performing, or did he also have ideas about how he wanted the final piece to look or sound?

Brad: I know that Michael loved being around film productions. He loved to watch and learn the process from the pros. Knowing him, I would imagine he was very focused on his performance, and likely trusted the production team. After all, it’s hard to go wrong with Francis Coppola and George Lucas.

Lisha: Brad, can you tell us how you started doing your seminars, and what someone can expect if they would like to attend one?

Brad: Great question. The very short version of a long story is that I was approached by some French MJ fans to share my stories with them nearly two years ago. I flew to Paris for a few days in the summer of 2012, and we had a group of about 12 in a studio. I brought loads of tapes and it was somewhat disorganized but a lot of fun. I would grab a tape, play an old mix, and tell some memories I had about it.

Willa: Oh, that sounds fabulous! What an incredible experience.

Brad: They really enjoyed it, and I thought I would try it again in New York the following spring. I did two seminars there, but I added some video, and made it a bit more chronological in terms of my years working with Michael. Those seminars also went very well, and pretty soon I was doing them in Orlando, then Paris, Stockholm, Toronto, and now back in Orlando on February 8th.

Michael had a unique connection with many people, through his music, his dance, his benevolence, his humor, and maybe his pain. I didn’t walk in his shoes, nor was I his best friend – but I loved working with him, and I am proud to be able to call him a friend. I can still hear his laugh, I can still see his excitement over a great mix in the studio, or a new ride at the ranch. He was like no one you have ever met before. He was Michael – and if I can give people a sense of what it was like to be around him, that makes me happy.

Willa: That sounds wonderful. Everyone I’ve talked to who’s been to one of your seminars, Brad, just raves about it. For example, Stephenson went to one in New York and sent us an email about it with lots of interesting details and good comments, like this one:

He played parts of a 2 hour recording of MJ and Bill Bottrell creating Give In to Me – it was so amazing because the song – the music and lyrics – slowly emerged from the experimental sounds of Bill’s guitar and MJ’s singing, and you could hear it taking form piece by piece. WOW!!!!!

And just the incredible sound quality alone of your seminars … I’ve been told it’s like you’re hearing his music – I mean, really hearing it – for the first time. Following that with Captain EO at Epcot Center, with the full sensory experience as it was originally envisioned, is an added bonus.

Brad: Rumor has it that Disney is going to close Captain EO after an amazing run, so I reached out to Matt Forger and asked if he would join me for a seminar with a section specifically on Captain EO and Thriller. He agreed, so it will be a pretty special day.

As to what to expect, that’s a hard one. I go into each seminar with a bare-bones flow, and just see where it goes. Sometimes we spend a bit more time on Bad, or we dig deeper into Dangerous. I like to keep it fairly loose and not overly structured. There are certain moments that have been written about, and attenders really want to experience those, but I like it when someone comes and has no idea what to expect. I had one guest who brought her husband, who you would not describe as a mega-fan. He was a really cool guy, and it meant so much to me that he said he really enjoyed the day. I like to think that learning about Michael’s working style, and the group of amazing people in the studio could be of interest to a lot of people who may not think they are MJ fans. Having said that, I have certainly met some incredible fans who are so appreciative of what I am doing.

Willa: Oh, it sounds fabulous, and I would love to learn more about his working style and creative process! As I understand it, he composed most of his songs by capturing ideas with a tape recorder – is that right? He’d sing the melody, the harmonies, even sounds approximating drums or strings or horns or guitar licks to indicate how he wanted the instrumentation to sound. So he’d bring that into the studio, and then what? What’s the process for turning his ideas on a tape recorder into a song on an album?

Brad: We would sometimes give Michael a tape recorder, but keep in mind – Michael would lose something within 45 seconds of giving it to him. Seriously. It was more common for him to call Matt (or one of the team) and meet at a studio. We might bring John Barnes or Michael Boddicker to help get the track put together. Michael would sing the melody line, and the rhythm parts, and we would start putting it together in a sequencer. Other times he would simply sing the parts right to tape, and we would replace his voice with instruments later.

Willa: That’s so interesting! Lisha speculated that he did that – sang parts that were later replaced by instruments – in a post we did a few weeks ago. Lisha, you were right!

Lisha: I am so fascinated by how that worked!

Brad: He would also love to collaborate with other songwriters like Siedah Garret or Bill Bottrell on some songs. Once the song was past the demo stage, we would start bringing more musicians in to really take it to a new level. During my years with Michael, we never used digital pitch correction on his voice. He sang every note, every line, every part. I go into great detail about that process in the seminar.

Lisha: You mentioned in Toronto that Bruce Swedien’s secret for getting a great lead vocal is to just choose the right mic and record it properly in the first place! I’m not sure if people realize how closely you got to work with Bruce Swedien.

Brad: Oh man, Bruce is a dear friend and my mentor. My years with Michael would not have happened without Bruce, period. In 1986 I was working sessions at Westlake, and Bruce and I were becoming friends. I think he saw promise in me and asked if I wanted to sit in for the recording of Michael’s new album. Can you imagine?? I jumped at the chance!

Lisha: Unreal!

Brad: During the day I would work on Taco Bell commercials (“Run for the Border!”), and at night I would watch Michael sing “Man in the Mirror” or “Smooth Criminal.”

Willa: Wow, that’s a contrast!

Brad: It was nothing short of amazing. When the album was released, Bruce’s assistant Craig went a different direction, and I became Bruce’s assistant (“Technical Director”) for nearly a decade. Next came Quincy’s Back on the Block, then Michael’s Dangerous and HIStory. The crazy thing is that each of those projects took sometimes two years or more when you factor in all of the production time, remixes, dance mixes, video mixes, on and on. Bruce is a master, is the master of his craft. His humor puts everyone at ease, but his ability to record and mix music, to create a sonic soundscape is beyond compare. There is no one like Bruce, and I am grateful for all that he has taught me.

Lisha: I read your interview in Bruce Swedien’s new book, The Bruce Swedien Recording Method, and I thought you really nailed it when you said, “when Bruce finishes a mix it actually leaves the speakers – it floats in front of you and all around you.” It’s just a magical experience listening to what Bruce Swedien can do with sound.

We all know there is a lot of technical know-how that goes into being a great sound/recording engineer, but I’m not sure it’s really understood how much artistry and just plain old good musicianship is required as well. For instance, at your seminar, Brad, I noticed that as you were speaking to the group, you were constantly listening and adjusting the way your voice sounded through the speakers. You reached over several times and made tiny changes that produced the most gorgeous quality of sound. It struck me as similar to the way a good musician listens and adjusts to what they are hearing.

Willa: That’s interesting!

Brad: Wow, Lisha, you were really paying attention! I drive my girls nuts because I will adjust the EQ in their cars, or make sonic adjustments when we are watching TV or a movie at home. I have even walked out of a movie theater during a movie because the sound was so bad.

Lisha: Occupational hazard! You also told a fascinating story about working with Bruce Swedien under less than ideal circumstances, and how you watched in amazement as he found a way to make it work. It really convinced me that the equipment and all the technical wizardry involved in recording is secondary to the artistry of the person running it.

Brad: I was working with Bruce one time in a home studio in LA. It was far from our typical pristine places like Record One or Hit Factory. It was a console in a living room with couches and lamps and typical residential surroundings. Nothing wrong with that, but not quite what we were used to.

Lisha: That’s putting it mildly!

Brad: Anyway, Bruce does a mix on this older console that gave me chills – it still does. It was so transparent and punchy, it didn’t match the place where it was born. Like going to Dairy Queen and getting a perfect rack of lamb chops and great bottle of wine. Bruce brings a level of talent to any room that no equipment, software, or gadget can replicate. God blessed Bruce with an amazing set of ears, and the talent to create sounds in a class all of their own.

Lisha: Speaking to a group of students at Full Sail University, Bruce Swedien said something that really stopped me dead in my tracks. In a very emphatic tone of voice he said: “The first thing I want to tell you is – no matter how good a song is, or how accomplished the musicians playing it are, a poorly done recording and mix of that song will leave you cold.” Here’s a clip:

What a dramatic statement to make! And I think he’s right. At the end of the day, the musicianship displayed by the recording/sound engineers is at least as important as any other musical element in a song. You and your colleagues played such a vitally important role in creating some of the finest records ever produced. It was truly a collaborative effort, and I feel like Michael Jackson understood that in a big way.

Brad: In no way is this meant to sound arrogant, but it is hard to describe how amazing it was to be in the same room with Quincy Jones, Bruce Swedien, Rod Temperton, Bill Bottrell, David Foster, Teddy Riley, Greg Phillinganes, Steve Porcaro, Siedah Garrett, Michael Boddicker, John Robinson, David Williams, Paulinho De Costa … The list goes on and on. Amazingly talented people, all working together, pooling those talents to make Michael’s records as musical, creative, and sonically incredible as possible.

It took an artist like Michael to bring that type of production army together. I hear things in those albums that bring back countless memories – but overshadowing everything was a love for what we were doing, and a love for who we were working for. I think Michael knew that, because he would work just a little bit harder than any of us. I don’t live in the past, but I was so blessed to be a part of something bigger than I could have imagined, and I am thankful to have been a small part of it.

Lisha: I just want to say that although you are very humble and self-effacing, Brad, no one should be fooled! It was apparent to me from watching you work that there’s a reason you got to be in the room with the greats. I can see that you strive for excellence in all that you do – in the seminars, in the studio, and at Neverland Ranch. I really think I understand why Michael Jackson valued and trusted you so much.

Willa: And I’m glad you’re sharing your memories of working with Michael Jackson and that incredibly talented team of musicians and recording artists, both through your seminars and with us today. It’s been really wonderful to hear you talk about it!

So I know Lisha is planning to attend your February 8th seminar in Orlando. If others want to come too, or want to find out about other seminars, how can they sign up or get more information?

Brad: February 8th in Orlando is going to be an amazing day. I haven’t seen Matt in years, so having him in the same room, sharing his stories and memories is going to be awesome. We will cover Thriller, Captain EO, Bad, Dangerous, and HIStory, plus a few surprises. It all takes place in a beautiful studio in Orlando, and I will bring my Westlake speakers. These are the exact same speakers Bruce used to mix Dangerous and HIStory. You will hear the music and mixes exactly the same as Michael did.

Additionally, I am bringing my catering rock star, Linda, back to prepare an amazing meal just like we used to have on “Family Fridays,” where Michael would encourage us to bring our families to the studio for a couple hours of laughter, stories, and great food.

Tickets are available here. There’s also more info on my website and Facebook page. I look forward to meeting new friends, and sharing an amazing day together.

Lisha: I can’t wait! See you there.

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About Dancing with the Elephant contributors

Joie Collins is a founding member of the Michael Jackson Fan Club (MJFC). She has written extensively for MJFC, helping to create the original website back in 1999 and overseeing both the News and History sections of the website. Over the years she conducted numerous interviews on behalf of MJFC and also directed correspondence for the club. She also had the great fortune to be a guest at Neverland. She has been a Michael Jackson fan since she was three years old. Lisha McDuff is a classically trained professional musician who for 30 years made her living as a flutist, performing in orchestras and for major theatrical touring productions. Her passion for popular musicology led her to temporarily leave the orchestra pit and in June 2013 she received a Master’s degree in Popular Music Studies from the University of Liverpool. She’s continuing her studies at McMaster University, where she is working on a major research project about Michael Jackson, with Susan Fast as her director. Willa Stillwater is the author of M Poetica: Michael Jackson's Art of Connection and Defiance and "Rereading Michael Jackson," an article that summarizes some of the central ideas of M Poetica. She has a Ph.D. in English literature, and her doctoral research focused on the ways in which cultural narratives (such as racism) are made real for us by being "written" on our bodies. She sees this concept as an important element of Michael Jackson's work, part of what he called social conditioning. She has been a Michael Jackson fan since she was nine years old.

Posted on January 16, 2014, in Michael Jackson and tagged , , , , , , , , , . Bookmark the permalink. 13 Comments.

  1. Great discussion, guys, and Brad, I will see you in Orlando! Coincidentally, I made my flight reservation this very day! So looking forward to this, and, Lisha, looking forward to seeing you there too. Brad, I took the first day of your NYC seminar–amazing!! And I agree with Lisha’s comment about how you adjusted the sound for maximum impact–I was blown away, especially, by hearing the opening of “This Time Around” (not the remix but the one on the HIStory album) on those speakers and hearing MJ whisper what sounds like ‘dubadubadub.” It was alive for me.

    Random comment: Lisha, I listened to Bruce in the clip and strangely, what he said about MJ only being able to whistle by taking the breath in–I whistle the same way and can’t whistle the regular way, either. Nice to hear MJ did it the same way. If only I could snap my fingers the way he could, though–

    Bruce also said ‘never stop loving music’ (or words to that effect), and I just finished listening to the reunion concert of the Everly Brothers at Albert Hall. Phil passed away recently, as you know. Who can forget the contributions of those brothers–the influence they had on ‘the music of our lives’?–here is a link to their reunion concert:

    • “I listened to Bruce in the clip and strangely, what he said about MJ only being able to whistle by taking the breath in – I whistle the same way and can’t whistle the regular way, either.”

      Hey, I suck too! Wait, that didn’t turn out right … you know what I mean! I thought I was the only one who couldn’t whistle blowing out, but I can whistle sucking in.

      That’s wonderful that so many of you will be there in Orlando. I won’t be able to make it, but I’d love to hear all about it. I loved reading your notes about the New York conference, Stephenson, and it’s been fun hearing Lisha and Susan talk about Toronto. Maybe you all can post comments here when you get back and share some of the things you’ve learned?

      One thing you all mentioned that we didn’t talk about in the post is that, according to Brad, some of the songs were recorded at one speed and then “sped up” and released at a slightly faster speed. In fact, I think you said he played some songs both ways during the seminar – at the speed they were recorded and the speed they were released. I’m really curious about that and would love to learn more about it. Which songs were sped up, and why? – to shorten them to fit a radio format, or to fit better onto an album, or because they just liked the faster tempo? And if they wanted a faster tempo, why not just record them that way? Why record them slower and speed them up? Does it change the pitch or tone of his voice when you do that? Or the mood of the song? That’s so interesting, and kind of puzzling.

      • Yes, I was very curious about that too; and it’s also fascinating to hear how music is recorded on a set (of Captain EO, for instance). I never knew how it was done.

        It’s great, too, hearing Bruce Swedien’s reminiscences. I’ve long been fascinated by audio recording and what the various technological changes have meant for music over the years. (An aside: at the behest of an uncle who was something of an audiophile and used to bring his Tandberg reel-to-reel tape recorder to our house, one of the first words I learned to pronounce as a little kid in c. 1960 was “microphone.”) At one time I even considered a career in audio engineering, but it was not to be.

        I SO wish I could go to Orlando! Alas, I can’t, and I’m really hoping there will be another opportunity to attend Brad’s seminar in Los Angeles, though the chance to see Captain EO at the Epcot center and meeting all of you would be special. It’d be great, as Willa suggested, if those who went could report to us!

      • Hi, Willa, we should form a ‘whistle in’ club–must be a lot of us out there–lol. 🙂

        Re the speeding up of the dance tracks, I went back to my notes and what I wrote was that they were sped up 5-6% from the studio recording. I am not sure why–maybe for the clubs? So the dance tracks would have more ‘danceability’?? I recall Brad also said they were sped up a bit more in live performances–maybe to save MJ from a long dance track in a strenuous performance? I am not really sure. Brad covers a lot of material and taking notes is not my forte b/c I can’t write shorthand. Maybe he will discuss it again? My impression is that there are a lot of changes made in the various ‘versions.’ This is where the engineering aspect comes in–the mixing.

        Looking forward to seeing Lisha and Eleanor there!

      • “Hey, I suck too! Wait, that didn’t turn out right … ” I think when it comes to vacuum cleaners and whistling like Michael Jackson, that’s a really good thing!

        My understanding about the reason for speeding up the tracks is that it gave the music a much edgier feel that translated well for radio play. Brad recommended the “Audacity” program to seminar participants to slow down the tracks to hear the original speed. (it can slow/speed up a track without altering the pitch.) The original tempo has a much weightier feel to it – the speed up version has more punch, dance-ability. Only the dance numbers were sped up, according to my notes it was TWYMMF, Smooth Criminal, and Bad. The alteration was +5-6%. Brad didn’t recall anything from the “Thriller” or “Dangerous” being sped up. I really preferred the original tempos and I think everyone did – they were so musical! But it was easy to hear why the faster tempos would work well for radio play and for dancing.

        Brad also talked about how they would listen to playback through all different kinds of speakers, trying to understand exactly what the listener would actually hear through car/home/club speakers, rather than just trusting what they heard through the expensive equipment they had in the studio. I’m thinking the alteration in speed was probably the result of this.

  2. P.S. Lisha said, “I don’t think nearly enough has been said or written about Captain EO”–agree so much with this. Bruce said in the clip “Don’t ever lose sight of your love for music,” and actually in Captain EO it is music that changes everything–transforming the “Supreme Leader” (Anjelica Huston), who wants to dominate and kill, into a beautiful, loving presence.

    Brad–you forgot to say you and Bruce are both Swedish!

    • Hi Stephenson,

      Gosh, I’m really looking forward to seeing you in Florida. I’m going to have to ask you to demonstrate your whistling technique, that’s really funny! What a pleasure it will be to hear more about EO and all the amazing work Brad and Matt were a part of. The transformational power of music is so prominently thematized throughout MJ’s body of work, and that is really spelled out in this film. Should be a fascinating weekend. Travel safe and see you soon!

  3. Fascinating discussion. I got my ticket to your seminar a couple of days ago, and I’m looking forward to seeing/hearing you in Orlando, Brad (and Lisha and Stephenson). What a wonderful opportunity for new fans, like me. My greatest regret is never having seen a Michael Jackson concert, but I understand Willa’s feeling that her relationship with him was/is too personal. So interesting that he could achieve that kind of connection.

    • Hi Eleanor,

      Lisha here. What a treat this is going to be to get to match your face with your name! Really looking forward to it, I know it’s going to be a fascinating couple of days.

  4. Hi guys, internet been off line for over a week, so only just able to read this fantastic blog.

    Brad wrote – overshadowing everything was a love for what we were doing, and a love for who we were working for. I think Michael knew that, because he would work just a little bit harder than any of us. I don’t live in the past, but I was so blessed to be a part of something bigger than I could have imagined, and I am thankful to have been a small part of it.

    What a lucky man Brad to have been so much a part of Michael’s music and to have worked with him so closely. Oh how I wish you could come to Cape Town to give your seminar!!! no chance I suppose?? now, that sucks Willa!!

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