Michael Jackson - 3 Albums -24 Bit Flac- Vinyl Review

– Reference-quality analog-to-digital transfer. The definitive way to hear Thriller without a turntable. 3. Bad (1987) – 24-bit Vinyl Rip Sound Quality Bad is the most modern of the three, and the 24-bit FLAC reveals Quincy Jones’ late-’80s production sheen. The vinyl rip handles the aggressive synth bass and gated reverb on Bad (title track) much better than the brick-walled 2012 remaster — peaks are preserved, not clipped.

Here’s a complete, critical review of . Overview: The Holy Trinity of Pop, Remastered for Audiophiles For collectors and serious listeners, the 24-bit FLAC vinyl rip represents a specific philosophy: preserving the analog warmth, surface texture, and dynamic range of the original vinyl master, while delivering it in a high-resolution digital container (24-bit, typically 96kHz or 192kHz). This review covers a well-sourced vinyl rip set of Jackson’s first three Epic solo masterpieces — Off the Wall (1979), Thriller (1982), and Bad (1987). Michael Jackson - 3 Albums -24 bit FLAC- vinyl

– Essential for disco-era MJ fans. 2. Thriller (1982) – 24-bit Vinyl Rip Sound Quality This is the crown jewel. A first-pressing US or Japanese vinyl rip of Thriller in 24/192 is legendary for a reason. The dynamic range is staggering — Billie Jean ’s kick drum thumps with realistic transient attack, while the synth bass sits deep and clean. The 24-bit FLAC retains the vinyl’s natural compression (from the cutting lathe) without adding digital limiting. – Reference-quality analog-to-digital transfer

Smooth Criminal ’s “Annie, are you OK?” section has startling dynamics: the heartbeat kick drum is tactile, and the strings have a liquid, analog sheen. However, because Bad was cut louder to vinyl than Thriller , some rips have slight sibilance on Jackson’s sharper consonants (e.g., “you’ve been hit by” in Smooth Criminal ). Bad (1987) – 24-bit Vinyl Rip Sound Quality

These are not the compressed, loudness-war CD remasters. These are needle drops from clean, often early-pressing vinyl, transferred with high-end gear (e.g., Ortofon 2M Bronze → Pro-Ject → RME ADI-2). Sound Quality The 24-bit FLAC immediately reveals the air and space around Quincy Jones’ production. The bass on Don’t Stop ‘Til You Get Enough is round, slightly warm, and separated from Jackson’s multi-tracked harmonies — a stark contrast to the brittle, flat 2001 CD remaster. Surface noise is minimal but present (a soft crackle between tracks), reinforcing the vinyl authenticity.