It is in November 1991 released the eighth album of Michael Jackson Dangerous. It will have needed more than 15 months from June 1990 to October 1991 to produce this album. It is a real success with more than 32 million albums sold to date, it arrives behind Bad and Thriller.
For this album, the sound engineer Bruce Swedien used 2 analog tape recorders STUDER with 24 tracks each synchronized and a digital tape recorder Mitsubishi 32-track (more details about the tape recorder here). Michael Jackson preferred his voice to be recorded in analog. The mix was done on an analog console. The 30th anniversary of Dangerous was in 2021, here is a small overview of different versions produced during these 30 years.
The MOFI editions in SACD, CD layer and vinyl have been integrated into our comparative review under references Ed14, Ed15 and Ed16. Updated content appears in blue text.
Find the review of two other famous Michael Jackson albums:
For this review, you will find 18 versions tested: vinyl records (1991, 2015, 2021, Picture Disc 2018, MOFI 2025), Cassette (1991), DAT Master, CDs (1991 US, 1991 Japan, 2001, 2009, MOFI CD layer 2025), MOFI SACD 2025, Streaming Qobuz, Amazon and Tidal, Dolby Atmos.
- Ed1: Vinyl ref EPC 465802 1 — 1991
- Ed2: Vinyl ref 8875120931 — 2015
- Ed3: Vinyl Red Black ref 9439889101 — 2021
- Ed4: Cassette ref EGT 45400 — 1991
- Ed5: CD ref EPC 465802 2 — 1991
- Ed6: CD Japan ref ESCA 5500 — 1991
- Ed7: CD ref 504424 2 — 2001
- Ed8: CD ref EICP 1197 — 2009
- Ed9: Qobuz Streaming Hi-Res
- Ed10: Amazon Streaming UltraHD
- Ed11: Tidal Streaming Master
- Ed12: Vinyl Picture Disc ref 1907586644-15 — 2018
- Ed13: DAT Master
- Ed14: MOFI SACD – 2025
- Ed15: MOFI CD layer – 2025
- Ed16: MOFI vinyl record – 2025
- Ed17: Blu-spec CD2 – 2018
- Ed18: Apple Dolby Atmos – 2026
You can find the measurements of each edition in the different parts and listen to the samples of these albums here.
This album includes 14 tracks:
- Jam
- Why You Wanna Trip On Me
- In The Closet
- She Drives Me Wild
- Remember The Time
- Can’t Let Her Get Away
- Heal The World
- Black Or White
- Who Is It
- Give In To Me
- Will You Be There
- Keep The Faith
- Gone Too Soon
- Dangerous
We will review 16 editions (Vinyls, Cassette, DAT, CDs, Streaming Qobuz, Tidal and Amazon) of this album. Thanks to Davy from SalutLesFans for the test of the DAT tape.
Summary, scoring and Samples
Ed1: Vinyl ref EPC 465802 1 — 1991
Presentation
It is the original vinyl released in 1991.
| Label | EPIC |
| Reference | EPC 465802 1 |
| Format (speed) | Vinyl |
| Type | Double Lp 33.33 rpm |
| Mastering/Pressing | Recorded and mixed by Bruce Swedien and Teddy Riley or Bill Bottrell Mastered by Bernie Grundman |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | UE |
| Year production | 1991 |
Waveform and Spectrum: DR14
The 1991 vinyl shows good dynamics, confirmed with DR14. The spectrogram frequencies rise above 20 kHz; this area is made up of the signal but also of the distortion produced by the vinyl playback principle.
The spectrum of CD 1991 (Ed5) and vinyl 1991 (Ed1) are very close. The yellow arrow shows a faster attenuation above 20 kHz for the vinyl. Above 8 kHz there is a small difference in level in favor of vinyl (yellow area). The green area shows a small difference in the low frequencies, with a higher level at 30 Hz for the CD.
Synthesis and listening
The 1991 vinyl is very close to the CD version, we find the impact of the highs and a very clean bass, but being less hard than the CD version, what we call the heat of the vinyl.
- Rating:
- Dynamic: ●●●●● (5/5)
- Bandwidth: ●●●●o (4/5)
- Surface Noise: ●●●●o (4/5)
- Restitution: ●●●●o (4/5)
Sample : “Why You Wanna Trip On Me” Vinyl 1991 24 bits 176.4 kHz :
Ed2: Vinyl ref 8875120931 — 2015
Presentation
Vinyl remastered in 2015.
| Label | EPIC |
| Reference | 8875120931 |
| Format (speed) | Vinyl |
| Type | Double Lp 33.33 rpm 180g |
| Master | Digital |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | UE |
| Year production | 2015 |
Waveform and Spectrum: DR11
The 2015 vinyl shows correct dynamics confirmed with DR11. The spectrogram shows that the signal rises above 20 kHz (yellow arrow). A spurious frequency is visible on the recording (black arrow).
The spectrum of the CD 2001 (Ed7) and vinyl 2015 (Ed2) overlaps from 150 Hz to 10 kHz. The yellow arrow shows a faster attenuation above 10 kHz for the vinyl with 10 dB less at 17 kHz. The green area shows an increase in bass below 150 Hz for the vinyl with a maximum of 3 dB. The rendering will be warmer for vinyl, with less detail in the high frequency range.
The spectrum of vinyl 2015 (Ed2) and vinyl 1991 (Ed1) overlaps from 150 Hz to 8 kHz. The yellow arrow shows a faster attenuation above 10 kHz for the 2015 vinyl with 10 dB less at 17 kHz. The green area shows increased bass below 150 Hz for the 2015 vinyl with a maximum of 5 dB. The sound balance will favor the presence of the bass.
Synthesis and listening
The 2015 vinyl version has been remastered, there is more bass and a less detailed extreme treble than the 1991 vinyl. The pressing is of good quality.
- Rating:
- Dynamic: ●●●●o (3.5/5)
- Bandwidth: ●●●●o (4/5)
- Surface Noise: ●●●●o (4/5)
- Restitution: ●●●●o (3.5/5)
Sample : “Why You Wanna Trip On Me” Vinyl 2015 24 bits 176.4 kHz :
Ed3: Vinyl Red Black ref 9439889101 — 2021
Presentation
Vinyl remastered Red and Black Swirl released in 2021.
| Label | EPIC |
| Reference | 9439889101 |
| Format (speed) | Vinyl |
| Type | Double Lp 33.33 rpm 180g Red and Black Swirl |
| Master | Digital |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | UE |
| Year production | 2021 |
Waveform and Spectrum: DR12
The 2021 vinyl shows correct dynamics confirmed with DR12. The spectrogram shows the signal rises above 20 kHz (yellow arrow). A spurious frequency is also visible on the recording (black arrow).
The spectrum of vinyl 2021 (Ed3) and vinyl 2015 (Ed2) overlaps above 150 Hz at 8 kHz. The green area shows bass attenuation below 150 Hz for the 2021 vinyl with a maximum of 2 to 3 dB. The 2021 vinyl will therefore have less presence in the bass below 100 Hz.
Synthesis and listening
The red and black vinyl released in 2021 for the 30th anniversary of the album is similar to the 2015 vinyl, with a little less bass.
- Rating:
- Dynamic: ●●●●o (3.5/5)
- Bandwidth: ●●●●o (4/5)
- Surface Noise: ●●●●o (4/5)
- Restitution: ●●●●o (3.5/5)
Sample : “Why You Wanna Trip On Me” Vinyl 2021 24 bits 176.4 kHz :
Ed4: Cassette ref EGT 45400 — 1991
Presentation
Cassette released in 1991.
| Label | EPIC |
| Reference | EGT 45400 |
| Format (speed) | Cassette |
| Type | Cassette with Dolby System |
| Master | Analog dubling |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | Canada |
| Year production | 1991 |
Waveform and Spectrum: DR11
The cassette shows correct dynamics confirmed with DR11. The spectrogram shows a frequency response that does not go beyond 20 kHz (yellow arrow); beyond that is the noise of the cassette playback on a Nakamichi LX3, without Dolby B NR (white arrow).
The spectrum of the cassette and the 1991 CD overlap from 800Hz to 15 kHz. Below 800 Hz (green area), the cassette has one or two dB more than the CD. On the other hand, the recorded cassette is limited in the high frequency range above 17 kHz (yellow arrow). This will make the tape sound a bit warmer with less precision in the high frequencies.
Synthesis and listening
The result of the tape is correct with a good dynamic, more present bass and a slightly attenuated extreme high. It is the pleasure to listen to a cassette!
- Rating:
- Dynamic: ●●●●o (3.5/5)
- Bandwidth: ●●●●o (3.5/5)
- Surface Noise: ●●●oo (3/5)
- Restitution: ●●●oo (3/5)
Sample : “Why You Wanna Trip On Me” Cassette 24 bits 96 kHz :
Ed5: CD ref EPC 465802 2 — 1991
Presentation
It is the original CD proposed with 24-page booklet.
| Label | EPIC |
| Reference | EPC 465802 2 |
| Format (speed) | CD |
| Type | CD 16 bits 44.1 kHz with 24 pages booklet |
| Master | Digital |
| Mastering/Pressing | Recorded and mixed by Bruce Swedien and Teddy Riley or Bill Bottrell Mastered by Bernie Grundman |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | US |
| Year production | 1991 |
Waveform and Spectrum: DR11
The CD 1991 shows correct dynamics confirmed with DR11. The spectrogram shows a high frequency limit at 22 kHz (yellow arrow) with no signal above (white arrow), consistent with the 44.1 kHz sampling frequency.
The spectrum of the CD 1991 (Ed5) and the Japanese CD 1991 (Ed6) overlaps perfectly on all frequencies. This indicates the use of the same master.
Synthesis and listening
The 1991 CD brings a very rich sound in treble with a very clean and tense bass. This can make the sound seem more aggressive with today’s systems than with the new mixes. But the mix remains exceptional.
- Rating:
- Dynamic: ●●●●o (3.5/5)
- Bandwidth: ●●●●o (4/5)
- Restitution: ●●●●● (4/5)
Sample : “Why You Wanna Trip On Me” CD 1991 16 bits 44.1kHz :
Ed6: CD Japan ref ESCA 5500 — 1991
Presentation
It is the original CD from Japan proposed with 28-page booklet.
| Label | EPIC |
| Reference | ESCA 5500 |
| Format (speed) | CD |
| Type | CD 16 bits 44.1 kHz with 28 pages booklet |
| Master | Digital |
| Mastering/Pressing | Recorded and mixed by Bruce Swedien and Teddy Riley or Bill Bottrell Mastered by Bernie Grundman |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | Japan |
| Year production | 1991 |
Waveform and Spectrum: DR11
The Japanese CD 1991 shows dynamics identical to the US CD 1991 (Ed5), confirmed with DR11. The spectrogram shows a high frequency limit at 22 kHz (yellow arrow) with no signal above, consistent with the 44.1 kHz sampling frequency.
The spectrum of the CD 1991 (Ed5) and the Japanese CD 1991 (Ed6) overlaps perfectly on all frequencies. This indicates the use of the same master.
Synthesis and listening
The 1991 Japanese CD is similar to the 1991 Ed5 CD version.
- Rating:
- Dynamic: ●●●●o (3.5/5)
- Bandwidth: ●●●●o (4/5)
- Restitution: ●●●●o (4/5)
Sample : “Why You Wanna Trip On Me” CD Japan 1991 16 bits 44.1kHz :
Ed7: CD ref 504424 2 — 2001
Presentation
It is the CD Special Edition proposed with 24-page booklet.
| Label | EPIC |
| Reference | 504424 2 |
| Format (speed) | CD |
| Type | CD 16 bits 44.1 kHz with 28 pages booklet |
| Master | Digital |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | US |
| Year production | 2001 |
Waveform and Spectrum: DR7
The 2001 CD shows a significant limitation of dynamics with signal clipping, confirmed with DR7. The spectrogram shows a high frequency limit at 22 kHz (yellow arrow) with no signal above, consistent with the 44.1 kHz sampling frequency.
The spectrum of the 1991 CD (Ed5) and the 2001 CD (Ed7) is similar, but above 2 kHz, the 2001 CD is 1 to 5 dB lower than the 1991 CD. There is also a slight difference in the low frequencies below 400 Hz (green zone). This will impact the sound balance by favoring a warmer balance for the 2001 CD.
Synthesis and listening
The CD of 2001 was remastered, the sound balance was changed to attenuate a little the highs in order to allow a reinforcement of the bass which is also helped by the compression of dynamics. The rendering is thus less brilliant than the CD of 1991 with a base in the bass more important.
- Rating:
- Dynamic: ●●ooo (2/5)
- Bandwidth: ●●●●o (4/5)
- Restitution: ●●●oo (3/5)
Sample : “Why You Wanna Trip On Me” CD 2001 16 bits 44.1kHz :
Ed8: CD ref EICP 1197 — 2009
Presentation
It is the CD Japan 2009 proposed with 24-page booklet.
| Label | EPIC |
| Reference | EICP 1197 |
| Format (speed) | CD |
| Type | CD 16 bits 44.1 kHz with 28 pages booklet |
| Master | Digital |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | Japan |
| Year production | 2009 |
Waveform and Spectrum: DR7
The 2009 CD shows the same significant dynamic limitation with signal clipping as the 2001 CD (Ed7), confirmed with DR7. The spectrogram is limited to 22 kHz (yellow arrow) with no signal above.
The spectrum of the CD 2001 (Ed7) and the CD 2009 (Ed8) overlaps perfectly on all frequencies. This indicates the use of the same master.
Synthesis and listening
The 2009 CD is similar to the 2001 CD in terms of sound balance and rendering.
- Rating:
- Dynamic: ●●ooo (2/5)
- Bandwidth: ●●●●o (4/5)
- Restitution: ●●●oo (3/5)
Sample : “Why You Wanna Trip On Me” CD Japan 2009 16 bits 44.1kHz :
Ed9: Qobuz Streaming Hi-Res
Presentation
This is the Streaming Qobuz proposed in Hi-Res (24 bits 96kHz).
| Label | EPIC |
| Reference | Qobuz Hi-Res |
| Format (speed) | Digital Streaming |
| Type | Hi-Res in lossless 24 bits 96 kHz |
| Master | Digital |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | US |
| Year production | 1991 |
Waveform and Spectrum: DR9
The Qobuz Hi-Res version shows a limited dynamic range with compression and signal clipping, confirmed with DR9. The spectrogram shows the signal extends up to 48 kHz (white arrow), confirming the use of original multi-track analog tapes for the master. The black arrows show spurious frequencies present on some songs.
The spectrum of the Qobuz (Ed9) version and the 1991 CD (Ed5) overlap from 700 Hz to 21 kHz. Below 700 Hz (green area), the streaming has one or 3 dB more than the CD. Above 21 kHz (yellow arrow), the signal continues for the high-resolution Qobuz version, showing the use of the original multi-track analog tapes for this version. The sound of the Qobuz version will have a slightly warmer sound balance.
Synthesis and listening
The Qobuz version in high resolution brings a sound balance with the highs less hard and the lows more present and a little more precise than the CD versions of 2001 and 2009. We find the attacks more marked in the bass than on the versions of 1991.
- Rating:
- Dynamic: ●●ooo (2.5/5)
- Bandwidth: ●●●●● (5/5)
- Restitution: ●●●oo (3.5/5)
Sample : “Why You Wanna Trip On Me” Qobuz Hi-Res 24 bits 96kHz :
Ed10: Amazon Streaming UltraHD
Presentation
This is the Streaming Amazon proposed in UltraHD (24 bits 96kHz).
| Label | EPIC |
| Reference | Amazon UltraHD |
| Format (speed) | Digital Streaming |
| Type | UltraHD in lossless 24 bits 96 kHz |
| Master | Digital |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | US |
| Year production | 2001 |
Waveform and Spectrum: DR9
The Amazon UltraHD version shows the same dynamic limitation and signal clipping as the Qobuz version (Ed9), confirmed with DR9. The spectrogram shows the signal extends up to 48 kHz, confirming the same Hi-Res master.
The spectrum of the streaming Amazon (Ed10) and the streaming Qobuz (Ed9) overlaps perfectly on all frequencies. This indicates the use of the same master.
Synthesis and listening
The streaming Amazon version in high resolution is similar to the Qobuz version.
- Rating:
- Dynamic: ●●ooo (2.5/5)
- Bandwidth: ●●●●● (5/5)
- Restitution: ●●●oo (3.5/5)
Sample : “Why You Wanna Trip On Me” Amazon UltraHD 24 bits 96kHz :
Ed11: Tidal Streaming Master
Presentation
It is the Tidal Streaming MQA Master presented in 24/96.
| Label | EPIC |
| Reference | Tidal Master |
| Format (speed) | MQA |
| Type | MQA decoded in PCM 24/96 |
| Master | Digital |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | US |
| Year production | 1991 |
Waveform and Spectrum: DR10
The Tidal Streaming version shows a limited dynamic range with signal clipping and small over oscillation likely due to MQA encoding, confirmed with DR10. The spectrogram shows the signal extends up to 48 kHz, confirming the Hi-Res master source.
The spectrum of the streaming Tidal (Ed11) and the streaming Qobuz (Ed9) overlaps perfectly on all frequencies. This indicates the use of the same master.
Synthesis and listening
The Tidal version is a little different from the Amazon and Qobuz versions. We find the same overall balance, but with different bass that seems more natural.
- Rating:
- Dynamic: ●●●oo (2.5/5)
- Bandwidth: ●●●●● (5/5)
- Restitution: ●●●●o (3.5/5)
Sample : “Why You Wanna Trip On Me” Tidal Master 24 bits 96kHz :
Ed12: Vinyl Picture Disc ref 1907586644-15 — 2018
Presentation
It is the very nice Picture disc vinyl.
| Label | EPIC |
| Reference | 1907586644-15 |
| Format (speed) | Vinyl Picture Disc |
| Type | Double Lp 33.33 rpm Picture Disc |
| Master | Digital |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | UE |
| Year production | 2018 |
Waveform and Spectrum: not measured
The Picture Disc is not included in the DR measurements because of its very high surface noise. The spectrum is similar to Ed3 Vinyl 2021, with a little more treble above 15 kHz, but the vinyl picture disc is much noisier because of the printing.
Synthesis and listening
The listening reveals the very strong surface noise due to the graphic impression on the disc. This very nice disk is made to decorate and not to listen.
- Rating:
- Dynamic: ooooo (-/5) not measured
- Bandwidth: ●●●●o (4/5)
- Surface Noise: ●oooo (1/5)
- Restitution: ●oooo (1/5)
Sample : “Why You Wanna Trip On Me” Vinyl Picture Disc 24 bits 176.4 kHz :
Ed13: DAT Master
Presentation
The DAT master cassette is a very rare piece, I thank Davy for allowing us to include this cassette in this test. Davy is a Michael Jackson fan, you can find him on youtube SalutLesFans. The test and measurements of this DAT cassette were done with Davy. You can also find Davy’s test at the Abbey Road Institute in Paris on Youtube.
| Label | Bernie Grundman Mastering |
| Reference | Michael Jackson Dangerous |
| Format (speed) | DAT |
| Type | DAT 48 kHz |
| Mastering/Pressing | Bernie Grundman Mastering |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | US |
Waveform and Spectrum: DR15
The DAT master offers the best dynamics of all non-MOFI editions confirmed with DR15. The spectrogram shows a high frequency limit at 24 kHz (yellow arrow) with no signal above, consistent with the 48 kHz sampling frequency used.
The spectrum of the DAT (Ed13) and the CD 1991 (Ed5) overlaps perfectly up to 20 kHz (yellow arrow). This indicates the use of the same master.
Synthesis and listening
Listening to the DAT highlights the clarity and dynamics of the music, with a balanced rendition. This version is similar to the 1991 version in terms of accuracy, but with better balance and less aggressive highs.
- Rating:
- Dynamic: ●●●●● (5/5)
- Bandwidth: ●●●●o (4/5)
- Restitution: ●●●●o (4.5/5)
Sample : “Why You Wanna Trip On Me” DAT 16 bits 48 kHz :
Ed14: MOFI SACD – 2025
Presentation
This hybrid SACD edition was produced from a DSD256 digital master created by MoFi, sourced from four different master tapes: three analog reels (½-inch 30 ips, ½-inch 30 ips with Dolby SR noise reduction, and ¼-inch 30 ips with Dolby SR) and one digital master in Mitsubishi X-86 HS format – ¼” 48 kHz / 16-bit. Following reported issues with this release, a comprehensive technical analysis of the MoFi SACD and vinyl editions was conducted for all tracks, available here: (link).
| Label | MOFI |
| Format (speed) | SACD |
| Type | DSD64 |
| Master | DSD128 from three analog reels and one digital master Mitsubishi X-86 HS ¼” 48 kHz / 16-bit |
| Mastering/Pressing | MOFI |
| State | US |
| Year production | 2025 |
Waveform and Spectrum: most dynamic edition
MOFI Editions offer the most dynamic versions of this album. The spectral comparison reveals a reduction in high frequencies (yellow zone) compared to the CD version, resulting in less energetic highs during playback, but also a smoother, less aggressive sound on certain audio systems. The yellow arrow highlights an increase in high-frequency noise, a characteristic artifact of DSD64 encoding.
Synthesis and listening
The MOFI teams have delivered remarkable work, however some imperfections have been noted, particularly on the track “JAM”, which affect the sound reproduction and overall quality. Discover our in-depth analysis of the MOFI SACD and vinyl editions in our detailed review available here.
- Rating:
- Dynamic: ●●●●● (5/5)
- Bandwidth: ●●●●● (5/5)
- Restitution: ●●●●o (3.5*/5)
- *The rating will depend on MOFI’s responses to the identified issues, so the score is provisional.
Sample : “Why You Wanna Trip On Me” SACD 24 bits 176 kHz :
Ed15: MOFI CD layer – 2025
Presentation
This CD layer of the SACD edition was produced from a DSD256 digital master created by MoFi, sourced from four different master tapes: three analog reels (½-inch 30 ips, ½-inch 30 ips with Dolby SR noise reduction, and ¼-inch 30 ips with Dolby SR) and one digital master in Mitsubishi X-86 HS format – ¼” 48 kHz / 16-bit. Following reported issues with this release, a comprehensive technical analysis of the MoFi SACD and vinyl editions was conducted for all tracks, available here: (link).
| Label | MOFI |
| Format (speed) | CD |
| Type | PCM 16 bits 44.1 kHz |
| Master | DSD128 from three analog reels and one digital master Mitsubishi X-86 HS ¼” 48 kHz / 16-bit |
| Mastering/Pressing | MOFI |
| State | US |
| Year production | 2025 |
Waveform and Spectrum: most dynamic edition
The spectrum of the CD layer aligns perfectly with that of the SACD version up to 22 kHz, which corresponds to the limit imposed by the 44.1 kHz sampling rate of the CD format.
Synthesis and listening
Since the CD shares the same source as the SACD, it logically exhibits the same flaws as those identified on the SACD edition. As for the perceptible differences between the CD and SACD versions when listening, they depend on the digital-to-analog converter used as well as the specific processing characteristics inherent to the PCM and DSD64 formats. Discover our in-depth analysis of the MOFI SACD and vinyl editions in our detailed review available here.
- Rating:
- Dynamic: ●●●●● (5/5)
- Bandwidth: ●●●●● (5/5)
- Restitution: ●●●●o (3.5*/5)
- *The rating will depend on MOFI’s responses to the identified issues, so the score is provisional.
Sample : “Why You Wanna Trip On Me” CD layer 16bits 44.1kHz :
Ed16: MOFI vinyl record – 2025
Presentation
This vinyl record edition was produced from a DSD256 digital master created by MoFi, sourced from four different master tapes: three analog reels (½-inch 30 ips, ½-inch 30 ips with Dolby SR noise reduction, and ¼-inch 30 ips with Dolby SR) and one digital master in Mitsubishi X-86 HS format – ¼” 48 kHz / 16-bit. Following reported issues with this release, a comprehensive technical analysis of the MoFi SACD and vinyl editions was conducted for all tracks, available here: (link).
| Label | MOFI |
| Format (speed) | Vinyl record |
| Type | 2 LP 33.33 rpm |
| Master | DSD128 from three analog reels and one digital master Mitsubishi X-86 HS ¼” 48 kHz / 16-bit |
| Mastering/Pressing | MOFI |
| State | US |
| Year production | 2025 |
Waveform and Spectrum: most dynamic edition
The spectra of the MoFi SACD and MoFi vinyl versions align almost perfectly between 50 and 20 kHz, indicating strong consistency between the two formats. However, the vinyl shows slightly elevated bass levels below 60 Hz (green zone). Notably, there is no noticeable high-frequency lift around 15 kHz on the vinyl version, unlike what was observed on the One-Step editions of Thriller and Off the Wall.
Synthesis and listening
This vinyl edition has a sonic balance similar to the SACD with more prominent deep bass. It doesn’t exhibit the 15 kHz brightness found in the ONE-STEP editions of “Thriller” and “Off The Wall”. Excellent pressing quality with very low background noise.
The MOFI teams have delivered remarkable work, however some imperfections have been noted, particularly on the track “JAM”, which affect the sound reproduction and overall quality. Discover our in-depth analysis of the MOFI SACD and vinyl editions in our detailed review available here.
- Rating:
- Dynamic: ●●●●● (5/5)
- Bandwidth: ●●●●● (5/5)
- Surface Noise: ●●●●● (5/5)
- Restitution: ●●●●o (3.5*/5)
- *The rating will depend on MOFI’s responses to the identified issues, so the score is provisional.
Sample : “Why You Wanna Trip On Me” SACD 24 bits 176 kHz :
Ed17 : Blu-spec CD2 – 2018
Presentation
This is th Blu-spec CD2 of this album. The Blu-spec CD2 is an audio CD format developed by Sony, using a Blu-ray derived manufacturing process with a more precise blue laser.
It remains fully compatible with standard CD players and retains the conventional audio format (16-bit / 44.1 kHz), with no change in resolution.
Its goal is to improve playback accuracy by reducing read errors, rather than offering a high-resolution audio format.
| Label | EPIC |
| Reference | SICP-31153 |
| Format (speed) | CD |
| Type | PCM 16 bits 44.1 kHz |
| Master | Digital |
| Mastering/Pressing | Sony DADC Japan |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | Japan |
| Year original | 1991 |
| Year production | 2018 |
Waveform and Spectrum: DR9
The waveform of the Blu-spec CD2 – 2018 version shows a low dynamic range confirmed with DR9.
The spectrogram shows that the signal rises to 22 kHz with no signal above this frequency due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the Tidal Streaming (white curve) with the spectrum of the Blu-spec CD2 – 2018 (blue curve).The two spectra overlap almost perfectly up to 22 kHz, which is the maximum frequency of the Blu-spec CD2 due to its 44.1 kHz sampling rate.
Synthesis and listening
This Blu-spec CD2 version is also based on a dynamically compressed master, as shown by the waveform and its DR9. This is disappointing for a format that aims to be a reference in terms of CD manufacturing quality. Because of this master, this edition does not bring any real improvement. It s a shame that a truly high-quality master was not used.
Rating:
- Dynamic: ●●ooo (2.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●oo (3)
Sample : Why You Wanna Trip on Me. 16 bits 44.1 kHz:
Ed18: Apple Dolby Atmos – 2026
Presentation
This is the Apple Music Dolby Atmos presented in Dolby Digital Plus (768 kbits/s).
| Label | Apple Music |
| Reference | Michael jackson Dangerous |
| Format (speed) | Atmos Streaming |
| Type | Dolby Digital Plus Atmos 768 kbits/s |
| Master | ADM Dolby Atmos 24 bits 48 kHz |
| Mastering/Pressing | Apple Music |
| Original recording | Analog and Digital recording, Analog mixing, Digital Master |
| State | US |
| Year original | 1991 |
| Year production | 2026 |
Spatialization:
The spatialization SP of Apple Dolby Atmos – 2026 version varies from track to track, with values between SP 5,2 and SP 8,1.
Spatialization SP: ●●●●●●●ooo (6.7) , SK: ●●●●●ooooo (5.6)
Below the spatialization for all tracks. Click on the images to zoom in.
Waveform and Spectrum: DR17
The waveform of the Apple Dolby Atmos – 2026 shows a very high range confirmed with DR17.
The spectrogram of the Tidal Dolby Atmos track in 9.1.6 is limited to 20kHz with no signal above. This limitation is due to Dolby Digital Plus encoding, which is a lossy encoder that limits bandwidth to optimize data size for a bit rate of 768 kbits/s. The bass channel (LFE) is filtered at 120 Hz.
The graph below represents the spectrum of the Apple Dolby Atmos – 2026.
The spectrum of Dolby Atmos version decoded in 7.1 shows that all channels are used. The LFE channel is used with a cutoff frequency of 120 Hz (green arrow). The white arrow indicates the high-frequency limit at 20 kHz due to Dolby Digital Plus encoding. The yellow arrow indicates the high-frequency limit at 24 kHz due to encoding at the 48 kHz sampling frequency used.
Synthesis and listening
The Dolby Atmos version is a new mix that stands out for its excellent use of the sound space, distributing instruments, music, vocals, and effects throughout the environment as in Black or White while maintaining coherence with the front soundstage.
It also features outstanding dynamics, the highest among all the tested versions, bringing a great deal of energy to the album.
This is a version worth experiencing on a 7.1.4 (or 9.1.6) system.
One can hope for the release of a Blu-ray Audio edition to fully experience the finesse of the Dolby TrueHD Atmos format, which, being lossless, is far superior to the streaming version, heavily limited in bitrate and using the lossy Dolby Digital Plus format.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●o (4)
- Spatialization SP: ●●●●●●●ooo (6.7)
- Spatialization SK: ●●●●●ooooo (5.6)
- Restitution: ●●●●o (4.5)
Sample : Why You Wanna Trip on Me. Downmixed 7.1 :
The sample is in 7.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and Save Audio As and play it with an external player.
Sample : Why You Wanna Trip on Me. Downmixed 2.0:
It is not always easy to choose between the different versions, especially for an album of this technical quality. The choice between the original and the remastered versions also depends on the tastes of everyone. For those who prefer the original version, the 1991 vinyl or the 1991 CDs are the best choice to get the sound of 1991. The remastered version changes the tonal balance with an attenuation in the highs and more present bass. One loses in the passage a little of dynamics (which is translated by a deterioration of the signal). If you prefer this tonal balance, the streaming versions are a good compromise with their high resolution edition. But the surprise comes from the DAT version, not commercially available, which brings dynamics and balance of the original version.
MOFI delivers the most accomplished reissue, characterized by softened high frequencies which, while reducing the punchy impact of the treble, reveal more detail in the rest of the sonic spectrum. This approach proves judicious given that the aggressive treble of the original 1991 versions could be fatiguing on certain audio systems. However, this success is marred by mastering flaws, notably level imbalances affecting two tracks, which complicates the overall assessment. To fully grasp these issues, we invite you to consult our technical analysis and listen to the comparative excerpts available in the detailed study of each track (link).
Update of May 3, 2026 : The good surprise of 2026 comes from the Dolby Atmos version of this album. This version is the most dynamic of all, featuring successful spatialization thanks to its new Atmos mix, which creates a whole new sonic experience. It offers a different way of listening, best enjoyed on at least a 7.1.4 system to fully appreciate it.
As for the Blu-spec CD2, the concept itself can be interesting, but it overlooks an essential point: it’s not just the physical medium that matters—the master used for pressing must also be flawless, which is not the case here.
Dynamic Range measurements and spectra are shown below.
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Measurements
Dynamic Range comparaisons
Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest.
Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).
Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).
For the18 editions reviewed have obtained the following Dynamic Range (DR) :
| Ed1: Vinyl 1991 | Ed2: Vinyl 2015 | Ed3: Vinyl 2021 | Ed4 : K7 1991 | Ed5 : CD 1991 | Ed6 : CD 1991 Japan | Ed7 : CD 2001 | Ed8 : CD 2009 | Ed9 : Qobuz | Ed10 : Amazon | Ed11 : Tidal | Ed12 : Picture Disc* | Ed13 : DAT Master | Ed14 : MOFI SACD | Ed15 : MOFI CD layer | Ed16 : MOFI vinyl record | Ed17 : Blu-spec CD2 | Ed18 : Apple Dolby Atmos | |
| Global | DR14 | DR11 | DR12 | DR11 | DR11 | DR11 | DR7 | DR7 | DR9 | DR9 | DR10 | DR15 | DR13 | DR13 | DR14 | DR9 | DR17 | |
| Min | DR11 | DR9 | DR9 | DR8 | DR10 | DR9 | DR5 | DR5 | DR7 | DR8 | DR9 | DR12 | DR12 | DR12 | DR8 | DR13 | ||
| Max | DR15 | DR13 | DR13 | DR13 | DR12 | DR13 | DR10 | DR10 | DR12 | DR10 | DR12 | DR17 | DR17 | DR16 | DR12 | DR21 | ||
| Jam | DR15 | DR13 | DR13 | DR13 | DR12 | DR13 | DR8 | DR8 | DR8 | DR10 | DR11 | DR17 | DR17 | DR16 | DR10 | DR18 | ||
| Why You Wanna Trip On Me | DR15 | DR12 | DR13 | DR13 | DR12 | DR12 | DR9 | DR8 | DR8 | DR9 | DR9 | DR14 | DR14 | DR13 | DR9 | DR21 | ||
| In the Closet | DR14 | DR11 | DR11 | DR12 | DR12 | DR12 | DR7 | DR7 | DR10 | DR9 | DR10 | DR14 | DR14 | DR14 | DR10 | DR20 | ||
| She Drives Me Wild | DR14 | DR12 | DR13 | DR12 | DR11 | DR11 | DR7 | DR7 | DR8 | DR8 | DR9 | DR13 | DR13 | DR13 | DR09 | DR16 | ||
| Remember the Time | DR13 | DR11 | DR11 | DR11 | DR11 | DR11 | DR7 | DR7 | DR8 | DR8 | DR9 | DR12 | DR12 | DR13 | DR09 | DR17 | ||
| Can’t Let Her Get Away | DR15 | DR12 | DR12 | DR13 | DR12 | DR12 | DR8 | DR8 | DR8 | DR8 | DR9 | DR13 | DR13 | DR14 | DR9 | DR19 | ||
| Heal the World | DR14 | DR11 | DR11 | DR11 | DR11 | DR11 | DR8 | DR8 | DR8 | DR9 | DR10 | DR13 | DR13 | DR13 | DR10 | DR16 | ||
| Black or White | DR14 | DR11 | DR11 | DR10 | DR12 | DR12 | DR7 | DR7 | DR8 | DR9 | DR10 | DR14 | DR14 | DR13 | DR9 | DR19 | ||
| Who Is It | DR14 | DR11 | DR11 | DR10 | DR12 | DR12 | DR7 | DR7 | DR9 | DR9 | DR10 | DR13 | DR13 | DR15 | DR9 | DR16 | ||
| Give In to Me | DR11 | DR9 | DR9 | DR8 | DR10 | DR9 | DR5 | DR5 | DR9 | DR8 | DR8 | DR12 | DR12 | DR12 | DR8 | DR14 | ||
| Will You Be There | DR14 | DR12 | DR12 | DR10 | DR12 | DR12 | DR8 | DR8 | DR8 | DR10 | DR11 | DR13 | DR13 | DR13 | DR10 | DR15 | ||
| Keep the Faith | DR14 | DR11 | DR11 | DR9 | DR11 | DR11 | DR6 | DR6 | DR10 | DR9 | DR9 | DR13 | DR13 | DR14 | DR9 | DR17 | ||
| Gone Too Soon | DR12 | DR12 | DR12 | DR10 | DR12 | DR12 | DR10 | DR10 | DR12 | DR10 | DR12 | DR12 | DR12 | DR12 | DR12 | DR13 | ||
| Dangerous | DR15 | DR12 | DR13 | DR10 | DR11 | DR11 | DR7 | DR7 | DR7 | DR8 | DR8 | DR15 | DR15 | DR15 | DR8 | DR19 |
* ED12 : The Picture Disc is not mesured because of its very high surface noise.
There are two categories:
Vinyl, cassette, DAT and CD media from 1991 have a DR between DR11 and DR15 (for DAT).
CD 2001, CD 2009 and streaming versions have a more limited dynamic range between DR7 and DR10 (Streaming Tidal).
MOFI Editions (Ed14, Ed15, Ed16) offer the most dynamic versions of this album.
The Dolby Atmos is the more dynamic version of this album.
As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.
Waveform detail comparisons
Below the detailed analysis of the editions. Thanks to Didier for his help in the detailed analysis of Ed1 to Ed11. Didier also has a blog on audio that you can find here.
For this detailed analysis, the signal was zoomed in to compare several representative points that are identified in the red and yellow circles.
Zoom Ed5 : CD — 1991
The Ed5 CD 1991 will be used as a reference for the comparison between the versions. The red zones allow to identify easily the dynamic compression and the yellow zone will allow to compare the fidelity of the reproduction between the editions.
Zoom Ed13 : DAT
The Ed13 DAT is identical to the 1991 Ed5 CD version, however with small over oscillation which is visible in the yellow circle on the right.
Zoom Ed1: Vinyl — 1991
The vinyl is in phase opposition to the 1991 CD, it is corrected in the graph.
The dynamics is well represented by the peaks in the red areas.
The yellow areas show that there is a distortion of the signal on the vinyl compared to the CD, the variations of the signal are a little attenuated.
Zoom Ed2: Vinyl — 2015
The red areas show the peaks with some attenuation compared to the Ed5 CD 1991 and Ed1 Vinyl 1991 versions.
The yellow areas show the same kind of distortions as on the 1991 Vinyl, but the 2015 vinyl waveform is closer to the 1991 CD than the 1991 vinyl.
Zoom Ed3: Vinyl Red Black — 2021
The dynamics is well represented by the peaks in the red areas like the CD 1991 (Ed5) and Vinyl 1991 (Ed1).
The yellow areas show the same kind of distortions as on the 1991 Vinyl. But the 2021 vinyl waveform is closer to the 1991 CD than the 1991 vinyl.
Zoom Ed4 : Cassette — 1991
The cassette is in phase opposition to the 1991 CD (Ed5), it is corrected in the graph. The dynamics is well represented by the peaks in the red areas like the CD 1991 (Ed5) and Vinyl 1991 (Ed1), but with a distortion of the signal.
The yellow areas show more rounding on the flat parts of the signal that characterize the tape playback.
Zoom Ed6 : CD Japan — 1991
The red and yellow zones are identical for the 1991 CD (Ed5) and this 1991 Japan CD (Ed6). We find the same signal for both editions.
Zoom Ed7 : CD — 2001
The red areas show peak suppression with the presence of signal clipping. Clipping is an important source of distortion for digital signals.
The yellow zones are similar but with a reduction of the peaks due to the compression applied for the CD 2001.
Zoom Ed8 : CD — 2009
The red and yellow zones are identical for the 2001 CD (Ed7). We find the same signal for both editions with the presence of signal clipping.
Zoom Ed9 : Qobuz Streaming HiRes
We find the compression (yellow zone) and the clipping on the signal (red zone) like the CD 2001 (Ed7) with the presence of signal clipping.
Zoom Ed10 : Amazon Streaming UltraHD
The red and yellow zones are identical for the Ed9 Qobuz Streaming HiRes. We find the same signal for both editions with the presence of signal clipping.
Zoom Ed11 : Tidal Streaming Master
The red and yellow zones are similar for the Ed9 Qobuz Streaming HiRes with the presence of signal clipping. Small over oscillation is observed at the beginning of each peak. This is certainly due to the MQA encoding used by Tidal.
Zoom Ed14 : MOFI SACD
The zoom reveals no clipping issues or overly emphasized transitions, which can be partly attributed to the attenuation of high frequencies in the upper spectrum compared to the 1991 CD version.
Zoom Ed15 : MOFI CD Layer
When comparing the zoomed-in views of the CD layer and the SACD, they appear to be nearly identical. However, there are subtle micro-differences that may result from the conversion process between SACD and CD, or from the filtering applied during SACD playback.
Zoom Ed16 : MOFI vinyl record
The zoom reveals no clipping issues or overly emphasized transitions, which can be partly attributed to the attenuation of high frequencies in the upper spectrum compared to the 1991 vinyl record version.
The zoom of the waveforms shows the impact that remastering can have, especially to increase the average sound level of the album with compression/limitation of dynamics. Clipping is present on many peaks of the signal. It is a pity to degrade the waveform in this way, knowing the time and the means used and the work of the people who made it possible to obtain the superb mix of this album.
Detail of the ratings :
- Dynamic :
- Significant dynamic compression, DR less than 7
- Compression of the present dynamics, DR between 7 and 9.
- Correct piece DR >=10
- No dynamic compression (DR >12), dynamic rendering
- No dynamic compression, high DR and very dynamic sound rendering
- Spectrum :
- Spectrum cut and less than 15 khz
- Spectrum cut at 15 khz
- Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
- Spectrum conforming to the original (but not HD)
- Spectrum conforming to the original with HD resolution (higher than 24kHz)
- Surface noise (only for vinyl):
- Continuous audible noise
- Audible surface noise except on passages with a high level of noise
- Reduced surface noise, barely audible on low level crossings
- Low surface noise, very good quality
- Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
- Restitution :
- Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
- Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
- Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
- High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
- Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.
Not a fan of the album but damn.. Nicely done.
Bonjour, super travail c’est très intéressant. Est-ce que cette version DAT a été rippée et circule entre fans ? Il y-a-t-il un moyen de s’en procurer une copie ? Ce qui est énigmatique, c’est de savoir à quel moment cette version DAT intervient dans le proccesus de mastering, car elle est clairement masterisée par Bernie Grundman (s’il s’agissait d’un DAT “studio” comme dit dans la vidéo youtube, il n’y aurait pas l’étiquette BG). D’autant plus intéressant qu’il y a écrit version “CD” sur l’étiquette, c’est bien que c’est un premier essai de mastering pour le CD, qui a peut-être été jugée trop sage, d’où la version finale qui a été publiée.
Bonjour,
Merci. Cette version ne circule pas, elle appartient à Davy de “Salut Les Fans”. Cette DAT est sortie 1 mois avant la sortie de l’album, et c’est certainement un essai de mastering avant la version finale.
I always saw Dangerous as the CD I would put on in the 90s if someone ever said, “there was no point introducing another format” or something along those lines. Not least because I was a rabid Michael Jackson fan as a boy – he really was my gateway drug to music, and I have always felt Dangerous was his best *album* – all the others save Off the Wall and maybe Bad sound like collections of songs (mind you they’re among the best songs you’ve ever heard). Dangerous is cohesive, it flows, it bangs –
Dangerous the track has some kind of Teddy Riley voodoo in it, where I could listen and jam out to that beat + bass line basically in perpetuity, all the while turning it up louder, straining my audio equipment and deafening myself in service of the tightest funk EVER. So tight in fact, it’s almost stretched and spanked the funk ALMOST entirely out of existence, and yet somehow that makes it the funkiest thing on this earth (certainly in 1991, apart from whatever Prince was doing natch), along with the breakdown in Why You Wanna Trip on Me?, with the guitar chicken scratching a chord probably best expressed as “WTF minor 9th”…
Anyway. What was I saying? Oh yes. Dangerous to me is the justification for the digital age in music. I’m sure it sounds great on vinyl, but I will go to my grave espousing that it was God’s gift to CD Audio, thus spoketh the Red Book, etc etc. It certainly was in Michael’s mind, the up-to-the-second length of 74mins being right at the accepted limit of CD Audio at the time…
You can also add it to Tidal Dolby Atmos from Michael Jackson’s Dangerous (1991), it only needs the image and song sample.
Sample: “Why You Wanna Trip On Me” Dolby Atmos (Downmixed in 7.1)
The review of the Dolby Atmos version will be published later this week.
I’m confused. In the table you say the blu spec CD has a global DR of 17, but then in the section for that CD it says DR is 9?
Thank you James for your feedback.
There was an error: the results for editions 17 and 18 were reversed. This has now been corrected.