MOFI did an outstanding job by working from both the analog and digital master tapes. Indeed, Dangerous was originally produced using a dual-format approach: recorded and mixed in analog, with a simultaneous digital transfer.
This explains the presence of both analog and digital sources for this release. The album features 3 analog master formats and one digital format:
- ½” / 30 IPS analog master with Dolby SR noise reduction, transferred to DSD 256, then through an analog console to lathe, for the tracks:
“Jam,” “Why You Wanna Trip on Me,” “In the Closet,” “She Drives Me Wild”,“Remember the Time,” “Can’t Let Her Get Away,” “Dangerous” - Mitsubishi X-86 HS digital master – ¼” 48kHz / 16-bit format, transferred to DSD 256, then through analog console to lathe, for:
“Heal the World,” “Keep the Faith” - ½” / 30 IPS analog master, transferred to DSD 256, then through analog console to lathe, for:
“Black or White,” “Who Is It,” “Give in to Me” - ¼” / 30 IPS analog master with Dolby SR noise reduction, transferred to DSD 256, then through analog console to lathe, for:
“Will You Be There,” “Gone Too Soon”
A detailed examination of the master sources used for this MoFi reissue reveals a clear intent to prioritize analog lineage wherever feasible, in keeping with the label’s commitment to high-fidelity, archival-grade releases. The presence of multiple master formats — including ½-inch and ¼-inch analog tape, as well as digital — points to a hybrid production history and preservation strategy shaped by both technological transitions and the condition of the source materials.
The use of several different analog tape formats suggests that the original ½-inch analog masters were only partially available or had suffered varying degrees of degradation over the decades. Given the complexity of Dangerous‘ production, with its dense multi-layered arrangements and high dynamic content, it is likely that not all reels remained viable for direct transfer. MoFi appears to have conducted a format-by-format evaluation to determine the optimal source for each track, leveraging the best available master in terms of sonic integrity and preservation status.
The ½-inch, 30 IPS analog tapes,with or without Dolby SR noise reduction,likely represent first-generation mixdowns from the original sessions. The ¼-inch tapes, by contrast, are almost certainly safety copies or production backups, preserved in parallel as part of standard studio archival practice.
The inclusion of digital sources — notably, the Mitsubishi X-86 HS digital masters at 48kHz/16-bit — reflects the hybrid nature of the album’s original production. Dangerous was recorded during a transitional era in professional audio, and many of its tracks were tracked and/or mixed using analog . The digital masters used here were created as real-time backups during the analog sessions, capturing the same performances but via different signal chains.
Rather than compromise the reissue’s integrity, this diversity of sources reflects both the complex legacy of Dangerous and MoFi’s audiophile approach to restoration and reissue. Each track was sourced from the highest-quality, best-preserved material available, with transfers made to DSD 256 and then routed through an analog console before final cutting to lacquer, or for the SACD.
These two MOFI SACD and vinyl versions complement the 14 other versions already tested for this album (CD, vinyl, DAT, streaming, cassette spanning the period 1991-2021), which you can find reviewed here.
A massive amount of work was undertaken on this album, and it remains a complex task to ensure overall sonic coherence across the various masters, especially considering the natural wear of the tapes over 30 years after their original recording.
This is likely why, unlike Michael Jackson’s two previous albums, this reissue was not released as a one-step pressing but rather at 33.33 RPM, due to the album’s very long running time.
The combined use of analog and digital tapes is clearly visible in the spectrogram below, where the green area indicates the digitally sourced tracks. These tracks exhibit a limited bandwidth of around 24 kHz, corresponding to the digital master recorded on a Mitsubishi X-86 HS ¼” 48 kHz / 16-bit format.
For a thorough analysis of these MOFI editions, we will compare four samples, each sourced from a different master.
For each excerpt, we will compare the spectrum of the SACD version with that of the 1991 Japanese CD, as well as the spectrum of the vinyl version with that of the same Japanese CD.
In addition to these spectral analyses, to better appreciate the differences between the various masters and the original 1991 version, you will have the opportunity to listen to and compare the audio excerpts from the different formats: SACD, CD, and vinyl record.
01 – Jam (½” / 30 IPS analog master with Dolby SR noise reduction)
The first track analyzed is Jam. For this track in the SACD version, two key points stand out:
First, the spectra reveal variations in the sonic balance between the SACD version and the 1991 CD version. This balance also differs from the vinyl version, where the differences are less pronounced, especially in the low-frequency range. This is explained by the fact that bass and sub-bass frequencies are mixed in mono on vinyl pressings.
The analysis of the SACD’s stereo spectrum highlights variations between the right and left channels in the bass (green zone) and high frequencies (yellow zone), variations that are absent on the 1991 CD. These differences partly explain the listening discrepancies noted on the SACD version, as well as the criticisms expressed by many listeners. The discrepancies observed are mainly significant on the track Jam.
Sample : JAM
02 – Why You Wanna Trip on Me (½” / 30 IPS analog master with Dolby SR noise reduction)
On this track, there is a noticeable level imbalance between the left and right channels on the SACD. This issue is not present on the vinyl version.
03 – In the Closet (½” / 30 IPS analog master with Dolby SR noise reduction)
Below 70 Hz, there is a noticeable level difference between the left and right channels on the SACD, resulting in less prominent bass compared to the 1991 Japanese CD.
04 – She Drives Me Wild (½” / 30 IPS analog master with Dolby SR noise reduction)
No noticeable imbalance was observed on this track in the SACD version. It’s the vinyl version that shows a slight level difference between the channels.
05 – Remember the Time (½” / 30 IPS analog master with Dolby SR noise reduction)
Below 90 Hz, a level difference between the channels is noticeable, resulting in less prominent bass compared to the CD version.
06 – Can’t Let Her Get Away (½” / 30 IPS analog master with Dolby SR noise reduction)
No noticeable imbalance was observed on this track in the SACD version and vinyl record.
07 – Heal The World (Mitsubishi X-86 HS digital master – ¼” 48kHz / 16-bit format)
The spectra reveal variations in the sonic balance between the SACD version and the 1991 CD version, particularly in the low and high ends of the spectrum.
Below 100 Hz, a smal level difference between the channels is noticeable compared to the CD version. Not present on vinyl record.
Sample : Heal The World
08 – Black Or White (½” / 30 IPS analog master)
The main difference between the SACD and the 1991 CD version lies in the frequencies below 100 Hz, where the SACD shows a higher level. The vinyl record, for its part, also exhibits a lower level in the high frequencies, which further affects the overall spectral balance.
No major imbalance was observed on this track in the SACD version and vinyl record.
Sample : Black Or White
09 – Who Is It (½” / 30 IPS analog master)
Below 100 Hz, a smal level difference between the channels is noticeable on the SACD compared to the CD version.
10 – Give in to Me (½” / 30 IPS analog master)
Below 100 Hz, a smal level difference between the channels is noticeable on the SACD compared to the CD version. Not present on vinyl record.
11 – Will You Be There (¼” / 30 IPS analog master with Dolby SR noise reduction)
The main difference between the SACD and the 1991 CD version lies in the frequencies below 100 Hz, where the SACD shows a higher level. The vinyl record, for its part, also exhibits a lower level only in the high frequencies.
No major imbalance was observed on this track in the SACD version and vinyl record.
Sample : Will You Be There
12 – Heal The World (Mitsubishi X-86 HS digital master – ¼” 48kHz / 16-bit format)
Below 100 Hz, a smal level difference between the channels is noticeable on the SACD compared to the CD version. Not present on vinyl record.
13 – Gone Too Soon (¼” / 30 IPS analog master with Dolby SR noise reduction)
No major imbalance was observed on this track in the SACD version and vinyl record, compared with le CD.
14 – Dangerous (½” / 30 IPS analog master with Dolby SR noise reduction)
Below 100 Hz, a level difference between the channels is noticeable on the SACD compared to the CD version. Not present on vinyl record.
We have come to the end of our analysis of these two MOFI editions, which proved particularly complex to evaluate. It is legitimate to wonder whether, for this album, we have reached the limits of what can be achieved in terms of master tape restoration. The use of four different types of sources to produce the best possible versions has considerably complicated the process, which partly explains the differences in sound between the SACD masters and the 1991 Japanese CD version.
The 1991 CD version, even though it has a slightly lower DR, remains very dynamic with more incisive highs, unlike the two MIFI editions, which are softer in the highs, losing that percussive quality, which on some systems can be aggressive.
The most notable positive aspect is the work done by the MOFI team, which has delivered the most dynamic version of Dangerous to date. However, and this is a key point, this dynamic range is accompanied by a certain inconsistency from track to track. Some songs, such as Will You Be There, sound exceptional, while others, such as Jam, are more disappointing. In the latter case, one wonders whether this is a SACD mastering error or simply the result of a damaged master tape. And if the master tape was indeed unusable, why wasn’t another source chosen?
This question has been submitted to MOFI. We are currently awaiting their response.
Hi, thank you for this deep analysis. If you listen closely to Symphony no.9 at the beginning of « Will You Be There », you’ll also notice the Dolby NR has effects on high frequencies on this part of the second. The second choral intro and the rest of the song is not impacted but if you switch from the 1991 Japanese CD to the SACD, or even from the Qobuz 24/96 version to the SACD, you’ll notice it immediately. I’ve sourced a Japanese SACD remaster of the Symphony no.9 recording by George Szell and all the high frequencies and the beautiful tape hiss is there. Feel free to contact me if you want to talk about it (I speak French).
Thank you for your comment.
You’re absolutely right — the excerpt of Symphony No. 9 at the beginning of “Will You Be There” is limited in the high frequencies, with a clear cutoff at 20 kHz. This is especially visible on the MOFI SACD release.
However, the same limitation is also present on the original 1991 CD. While it’s less obvious, this intro also cuts off at 20 kHz, whereas the rest of the track reaches up to 22 kHz — which is the theoretical limit imposed by the CD’s sampling rate (44.1 kHz).
As you correctly pointed out, the version of Symphony No. 9 on the Japanese SACD extends well beyond 20 kHz. This suggests that Dangerous didn’t use a high-resolution master as the source, but rather a digital version in CD-quality resolution. It’s worth noting that digital filters prior to 1990 often applied a low-pass cutoff around 20 kHz.
This was likely a practical choice — it may have been much easier to use an already-digitized source than to retrieve an analog tape master from the 1970s.
I hope this clarifies your very insightful observation, and thank you again for pointing it out!
I will contact you by email.
Bonjour Jean François,
quand vous aurez la réponse de Mofi au sujet de “pourquoi n’a-t-on pas choisi une autre source ?”.
Je serais très curieux de lire leurs réponses et leurs retours sur le choix de ce déséquilibre.
Serait il possible que Mofi réédite une version équilibrée des 2 canaux ?
Pourriez vous nous tenir informer ?
Merci pour votre travail que je lis à chaque article.
Cordialement,
Merci pour votre retour et de suivre le site.
La question a été posée, MOFI a répondu que les courbes sont transmises en interne et que l’analyse est en cours.
Je communiquerai plus d’informations dès que j’en aurai.
Thank you.
The question has been asked, MOFI has replied that the curves are transmitted internally and that the analysis is in progress.
I will provide more information as soon as I have it.
I will be returning my ordered SACD today. The sound is disappointingly flat and lifeless, with a persistent left/right channel imbalance that is simply distracting. At times, there is audible hiss, and the overall mix feels unnervingly quiet, lacking both punch and emotional engagement. This is not a matter of subtle mastering differences—it’s a release marred by technical flaws and poor balance, with deviations of up to 1.5 dB between channels.
Compared to the 1991 first pressing, the original CD, or even the Japanese Blu-Spec edition, this MFSL version falls dramatically short. The 96/24 high-resolution version available on Qobuz easily surpasses it in clarity, dynamics, and tonal richness. For a label known for its high standards, this is, in my view, the most disappointing MFSL release to date.
Thank you for your thorough and insightful analysis—it perfectly articulates the issues that make this release so frustrating.