Off the Wall is Michael Jackson’s fifth studio album and marks a pivotal turning point in his career. It was his first solo project under Epic Records and, more importantly, the beginning of his legendary collaboration with producer Quincy Jones. The album is a brilliant fusion of funk, disco, pop, R&B, and soul, showcasing a more mature Michael Jackson, free from the image of the Jackson 5.
It features several iconic hits, including:
“Don’t Stop ’Til You Get Enough”
“Rock with You”
“Off the Wall”
“She’s Out of My Life”
The album was praised for its sophisticated production, irresistible grooves, and Jackson’s incredibly expressive vocals. It sold over 20 million copies worldwide and established Michael Jackson as a solo superstar, paving the way for the global phenomenon he would become with Thriller in 1982.
Find the review of two other famous Michael Jackson albums:
For this review, you will find 11 versions tested:
- Ed 1: CD – 1984
- Ed 2: Vinyl Record US – 1979
- Ed 3: Vinyl Record Japan – 1979
- Ed 4: Vinyl Record MOFI – 2025
- Ed 5: SACD Record MOFI – 2025
- Ed 6: CD Layer Record MOFI – 2025
- Ed 7: CD – 2016
- Ed 8: Cassette -1979
- Ed 9: Qobuz – 2024
- Ed 10: Tidal – 2024
- Ed 11: Amazon – 2024
Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.
But how has this album evolved with each remastered version?
A comparative analysis of the waveforms reveals a clear artistic intent in the original releases, particularly on the original vinyl (US, Japan) and the 1984 CD, where a gradual increase in volume can be observed over the last four tracks. This progression, highlighted by the yellow arrows, reflects a deliberate choice to build dynamic tension leading up to the album’s conclusion, enhancing its emotional impact.
However, this subtle rise in intensity has been lost in later remastered versions, including the audiophile Mobile Fidelity (MoFi) edition. This change may be a response to modern listening habits shaped by streaming platforms, where albums are rarely experienced in full and tracks are often consumed individually.
Yet this shift comes at a cost: it flattens the original narrative arc and weakens the listening experience as it was originally conceived by the artists and sound engineers. It’s a compelling example of how mastering choices can affect not just sound quality, but also the artistic perception of an album as a cohesive work.
The album is composed of 10 tracks:
- Don’t Stop ’til You Get Enough
- Rock With You
- Workin’ Day and Night
- Get on the Floor
- Off the Wall
- Girlfriend
- She’s Out of My Life
- I Can’t Help It
- It’s the Falling in Love
- Burn This Disco Out
Summary, scoring and Samples
Ed 1: CD – 1984
Presentation
This is the original CD released in 1984 (ref: CDEPC83468). The CD is mastered with pre-emphasis.
Waveform and Spectrum: DR15
The waveform of the CD shows a high dynamic range confirmed with DR15. It’s important to note that for the last 4 tracks of the album, there’s a gradual rise in volume.
The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the SACD Record MOFI – 2025 (white curve) with the spectrum of the CD – 1984 (blue curve).The two spectra are similar, with slight bass attenuation below 300 Hz (green zone) and 2 dB less at 60 Hz for the SACD MOFI version. Beyond 2.5 kHz (yellow zone), the SACD MOFI attenuates to a maximum of 4 dB.
The image below shows the audio spectrum with and without the application of the deemphasis function (yellow zone), a technique used during the early days of the Compact Disc (CD). At that time, early digital-to-analog converters (DACs) exhibited relatively high noise levels, particularly in the high-frequency range.
To address this issue, a process called pre-emphasis was applied during mastering: the high frequencies were artificially boosted. During playback, a corresponding deemphasis was applied, bringing the highs back to their original level while simultaneously reducing the noise introduced by the DACs. This approach significantly improved listening quality by reducing the perceived background noise.
Synthesis and listening
With the original CD version, you get the authentic sound of the album, preserving all its original balance and dynamics, and especially the crescendo sound level adjustment for the last 4 tracks of the album. This is the most faithful and representative version of the original album.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4.5)
Sample : “Don’t Stop ’til You Get Enough” 16 bits 44.1 kHz:
Ed 2: Vinyl Record US – 1979
Presentation
This is the US original vinyl record, Pitman Pressing, released in 1984 (ref : FE 35745). Présented in Gatefold with one LP in 33 1/3 rpm.
Waveform and Spectrum: DR15
The waveform of the US 1979 vinyl record shows a high dynamic range confirmed with DR15. It’s worth noting that for the last 4 tracks on the album, there’s a gradual rise in volume, as on the 1984 CD version.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
The graph below compares the spectrum of the Vinyl Record US – 1979 (white curve) with the spectrum of the CD – 1984 (blue curve).The two spectra are similar, with a bass accentuation below 300 Hz (green zone) and an additional 4 dB at 60 Hz for the CD version. Beyond 15 kHz (yellow zone), there are variations from the response curve of the US vinyl record, with an attenuation and rise of over 5 dB.
Synthesis and listening
With the original US vinyl version, is very close to the CD version for the management of the sound level in crescendo for the last 4 tracks of the album. But, with a lower bass level than the 1984 CD version. This version is the best original vinyl version in this test.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●●o (4.5)
Sample : “Don’t Stop ’til You Get Enough” 24 bits 192 kHz:
Ed 3: Vinyl Record Japan – 1979
Presentation
This is the japanesed vinyl record, released in 1984 (ref : 25-3P-149). Présented in Gatefold with one LP in 33 1/3 rpm.
Waveform and Spectrum: DR15
The waveform of the Japanese 1979 vinyl record shows a high dynamic range confirmed with DR15. It’s worth noting that for the last 4 tracks on the album, there’s a gradual rise in volume, as on the 1979 US vinyl record.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle. The black arrow shows a parasitic frequency peak around 30 kHz.
The graph below compares the spectrum of the Vinyl Record Japan – 1979 (white curve) with the spectrum of the Vinyl Record US – 1979 (blue curve).The two spectra are similar, with a bass accentuation below 500 Hz (green zone) with a maximum of 3 dB at 60 Hz for the Japanese edition, also found on the 1984 CD edition. Above 5 kHz (yellow zone), treble is attenuated by up to 3 dB on the Japanese edition. There are also significant variations above 16 kHz for the US version.
Synthesis and listening
Normally, Japanese records are often brighter than US editions, but the opposite is true here, with more present bass and slightly attenuated treble compared to the American vinyl record, giving it a slightly different, less detailed sound balance than the original US edition. On the other hand, the crescendo level adjustment of the last 4 tracks is respected.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●●o (3.5)
Sample : “Don’t Stop ’til You Get Enough” 24 bits 192 kHz:
Ed 4: Vinyl Record MOFI – 2025
Presentation
This is the Mobile Fidelity Sound Lab (MFSL) vinyl record released in 2025 with 2 LP SuperVinyl 180 g in 45 rpm. Ref : UD1S 2-061. This is an Limited and Numbered Edition.
Waveform and Spectrum: DR14
The waveform of the MOFI vinyl record shows a high dynamic range confirmed with DR14. It’s important to note that for the last 4 tracks on the album, unlike the original versions, we don’t find the gradual rise in volume as on the 1979 US vinyl record.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
The graph below compares the spectrum of the Vinyl Record MOFI – 2025 (white curve) with the spectrum of the Vinyl Record US – 1979 (blue curve).Both spectra are similar, with a strong bass boost of up to 8 dB at 40 Hz (green zone). There is also equalization above 4 kHz (yellow zone), starting with an attenuation of up to 3 dB between 1 and 12 kHz, and then an accentuation of up to 10 dB at 16 kHz. The aim of this equalization is to remodel the sound balance by raising the bass and attenuating the treble, while retaining an extreme treble for greater detail.
Synthesis and listening
As always, MOFI offers us a high-quality pressing with a remastering that modernizes the tonal balance compared to the 1979 version. There’s also a hint of brilliance, bringing more detail with the accentuation around 15 kHz, as was also the case for the Thriller album. However, the sound levels of the last 4 tracks on the original versions are not as fine-tuned.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●● (5)
- Restitution: ●●●●o (4)
Sample : “Don’t Stop ’til You Get Enough” 24 bits 192 kHz:
Ed 5: SACD Record MOFI – 2025
Presentation
This is the hybrid SACD MOFI released in 2025 (ref : UDSACD 2251).
Waveform and Spectrum: DR13
The waveform of the MOFI SACD shows a high dynamic range confirmed with DR13.It’s important to note that for the last 4 tracks on the album, unlike the original versions, we don’t find the gradual rise in volume as on the 1984 CD.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) the characteristic noise of DSD64 beyond 30 kHz (white arrow). The black arrow shows a parasitic frequency peak around 30 kHz.
The graph below compares the spectrum of the Vinyl Record MOFI – 2025 (white curve) with the spectrum of the SACD Record MOFI – 2025 (blue curve).The two spectra are very similar, with a small attenuation (maximum 2 dB) for the vinyl record between 100 Hz and 1 kHz (green zone). Above all, there’s a rise in treble (yellow zone) centered at 15 kHz up to 6 dB, covering the zone from 12 kHz to over 20 kHz, which will reinforce the presence of detail at the top of the spectrum. This accentuation was also present on Thriller’s MOFI vinyl record.
Synthesis and listening
As with the Thriller album, the MOFI SACD of this album is more balanced in terms of sound rendering, particularly in the upper spectrum, than the MOFI vinyl disc. As a result, the mastering offers a sound balance more in keeping with today’s spirit, with very fine dynamics. However, as with the MOFI vinyl record, the original sound levels of the album’s last 4 tracks are not retained. This is the best reissue in digital format.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4.0)
Sample : “Don’t Stop ’til You Get Enough” 24 bits 176.4 kHz:
Ed 6: CD Layer Record MOFI – 2025
Presentation
This is the CD layer of the SACD MOFI released in 2025 (ref : UDSACD 2251).
Waveform and Spectrum: DR13
The waveform of the MOFI CD layer of SACD shows a high dynamic range confirmed with DR13, like the SACD layer. It’s important to note that for the last 4 tracks on the album, unlike the original versions, we don’t find the gradual rise in volume as on the 1984 CD.
The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the SACD Record MOFI – 2025 (white curve) with the spectrum of the CD Layer Record MOFI – 2025 (blue curve).The two spectra are almost perfectly superimposed up to 22 kHz (yellow arrow), which is the CD frequency limit due to the 44.1 kHz sampling frequency.
Synthesis and listening
The MOFI SACD CD layer has all the main features of the SACD layer, but does not reproduce the same finesse as the DSD64 format. This may depend on the DAC’s processing of the PCM and DSD64 signals.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : “Don’t Stop ’til You Get Enough” 16 bits 44.1 kHz:
Ed 7: CD – 2016
Presentation
This is the excusive edition of the album with CD and DVD released in 2016 (ref:88875124472). Only the CD is reviewed.
Waveform and Spectrum: DR9
The waveform of the CD shows a low dynamic range confirmed with DR9. It’s important to note that for the last 4 tracks on the album, unlike the original versions, we don’t find the gradual rise in volume as on the 1984 CD.
The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the CD – 2016 (white curve) with the spectrum of the Qobuz – 2024 (blue curve).The two spectra are almost perfectly superimposed up to 22 kHz (yellow arrow), which is the CD frequency limit due to the 44.1 kHz sampling frequency.
Synthesis and listening
For this version, we don’t ask ourselves whether the level of the last morceux is identical to the original version. The Loundness War has passed, and we find a dynamically compressed version, which loses a little energy at high levels compared to the original version or the SACD MOFI.
Rating:
- Dynamic: ●●ooo (2.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●ooo (2.5)
Sample : “Don’t Stop ’til You Get Enough” 16 bits 44.1 kHz:
Ed 8: Cassette -1979
Presentation
This is Cassette released in 1979 with ref: EPC 450086 4, read with Nakamichi LX3 without Dolby B NR.
Waveform and Spectrum: DR12
The waveform of the cassette shows a good dynamic range confirmed with DR14. It’s important to note that for the last 4 tracks on the album, unlike the original versions (Vinyl record and CD), we don’t find the gradual rise in volume as on the 1984 CD.
The spectrogram shows that the signal rises with difficulty up to 20 kHz (yellow arrow), and above this frequency, the background noise of the band (white arrow) is present, read without noise reducer.
The graph below compares the spectrum of the Cassette -1979 (white curve) with the spectrum of the Vinyl Record US – 1979 (blue curve).The two spectra are very similar, with more bass on the cassette below 700 Hz (green zone), which reinforces the lower end of the spectrum. There’s a little more treble on the vinyl record above 15 kHz (yellow zone).
Synthesis and listening
The cassette is more dynamic than the 2016 streaming or CD versions, but loses finesse in the treble and also in the width of the soundstage. The sound is reminiscent of the 80s.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●ooo (2.5)
Sample : “Don’t Stop ’til You Get Enough” 24 bits 96 kHz:
Ed 9: Qobuz – 2024
Presentation
This is the Qobuz version of this album presented in 24 bits 96 kHz .
Waveform and Spectrum: DR8
The waveform of the Qobuz version shows a low dynamic range confirmed with DR8. It’s important to note that for the last 4 tracks on the album, unlike the original versions, we don’t find the gradual rise in volume as on the 1984 CD.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal up over 30 kHz (white arrow). A spurious frequency peak (black arrow) is present around 30 kHz.
The graph below compares the spectrum of the CD – 2016 (white curve) with the spectrum of the Qobuz (blue curve). The two spectra are almost perfectly superimposed.
Synthesis and listening
Despite a high-resolution version, dynamics compression reduces the interest of working in 24-bit 96 kHz. As with the 2016 CD, the nuances of the sound levels on the last 4 tracks of the album are therefore lost, which is a shame!
Rating:
- Dynamic: ●●ooo (2)
- Bandwidth: ●●●●o (4)
- Restitution: ●●ooo (2.5)
Sample : “Don’t Stop ’til You Get Enough” Dolby Atmos :
Ed 10: Tidal – 2024
Presentation
This is the Tidal MAX version of this album presented in 24 bits 96 kHz .
Waveform and Spectrum: DR8
The waveform of the Tidal version shows a low dynamic range confirmed with DR8. It’s important to note that for the last 4 tracks on the album, unlike the original versions, we don’t find the gradual rise in volume as on the 1984 CD.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal up over 30 kHz (white arrow). A spurious frequency peak (black arrow) is present around 30 kHz.
The graph below compares the spectrum of the Qobuz – 2024 (white curve) with the spectrum of the Tidal – 2024 (blue curve).The two spectra are almost perfectly superimposed.
Synthesis and listening
As with the Tidal version, despite a high-resolution version, dynamics compression reduces the interest of working in 24-bit 96 kHz. As with the 2016 CD, the nuances of the sound levels on the last 4 tracks of the album are therefore lost, which is a shame!
Rating:
- Dynamic: ●●ooo (2)
- Bandwidth: ●●●●o (4)
- Restitution: ●●ooo (2.5)
Sample : “Don’t Stop ’til You Get Enough” 24 bits 96 kHz:
Ed 11: Amazon – 2024
Presentation
This is the Amazon Music UltraHD version of this album presented in 24 bits 96 kHz .
Waveform and Spectrum: DR8
The waveform of the Amazon version shows a low dynamic range confirmed with DR8. It’s important to note that for the last 4 tracks on the album, unlike the original versions, we don’t find the gradual rise in volume as on the 1984 CD.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal up over 30 kHz (white arrow). A spurious frequency peak (black arrow) is present around 30 kHz.
The graph below compares the spectrum of the Qobuz – 2024 (white curve) with the spectrum of the Amazon – 2024 (blue curve).The two spectra are almost perfectly superimposed.
 vs Amazon (blue))
Synthesis and listening
As with the Tidal version, despite a high-resolution version, dynamics compression reduces the interest of working in 24-bit 96 kHz. As with the 2016 CD, the nuances of the sound levels on the last 4 tracks of the album are therefore lost, which is a shame!
Rating:
- Dynamic: ●●ooo (2)
- Bandwidth: ●●●●o (4)
- Restitution: ●●ooo (2.5)
Sample : “Don’t Stop ’til You Get Enough” 24 bits 96 kHz:
This review clearly illustrates the challenge of staying true to the original work during remastering. Indeed, beyond the dynamically compressed versions found in recent editions and on streaming platforms, the original album’s sound levels are no longer respected — even in the MOFI version.
To recover the original sound, you need to turn to the original pressings, although there are differences between countries. For example, the 1979 Japanese vinyl record has a different balance from the 1979 American pressing, which remains more detailed and dynamic when listened to, closer to the rendering of the 1984 CD version.
When it comes to remastered versions, MOFI offers the best editions (especially for the SACD version). Although the original gradual volume build-up in the final four tracks is not preserved, these versions maintain a dynamic range, a more modern sonic balance, but with a boosted high-frequency range on the MOFI vinyl — a choice also seen on the Thriller album.
Dynamic Range measurements 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. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).
For our 11 editions reviewed have obtained the following Dynamic Range (DR) :
| CD – 1984 | Vinyl Record US – 1979 | Vinyl Record Japan – 1979 | Vinyl Record MOFI – 2025 | SACD Record MOFI – 2025 | CD Layer Record MOFI – 2025 | CD – 2016 | Cassette -1979 | Qobuz – 2024 | Tidal – 2024 | Amazon – 2024 | |
| Global | DR15 | DR15 | DR15 | DR14 | DR13 | DR13 | DR9 | DR12 | DR8 | DR8 | DR8 |
| Min | DR12 | DR12 | DR13 | DR13 | DR12 | DR12 | DR7 | DR11 | DR7 | DR7 | DR7 |
| Max | DR16 | DR16 | DR16 | DR14 | DR14 | DR14 | DR12 | DR13 | DR12 | DR12 | DR12 |
| Don’t Stop ’til You Get Enough | DR15 | DR16 | DR16 | DR14 | DR12 | DR12 | DR9 | DR12 | DR8 | DR8 | DR8 |
| Rock With You | DR15 | DR14 | DR14 | DR13 | DR13 | DR13 | DR9 | DR12 | DR8 | DR8 | DR8 |
| Workin’ Day and Night | DR16 | DR16 | DR16 | DR13 | DR12 | DR12 | DR8 | DR13 | DR7 | DR7 | DR7 |
| Get on the Floor | DR16 | DR16 | DR16 | DR14 | DR14 | DR14 | DR9 | DR13 | DR8 | DR8 | DR8 |
| Off the Wall | DR15 | DR16 | DR15 | DR13 | DR12 | DR12 | DR8 | DR12 | DR8 | DR8 | DR8 |
| Girlfriend | DR16 | DR15 | DR15 | DR14 | DR12 | DR12 | DR8 | DR12 | DR8 | DR8 | DR8 |
| She’s Out of My Life | DR12 | DR12 | DR13 | DR13 | DR13 | DR13 | DR12 | DR11 | DR12 | DR12 | DR12 |
| I Can’t Help It | DR14 | DR14 | DR13 | DR14 | DR13 | DR13 | DR9 | DR11 | DR9 | DR9 | DR9 |
| It’s the Falling in Love | DR16 | DR16 | DR15 | DR13 | DR12 | DR12 | DR8 | DR12 | DR8 | DR8 | DR8 |
| Burn This Disco Out | DR16 | DR16 | DR16 | DR14 | DR12 | DR12 | DR7 | DR12 | DR7 | DR7 | DR7 |
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.
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)
- Spatialization :
- Between 0 and 5 for 5.1 or 7.1 channels configuration
- Between 0 and 10 for Atmos configuration (7.1.4)
- For more information on spatialization, you can read the article describing this parameter here.
- 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.