Michael Jackson P.Y.T. | Deep Analysis

hi and welcome to Dr Mix today I'm going to analyze PYT by The Genius of Michael Jackson I really want to do it right so it's now time for me to go to Los Angeles straight to the source baby [Applause] thank you [Music] so I've come here to L.A to meet with the lovely Anthony Marinelli now if you don't know who he is I'd recommend you to check out his channel he's the synthesizer programmer on seven tracks on Michael Jackson's Thriller you know how I try to recreate his sounds now I'm going to him directly but this video is going to a completely different direction right now because Anthony invited me to Quincy Jones's 90th birthday I'm on my way to the Hollywood Bowl so I'm just going to take you with me at Queen's birthday for just a moment [Music] five minutes later [Laughter] hey man I'm glad you're here I'm great welcome to La Hollywood Bowl this is Quincy Jones birthday party celebration a lot of friends are here and now you're a new friend coming in man you know thank you for this invitation this is Magic Man how does it feel to be here I don't know so now I'm very emotional that I see you but yeah it feels amazing man awesome and you're only one day in right this is how you adjust you died in so who are we gonna meet again now we're gonna meet Tom Baylor he wrote the song She's Out of My Life from Michael Jackson and did all the vocal arranging for We are the world oh he was also the associate producer on Off the Wall he's a very old friend of Quincy's he's done some amazing things even working with Ray Charles but he recommended me to Quincy and and that's how I started working with him to do Thriller and then to move on to do color purple with Quincy and a whole bunch of other things oh because you've done color proof as well I did the Polaroids all the orchestral because I was doing simulations of Orchestra they were the first ones ever done for a movie and Quincy called them Polaroids because he used to use Polaroid cameras to shoot the mixing console and the outboard gear because we didn't have memory on them so basically it was midi versions of it well we didn't have midi we use a sinclavir we have to load one sound at a time it would take 10 minutes to load a flute I'd play One Note monophonic and then do the second part record to tape then get the flute out clear the memory put the oboe in and go you know when I was working from six line sketches anyway Tommy is there and he's committed yeah let's go meet him so you came for a little bit of insight into Michael Jackson's production there you have it Tommy's in Quincy's box he picked up the tickets from his house last night Larry Williams for the brass section with Jerry hey yes of course Larry Williams of course hey Anthony my son Dante dude look at that have you been here never a man oh man my name is Claudio wonderful to meet you Claudia nice to meet you sir hi hi nice to meet you nice to meet you nice to meet you man so I lived here oh you did yeah back in 1992 and I remember going a lot to the bacon potato that was amazing you know you would see oh Alan Pasqua Vinnie on drums and jump base so you met Quince in 1973 yeah yeah when I heard genius plus Soul equals Jazz that he arranged I was just in love with his work and I always somehow saw me working with him I didn't think about it I didn't try to think about it but I would see myself with him I did some arrangements for Sarah Bond they were trying to take her r b and because Gladys Knight and the Pips you know they're both jazz singers well he was walking by the booth and he stuck his head in and he goes well who did those vocal charts they said Tommy Baylor and I get a call and they said Quincy Jones trying to reach you and I said well please him hello everyone and he said hey man I heard some charts you did for sassy and I'm getting ready to do a new album and I want to work with you so I said well I'm finishing up here in 30 minutes I'll just drive over to your house and that's that started it out and it was so funny because he had a glass front door so I knocked on the door Quincy is one of the coolest Lumbers I've heard and his lumbering down is a long haul and he invited me in and in 10 minutes we were brothers we weren't in there 20 minutes and I said Thank you do you wake up in the middle of the night with Tunes going through your head he said all the time I said do you write it down he says hell yeah otherwise it'll go to Mancini's house [Laughter] man I'm so privileged to get to know you oh yo wow I've been on the verge of crying already like two or three times tonight and the music hasn't even started yet so I'm so glad to be here to celebrate very happy birthday enjoy the celebration [Music] oh [Music] what what what [Applause] happened [Music] foreign [Music] I heard someone say oh here comes Quincy Jones run down the stairs Quincy Jones Stevie yeah I remember I did the album talking book I heard that Quincy Jones had done two of my songs Quincy Jones doing my music not only he did Superstition as well he had Ray Charles singing on superstition forget about it it was so amazing to have him do the song because I always loved his arrangements and to hear him singing my song you can't even talk to me a million times I thank you Quincy I love you Quincy but you know that [Applause] [Music] um can we figure out what we keep doing wrong someone who needs peace [Music] [Music] foreign [Music] [Applause] [Music] [Applause] [Music] [Applause] [Music] thank you [Music] [Applause] [Music] to touch your stranger let your guys [Music] [Music] making memories up in here this evening [Music] I'm asking him to change [Music] [Applause] [Music] a place [Music] happy birthday thank you the next day Claudio hey man good morning right so Anthony we have a fresh copy of Michael Jackson's Thriller can I open it it would be a good idea if you want to play it let's open it yeah the unveiling of a new copy of Thriller I mean I guess they're just still pressing it right they have to be it was it was on their charts again for the 40th anniversary oh what's in there I don't know that was in there there's some exclusive things that's nice there you go yeah all right so PYT is truck number four of side B uh you made me feel so good inside I've always wanted a girl [Music] stopping yeah we're already stopping because how many things have happened in here so it begins with this pad you know what would have have been there were overdubs on this you know I the track started out with the drums and James and I I did that on the lindrum and then it went to the Rhythm Section and they overlay that and I was putting the lindrum like playing it live yeah Paul Jackson Jr Lewis Johnson Greg philanges that was pretty much the Rhythm Section the bass went down like I think yeah Greg played the space sound on a 2600 and then there were overdubs and I did some overdubs and then from there it went on to the next that's how the Thriller record was layers and layers and that's why you're stopping it yeah because it's like there is so much happening then that's why you know all these ear candies [Music] so that [Music] sounds like a sampler is it a sampler there was emulator I think I also hear uh Michael singing on top of that line maybe right that was he liked to double the line like in Billie Jean he doubled lines you know always wanted a girl [Music] definitely a sample there's definitely a sample it's not a yeah that's not a slowed down tape like Mickey Mouse effect or right because you hear the like the repeat of the sample like the the initial oh yeah the sound repeating for sure okay Real Drum film is that it because this this TomTom sounds so dry that it may even be that they've recorded them in isolation is that possible because I mean it's like completely dead I almost took it for a DMX Tom [Music] you know what I mean I mean but that was kind of the sound back then they would do a lot of dry sometimes the drummers even had those oil skin the Evans heads you know and those were kind of that type of sound so it would have been like a dead room for this mostly I mean the big room in Westlake was carpeted now it's wood but back then it had carpet as far as I remember so it was a dead sound anyway I like this reggae idea like if you really think about it that's the most anti-rmb thing that you can think of and yet it works and it drives it and in fact when that line stops it opens up to a completely different flavor so [Music] right now that's gone so now all of a sudden I get this sort of relaxation right because that sort of urgency is gone well that's how music works yeah you have to do that because if you were open all the time then you wouldn't feel the open as much and if you were chunking all the time you know then you would always be sort of chunking you know that's Dynamics and the beauty of the arrangement and you know with always Rod around no matter who wrote the song he would chime in you know and you get these ideas try this try because everyone was trying things because that's how Quincy worked he brought out the best he also gave you the confidence that you could because everybody was in awe of everybody especially me you know being the youngest one and the least experienced really in in the room because you got into the session because you knew this in clavier and the synthesizers that's why you got in right yes but also because I was doing films right and Quincy was a film composer I mean it was the Advent of TV MTV Quincy's thinking visually always he's always he speaks visually he speaks with colors and I was recommended by Tom Baylor when he told Quincy I think it was my partner and I Brian Banks and I that went on to the session and I think there was a feel for that we were like film guys too so we'd bring something different so he would try us you know he takes care of you and then if you if it doesn't work out the Hang then you know thank you and luckily we stayed yeah and just kept vibing with Michael and then ended up on seven songs that way Quincy gives you the the feeling that you belong he hugs everybody like that was unique to me brings you into the family and then everybody else knows like [Music] so what is it that's hard to hear that's hard to hear it's hard to tell like exactly [Music] you could try to make it on synth I mean I think it's pretty pretty simple sound that that is it's functional like it's functional a lot of the sounds on the whole Thriller album are functional sounds they're not complex sounds because these analog synths didn't really make multi-tambral crazy you know the syncope here could make some pretty complex sounds but those were mostly used for special effects and pads and strings and that sort of thing so these sounds are more simple and they all function in together like an orchestra they make up like if you solo like the OVO part in an orchestra you'd be like oh that's not very interesting but if you take it out and then the more of those things you take out too then you lose sort of the detail and the beauty of it all and that's what you're hearing it just has to function because that could have been a guitar right but it's not right exactly it could have yeah whilst I have you here a whilst I am here I should say uh why don't we talk about the bass sound get into it there's that that thing so what what is it it's not a mini mug because I've learned that the mini mug from from watching your videos which you should totally watch by the way there is a channel that I'm Gonna Leave a link in the description where you dig very deep into the sounds of PYT and others from from from the album thank you well yeah the sounds that I've made I I'm glad to pass them on and demonstrate and show you how to make them you know on on your instruments too you can use the way of thinking right and apply them to the plugins and in a lot of synths because you don't you don't always have to have you know the exact synth and it doesn't always have to be the exact sound because it's an iconic sound because it's on an iconic song with an iconic artist these sounds and and variations on these sounds work great and then and then use your own creativity and take them some other that's how I feel about it it wasn't done on Mini Moog and mini Moog doesn't have a few things it's a single triggering instrument and it doesn't have pulse with modulation the ARP 2600 does so that's why the Thriller base was done there PYT could have easily been done on the mini mug if the mini mug was sitting there and there was like something else on the 2600 that we didn't want to mess with you know then we would have done it on the mini Moog so it's not that sacred and then you would make a great sound on that this was done on the 2600 again and the 2600 does deliver incredible punch and low end it's also very in Phase it sounds like you know unless unlike the minimog where if you want to use like two sub two oscillators of course they don't sync up so you will get that sort of phasing but of course this is different and it sounds more in Focus right yeah it does have more focus it stays a little more in tune many mugs just that's just the nature of the way those oscillators rub you know that's what you're responding to that sort of phasiness and and it's really simple I mean I can just show you a really quick breakdown on the 2600. so it's a two oscillator sound and one oscillator I'm using oscillator 2 and oscillator three oscillator one is available but I'm not using it so I'm going to point to these two oscillators so the first oscillator that's used in The Sound is oscillator two and I'm using through the normaling system a pulse wave it's an octave lower and then oscillator three which is the second oscillator is a Sawtooth wave and it's an octave up and then a little bit of resonance modulating the filter is this adsr envelope generator and it's just basic like no attack time no release time a little bit of Decay that goes to a sustained voltage and you get this [Music] so it sustains oh yeah it stays yeah and you get a little bit of attack so if I pull the sustain down right that and a b but you need the little bit of carry [Music] just gives you that extra push into the note and then it goes out to the mixer and that's it that's it it's like you can pretty much make this on any synth with two oscillators foreign [Music] there you go there's also a real base underneath this or not well listen let's listen let's listen [Music] to here I mean you hear the synth and there was a bass player Lewis Johnson was there when it went down I just don't know when it's mixed like how much bass is in there on the record there are multi-tracks floating around are they legitimate or not you tell me yeah it's interesting I mean there is there is another question that that I'm going to ask you later on because of course this is music that I have been listening to over and over again and of course you dissect it you create your mental map of what everything is and you try to learn from it but then you know being here with you gives me an occasion to dig deeper into that [Music] something I want to love you pretty young thing and then there's all the stuff that Greg does Greg philingades played the sound you know I just basically served it up for him and then he puts his own thing on it that's what makes the music it's great I think when you analyze these things like the Deep Dives are good but then you gotta come out yeah yeah and back to the music how does it work in the song and like like you mentioned a great point about the those backfeeds and that they stop it's a subtle thing but the song will be a lot different if it just always had the back beats like for example I mean typically you would get the verse which is like you know chorus down then Bridge comes up and back into chorus here it happens the exact opposite because it it starts and then the bridge sucks [Music] Melody becomes long we change chords the reggae thing goes out and he prepares to hear again ah not to love you all of these things are just very very sophisticated and complex yeah and and it's like accentuating what the song kind of wants to do I mean it's a James Ingram song and these things you're talking about are Arrangement ideas and there's probably other really great Arrangements but you would want those arrangements to sort of address the issues of the song which is present the lead in and then the lead-in presents the chorus and usually you know Max Martin all these guys they understand these things so when you get to those sections your ears ready for them because they give you these clues that are telling you to because it's about expectations and then also surprises not totally satisfying the expectation but not ignoring it either because it'd be like somebody giving you food and it's just like everything unexpected and you just you need some familiarity along the way so then you keep going you know you just keep reeling it in obviously it's very easy to make a comparison between orchestration and and cooking because it's recipes and it's mix of stuff right which is very true there is also another analogy that I think it's it's important say your favorite color you know my favorite color obviously is red and even my watch is based on the fact that there is some red but here's the thing there is a bit of red but it's in the context of black and there is whites the combination and the proportions of it make a lot of difference the same thing as putting colors together and composition like when you're a painter you think of those things so each sound is not just in a vacuum it's in the context of something else that's happening so the same exact sound I use in a different context it sucks right here it couldn't be more perfect there was an old story about somebody asking Stravinsky to show them the most interesting chord I think it was in petrushka the ballet and he pointed immediately to a D major Triad and the guy looked at it and he followed up all the notes and said d a f sharp d a f sharp so it's a D major Triad what's so special about it and Stravinsky said the look where it is in the score context when I listen to these Productions what's clear to me is that there is a research for excellence as a research for new a research for real not just a research of how popular can we make this riff so that it stays in people's head and will sell a lot of copies right there is a there is a research to make better music not necessarily to make more popular music which is a big difference I think all right let's talk about that that's probably one of the the most recognizable riffs of this I always think of it dude what is it I always hear Greg because it's like that's the kind of thing he plays right but that was a Jupiter 8 playing a single lead line and it's in uh a Unison mode two Sawtooth waves in unison there's no pulse with modulation or anything you just get the phasing from the the Unison mode and then the vibrato is key and there's a little bit of portamento just because we like that little slippiness that kind of let's play just one more time just to [Music] the vibrato is super fast and like hysterical isn't it if you think you're like a trumpet that's what it's doing right that you couldn't have said it better and it articulates like long long short like the way you would articulate a trumpet you would write and then a staccato the vibrato thing like for example Stevie Wonder's vibrato is it's always on the up it's not no it's not that it's the positions you know so and I think that in a way this does that because he goes that's how it sounds to me yeah I mean because like it came from like blues and when you bend a string you can't yeah this is the kind of thing that makes this line like super special because when you listen to it can you please play it when are you playing okay I will yes I mean since you made this journey across the Atlantic you might as well get your hands on some of this stuff right even just to touch this baby is emotional so you got the passion ready here I put it in here it just happens to be sound 38 it made sense to do so yeah so it's in unison mode if it wasn't in unison mode you can hear the difference is that what it is [Music] because yeah it is so hysterical so yeah like that yeah you got it that's awesome you know Greg was a real student of Stevie Wonder you mentioned Stevie Wonder I mean a lot of times Greg would tell me because I would ask Greg what how would you think of coming up with this idea and he goes a lot of times I just say what would Stevie do yeah do you think he came up with the line Greg yeah hard to say really hard to say I mean like on the songs that Rod wrote he demoed them all and yeah he really did come up with all the lines and Greg would agree and tell you that on PYT James wrote the song but Rod was always hanging around and could have contributed something but it's not like I mean that's that's something Greg could easily have just come up with so it's so funny yeah and it's just in the right part you know it's not like all the time yeah because this is something that Quincy Jones does a lot there is a melody and when the melodic phrase has finished there is a little bit of time and that's when the seasoning gets in right there's always this sort of colon response isn't there all kinds of different techniques but but every sound has its time and place I think that's important way to think of your Arrangements the time and then how much time does it take up like screen time or whatever and then the right place for it because you know you could put you could put it in the first part of the phrase you could put it different places sometimes you have to try it I wouldn't doubt like it wasn't like everybody automatically just knew the right pocket for everything it would be like somebody would try it oh that's a cool line but try it in the next bar you know what I mean that's how it evolves I mean one of the things that resonated with me a lot last night is when I think it was Tom or maybe his friend who said that was yeah yeah I think that he said that the actual instrument that Quincy was playing was the telephone well Quincy was great at connecting I mean Quincy was great at playing trumpet graded playing the Baton conducting great at producing you know using his hands great at conveying things with colors like just abstractly which meant do your thing and I'll tell you when it's the right shade of blue but he always did all those things in his own way being a film composer really affected the way he produced records and coming from Jazz affected the way he arranged and heard like you're talking about all these things you know all of it and making confidence in everybody there's so many things that happen at that level of producing because he's the greatest producer he seems like he's able to play talents like here I should deploy yeah casting he called it casting casting he casted the the composers In Color Purple there were multiple composers for each queue and he would cast three or four and then basically they would try things out and then see what worked and was always about that the right person and and there was never any negativity it was like thank you that was great and then if you wanted to try something else he'd try something else it was a satisfying feeling that your contribution would it was appreciated it was valued he was even using that even if it wasn't exactly right it was a stepping stone together so you're contributing even there to get to the next thing Michael was that way too to getting to like the sound that he was imagining or even letting go of that [Music] this is this must be another sampler emulator yeah [Music] [Music] there's some nice analog icing yeah and that's probably the type of description that was given we need some silver and that would that would be queens that would say that yeah I mean typically I don't know if he did on this right but I'm just giving you an example of the type of language that was going on because that the language makes a big difference right people say that all the time the way you speak to someone relationship politics whatever the thing the language makes a difference in terms of how people are going to accept what you're saying to even listen in the first place but then you know to convey a level of understanding so it would be common to say something like that and then you'd be like it would put the burden back on you to think not just to be told what to do like like you're not a dog yeah you play this notes he said I I need some sparkle here yeah and then what kind of sound is that you know it's just like oh okay I get I I understand you already told me Sparkle because the song needs the notes can be different the arrangement can be different but here in the in the part of the song we need yeah Sparkle I already maybe have a bass sound on this instrument because there's so many instruments that fit in there right and they don't have memory so it's like well what instrument is free could have been OBX I could do Sparkle nice filters right that could have been a choice could have been on the Jupiter eight but like that was tied up so it ended up being on the profit and I knew I could get Sparkle and I could get a little bit of chorusing with pulse width modulation can we listen to that so we do it on there all right okay so we're on the profit and I've already done deep Dives on these so I've saved the patches this is patch 41. [Music] right perfect to me that's right let's try it together [Music] I mean this is really old school this is what like every kid used to do is like play the record and match the drum sound or try to get the guitar sound I mean it still works right more popular content that I make is about reconstructions but people don't realize that back in my day which was pretty much the same as your days well you would get a record and they say listen got one keyboard player Down concert is tomorrow here's the album do all the all the keyboard parts and you would have to pull them down figure them out do the sounds and play them without mistakes so for us it's like second nature I would say right it was I mean it's great to do it again because I don't think I've done it in quite some time you know to be honest with you this is so how did you make the sound then there was no other synth probably available but the profit and I go I could probably do it on a profit and the profit you know has two oscillators so you can get a nice little chorusy high sound I could get extra chorus with pulse width modulation let's see let's hear it here's no pulse width at it [Applause] [Music] full it makes it Fuller so when it's high you you know because it needs to have some body because it's really low in the mix and high up and thin so you give it that sort of like fullness that way and it's just two oscillators in unison and then you can see all the waveforms are deployed right there's everything so it's like full color from each one and then the filter settings are just kind of like a little bit of uh modulation of the filter and some Decay time and then you have to have the release button otherwise try it now and everything is seasoned with a little bit of modulation on the pulse width right and and also is this it is this section which is basically a tag if you think of it in terms of arrangement now you had the reverse then you had your bridge now you have the chorus and this is like a section where okay now we regroup for a second there is a little bit of spark right and we go back into the reggae thing right right well that's true [Music] here we go you know what I noticed too when you said that the drums like in the chorus because you don't have the reggae thing you hear more of the space and the breathing effect of the and then he adds that extra so it goes boom boom boom boom boom right and then when you get to the verse he keeps it more simple because yeah you know with the kick snare everybody responds to the arrangement yeah that way it's a little bit of a recurring thing for Michael because he also does it on the way you make me feel just so much on that you know yeah and he he plays also with the timing of it in that case so that has a little Shuffle too right yeah oh yeah there is a video where they show a rehearsal and it's uh it's not Greg it's the it's the later MD of Michael Bearden Michael Bearden that's right and Michael says Nah take it easy you know you know go go go slow and then you could you could feel the rest of the band is going and he goes like with this hesitation so Michael had a perfect uh picture of what was going oh wait well when it came to anything Rhythm sound he he was you couldn't really slip anything by him when we talked to Tom specifically about the beat it sound like he was even hearing it off the single Veer record and it wasn't right there was something that the Cinco it was a sink over your preset and then they they compared it and it wasn't exactly right and he he remembered it a certain way he he was really good about that and anything for dancing because he was he was always moving to it and then that was kind of that's what I always noticed was a sort of final test if he was moving to it if he kind of got really quiet and didn't move wasn't a good sign right and then what would happen when it was a great sign he'd be up and moving and it would be so loud I could cover my ears it was so loud so how much time did you spend with actually Michael showing you records that he liked and you trying to figure out sounds hours that was a different quality of time because that was just very intimate there was no one else in the room still at west lake yeah Westlake and he would just it was more in the evenings thinking about the next day I was like Hey I want to show you a couple things and then we go over to the turntable and it was mostly like Morris Day and The Time so what would you play like like electronic stuff some funk soul hip-hop anything one time he put on some Fred Astaire thing which I had no clue it was supposed to just like some mood idea or something but he was a big fan of every you know like classic things not everything classic things you know he he studied history and he liked the great artists but he was influenced a lot by Fred Astaire James Brown Steve wonder I mean I think those are like some of the main influences so he would play things by them but when we were doing Thriller it was like really the one the sounds to emulate and be inspired by were more stay in the time in Prince was always that I will not forget this line [Music] [Music] right but like it doesn't really need to be there and you may not notice it but it like weaves some thread it's like a little bit of so like how would somebody describe that I mean in a lot of ways like it's almost like underwater kind of sonar kind of sound but yeah Quincy was fond of the way he used flutes he used flutes a lot oh yeah yeah you know what I mean you can kind of Imagine yeah I mean Quincy you know flugelhones tubas flus that sort of smoother thing he he played it throughout his life you know Big Ben Bossa Nova yeah because a big band so he liked the wind colors that's what all the ones you just said so it's kind of just the thread that moves in there and it's totally simple so what is it then well this one was done on minimogue and it's again it was probably the available synth it makes a good sort of Flutie right sliding around because Stevie Wonder did a lot of those great Flutie sounds yeah and it's it's totally simple I mean if I'm gonna just do a really like thumbnail breakdown right the fast version It's a triangle wave it's at four foot so the octave is up one octave above normal pitch there's a little bit of keyboard tracking you know it's totally simple and then there's Touch of portamento you hear that nope [Applause] oh yeah yeah yeah I mean it's just all these little details but it the important thing is what we said it's it's a thread and it just if I put a big multi-tambral sound in there it'll be like that's too much well there are two aspects here one Michael is singing so this melodic line happens at the same time as Michael sings so it can't be too bright because otherwise it it steals the stage and that's why flutes are good because they're like sine waves so there's no complex harmonic structure they don't distract from from the meat yeah in Opera you can always get flute pads and sing over them and then there is the second aspect that that's basically we have not one more verse but then how do we make it a little bit different from the first verse that's when this comes in so fresh take on a verse [Music] [Music] you pick it up that fast I think I hope so [Music] [Music] yes too much fun it's too much fun plus we could not you're fast I think it's informative to talk about sounds in context right that's what we've discovered but where a sound happens matters so that it's the right sound in the right place you know that's that's what I think is important and knowing that knowing the song listening to the music there's multiple Arrangements last night we heard Jacob Collier's arrangement of human nature it was pretty cool it was like a fresh take so there's more than one Arrangement usually the first Arrangement you hear is like you're just you can't let go of it a good arrangement even though there's more than one takes into account you know the song and the space and the vocals and the drama that has to build to the expectation of The Listener and telling you like a chorus is coming and then surprising you every once in a while so that that's what I learned today I mean it definitely starts with the song but one of my favorite versions of human nature is of course miles yeah totally different Arrangement right and it still emotes there is so much more happening on this trip because I'm I've come here specifically to be with this man and we're going to go around town let's say and there will be things happening that I think you should watch so this is a good occasion for you to subscribe to my channel if you haven't already and it's also a very good occasion for you to subscribe to Anthony's Channel because the stuff that we've talked about here he goes deep into it so you really don't want to miss that and you're going to see Dr Mix getting surprised too because he doesn't know everything that that's coming okay all right all right yeah we want to do that we want to give love back to you because you've given so much like I watched your videos before I even ever thought of making a video like I didn't even remember how to program the tr808 you know and then I watched your video oh wow of course guys make content if you're musicians make content that's it wait [Music]

Channel: Doctor Mix

Views: 157,514

Keywords: mychael jackson, PYT, thriller, anthony marinelli, synthesizer, quincy jones, claudio passavanti, doctor mix, los angeles

Id: GCdPu0i7N4g

Length: 46min 18sec (2778 seconds)

Published: Wed Sep 20 2023