Even without the music, Michael’s lead vocal is explosive. You can hear his feet tapping on the floor and the rustle of his jacket. His breathing is rhythmic, treated almost like an extra percussion instrument.

(Steve Lukather and Steve Porcaro) provided the rock foundation. Lukather initially recorded a much heavier, distorted rhythm part that Quincy Jones requested he "dial back" to ensure the song remained radio-friendly pop. Vocal Stacks

The eerie, tolling bell that opens the track is a preset from the Synclavier digital synthesizer. In the multitrack view, you can see how this sound is given massive space via stereo panning. Throughout the song, subtle synth pads and "stabs" provide a harmonic glue that prevents the aggressive guitars from sounding too sparse. Why the Multitracks Matter Today

Used his "Acusonic Recording Process" to pair multiple 24-track machines.

For producers and fans, the "Beat It" multitracks are a blueprint for "crossover" success. They show how Quincy Jones balanced conflicting genres—rock and soul—by giving each element its own frequency "pocket." Nothing fights for space. The guitars are panned wide, the vocals stay center-stage, and the drums provide a rock-solid floor.