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Bruce Swedien
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Bruce Swedien (/swəˈdiːn/ swə-DEEN) (April 19, 1934 – November 16, 2020) was an American recording engineer, mixing engineer and record producer. He was widely known for his work with Michael Jackson, Quincy Jones, Paul McCartney and Barbra Streisand.[1]

Swedien first achieved widespread recognition as engineer with Frankie Valli and the Four Seasons' 1962 single "Big Girls Don't Cry" which sold over one million copies and stayed at number one on the Billboard Hot 100 for five weeks.[2]

Swedien won 5 Grammy Awards for Best Engineered Album for his work with Jackson and Jones. He received 13 additional nominations.[3]

Early life and education

[edit]

Swedien was born on April 19, 1934, in Minneapolis, Minnesota. His parents, Ellsworth and Louise (Perusse) Swedien, Ellsworth of Swedish descent, and Louise of French descent, were both classically-trained musicians, leading Swedien to develop a passion for music and recording at an early age.[4][5] His father bought him a disc recording machine when he was 10 and a professional tape recorder after graduating high school.[6] Swedien studied electrical engineering with a minor in music at the University of Minnesota.[6]

Career

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In 1954, aged 20, Swedien set up a recording studio in the old Garrick/LaSalle movie theater in Minneapolis.[7] He transformed the space into the Swedien Recording Studio, where he produced and recorded music for several years with artists such as Art Blakey and Herbie Mann. However, in late 1957, he sold the studio and relocated to Chicago.[6][8]

In 1957, after leaving Minneapolis he began working for RCA Victor Records in Chicago.[6] Shortly after that, he left for Universal Recording Corporation where he worked under chief engineer Bill Putnam.[9] He first met Quincy Jones in 1959 when Jones was vice president for Mercury Records in Chicago. The two worked on albums for artists like Dinah Washington and Sarah Vaughan. Swedien moved to Brunswick Records where he ran and developed the label's studios and sound in the late 1960s and 1970s. The label was responsible for numerous R&B and pop hits during that time, with artists such as The Chi-Lites, Tyrone Davis and Jackie Wilson.[10]

Swedien was known for pioneering the "Acusonic Recording Process", pairing up microphones together on vocals and instruments, a technique enabled by synchronizing several multi-track recorders with SMPTE timecode. This achieved an enhanced roomy ambient sound, some of which is evident on albums produced in collaboration with Jones on such tracks as George Benson's "Give Me the Night", and the Michael Jackson albums on which he had worked.[11][12] He would often experiment while recording with Jackson, having the singer stand at different distances from the microphone and singing through a cardboard tube, among other techniques. Swedien wrote about his experience working with Jackson in a 2009 book titled In the Studio with Michael Jackson.[6]

His pop work included recordings by Patti Austin, Natalie Cole, Roberta Flack, Mick Jagger, David Hasselhoff, Jennifer Lopez,[13] Paul McCartney, Diana Ross, Rufus, Chaka Khan, Barbra Streisand, Lena Horne, Donna Summer, and Sarah Vaughan. He worked on the scores for Night Shift, The Color Purple and Running Scared.[14]

Recognition

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On November 10, 2001, he was awarded an honorary doctorate in philosophy from the Luleå University of Technology for his achievements as a sound engineer. Swedien also held classes at the Swedish National Radio for practicing sound engineers.[15]

On August 30, 2015, Swedien was presented the Pensado Giant Award at the second annual Pensado Awards held at Sony Pictures Studios in Culver City, California.[16] The award was presented by Quincy Jones.[17]

Death

[edit]

Swedien died on November 16, 2020, at the age of 86, from surgery complications for a broken hip caused by a fall. He was also diagnosed with COVID-19 but was asymptomatic.[18][19][20]

Awards

[edit]

Swedien won 5 Grammy Awards and was nominated 12 times.[3]

Year Title Artist Category Role Result
1970 Moog Groove The Electronic Concept Orchestra Best Engineered Recording – Non-Classical Engineer Nominated
1979 Sounds...and Stuff Like That!! Quincy Jones Best Engineered Recording – Non-Classical Engineer Nominated
1981 "Give Me the Night" George Benson Best Engineered Recording – Non-Classical Engineer Nominated
1982 The Dude Quincy Jones Best Engineered Recording – Non-Classical Engineer Nominated
1984 Thriller Michael Jackson Best Engineered Recording – Non-Classical Engineer Won
1988 Bad Best Engineered Recording – Non-Classical Engineer Won
1991 Back on the Block Quincy Jones Best Engineered Recording – Non-Classical Engineer Won
1993 Dangerous Michael Jackson Best Engineered Recording – Non-Classical Producer, engineer Won
"Jam" Best Rhythm & Blues Song Composer Nominated
1996 HIStory: Past, Present and Future, Book I Album of the Year Producer, engineer Nominated
Best Engineered Recording – Non-Classical Producer, engineer Nominated
1997 Q's Jook Joint Quincy Jones Best Engineered Recording – Non-Classical Engineer Won

References

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Bruce Swedien

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Bruce Swedien (April 19, 1934 – November 16, 2020) was an American recording engineer, mixing engineer, and record producer best known for his pioneering work shaping the sound of Michael Jackson's blockbuster albums, including Thriller (1982), the best-selling album of all time. Over a career spanning more than six decades, Swedien collaborated extensively with producer and artists across genres, from jazz legends like and Count Basie to pop icons such as and , earning acclaim for his meticulous techniques and innovative approaches to capturing vocal and instrumental depth. Born in , , to professional musician parents Ellsworth and Louise Swedien, he developed an early passion for audio after receiving a disc recording machine from his father at age 10, which led him to experiment in basement studios during high school. Swedien studied and at the , learning classical piano techniques, though he did not complete a degree; instead, he became largely self-taught in recording arts. By age 14, he was working at local studios, and at 20, he purchased equipment to establish his own operation in an old . In 1957, he relocated to , joining RCA Victor and later Universal Recording Studios, where he was mentored by engineer Bill Putnam and contributed to early hits like the Four Seasons' "Big Girls Don't Cry" (1962), earning his first Grammy nomination. Swedien's career peaked in the late 1970s when he teamed up with for Michael Jackson's solo breakthrough (1979), followed by engineering and mixing Thriller, Bad (1987), Dangerous (1991), HIStory (1995), and Invincible (2001), which collectively sold hundreds of millions of copies worldwide. He went independent in 1969, recording diverse projects including the and jazz sessions with and , while emphasizing minimal compression to preserve musical transients and dynamic range. Swedien also engineered 's albums (1989) and (1995), as well as works by and others, amassing over 100 gold and platinum certifications. A trailblazer in audio engineering, Swedien invented the Acusonic Recording Process, which synchronized multiple 24-track tape machines to enable virtually unlimited overdubs while maintaining and transient fidelity, notably used for layered background vocals on tracks like "." For Thriller, he employed custom setups such as a drum riser to isolate low frequencies, microphones for Jackson's leads, and stereo pairs for depth in overdubs, alongside techniques like recording in analog to achieve a warm, immersive sound. His innovations extended to vocal isolation with Tube Traps and unique spatial effects, such as capturing a solo in a room corner for natural reverb. Swedien received 13 Grammy nominations and won five times for engineering on Thriller, Bad, Dangerous, Back on the Block, and Q's Jook Joint, along with multiple TEC Awards and an AES Fellowship in 2014 for his profound impact on recording standards. In his later years, he resided in Ocala, Florida, with his wife of 67 years, Beatrice, and daughters Roberta and Julie, following the death of their son David; he passed away in Gainesville from complications of hip surgery. Often called the "Godfather of Recording," Swedien's legacy endures in the pristine, influential soundscapes he crafted for pop and beyond.

Early years

Childhood and family background

Bruce Swedien was born on April 19, 1934, in , , to Ellsworth and Louise (Perusse) Swedien, both of whom were classically trained musicians. His mother was a singer and , while his father was a classical , , and choir director, immersing the family in and audio technology from an early age. As the only child in a musical household of Scandinavian descent, Swedien grew up surrounded by performances and recordings, fostering his innate curiosity about sound. Swedien's formative years coincided with the tail end of the and the duration of , periods that instilled a sense of resourcefulness and ingenuity in Midwestern families like his own, particularly in technical pursuits amid material shortages. At age 10, his father gifted him a disc-recording machine, sparking a lifelong fascination with the recording process and providing hands-on access to in the family home. This early exposure, combined with his parents' musical gear, allowed Swedien to experiment with capturing and playing back sounds, laying the groundwork for his technical aptitude. By age 14, Swedien had advanced his tinkering to the point of setting up a makeshift radio station that broadcast his recordings to the neighborhood, demonstrating a precocious understanding of transmission and audio manipulation. These childhood pursuits in during the 1940s not only honed his practical skills but also shaped a resourceful approach to , influenced by the era's constraints and his parents' professional environment. This family-driven foundation in audio would later propel him toward formal studies in engineering.

Education and early influences

Swedien attended high school in Minneapolis, where formal programs in audio engineering were absent, prompting him to pursue self-directed learning in radio and recording techniques through manuals and hands-on experimentation. His father's gift of a disc recording machine on his tenth birthday ignited this passion, providing early mentorship in the basics of sound capture and fostering a family environment rich in musical influences from his parents' backgrounds as trained performers. At the , Swedien majored in with a minor in music, learning classical techniques, but the curriculum offered limited direct training in audio production, and he became largely self-taught in recording arts. He did not complete his degree, instead prioritizing practical immersion in the field. During his teenage years, Swedien developed a deep admiration for pioneering engineers like , whose innovations in during the 1950s—such as and sound-on-sound techniques—shaped his conceptual understanding of layering audio elements. This inspiration aligned with his growing technical foundation, built through self-study and access to basic equipment at home. By age 14, Swedien secured his first paid work assisting at a small basement studio in owned by a family acquaintance knowledgeable in audio gear, where he honed fundamental mixing skills by recording events like weddings and funerals for local clients. This early role marked the transition from theoretical influences to applied practice, solidifying his commitment to audio engineering before formal industry entry.

Recording career

Early professional work

Swedien entered the recording industry in 1953 at age 19, when he purchased equipment from Schmitt Music Company in Minneapolis and converted a former movie theater into the Bruce Swedien Recording Studio. There, he served as a staff engineer, handling basic recordings and live broadcasts for local radio stations and acts such as the Six Fat Dutchmen and the Herb Pilhofer Octet, while also capturing events like weddings and funerals using his early disc-recording setup. He recorded national jazz stars including Herbie Mann and Art Blakey & the Jazz Messengers in this Minneapolis studio. This foundational work honed his skills in analog recording techniques, including the use of rudimentary tape machines and room acoustics in the converted space. In 1957, a CBS Radio assignment led Swedien to , where he began professional orchestral recording by engineering sessions for the under for RCA Victor. The following year, he joined Universal Recording Studios under Bill Putnam, focusing on and pop sessions that emphasized and multitrack capabilities. He engineered recordings for prominent artists including , , Count Basie, , , and , applying techniques like strategic microphone placement to capture natural room ambiance and instrumental separation on three-track tape. Notable among these was his work on the Four Seasons' 1962 hit "Big Girls Don't Cry," which showcased his emerging expertise in pop vocal engineering. By the mid-1960s, Swedien transitioned to freelance work in Chicago, contributing to sessions for artists like , , , and while avoiding commercial jingles to prioritize artistic projects. He also engineered select sessions under producers such as Dave Cavanaugh, including work with , further refining his approach to analog tape manipulation and acoustic balance in Hollywood-adjacent environments. During this period, Swedien developed his personal recording rig, incorporating custom-modified microphones like the Altec 21B for applications and experimenting with paired mic techniques to enhance spatial depth. These innovations laid the groundwork for his later signature sound, emphasizing clarity and dimensionality in live studio settings.

Collaboration with Michael Jackson

Bruce Swedien first met Michael Jackson in 1978 through producer Quincy Jones while engineering the soundtrack for the film The Wiz, marking the beginning of a transformative partnership that extended to Jackson's breakthrough solo album Off the Wall (1979). Swedien served as the lead engineer, employing his innovative Acusonic Recording Process, which synchronized multiple 24-track machines to allow for extensive overdubs while maintaining stereo imaging. This technique contributed to the album's crisp, dynamic sound, particularly on hits like "Don't Stop 'Til You Get Enough," where Swedien captured layered percussion using ribbon microphones for a natural, vibrant texture. Off the Wall showcased Swedien's emphasis on preserving transient details and spatial depth, setting the stage for their future collaborations. The duo's most celebrated work came with Thriller (1982), where Swedien expanded to a 44-track setup using the Acusonic process to accommodate the album's complex arrangements. He mixed iconic tracks like "Billie Jean" and "Beat It," applying wide stereo panning to create immersive soundscapes—such as panning strings across the stereo field in "Billie Jean" for added dimension—and incorporating custom baffles to isolate drums for punchy, defined lows. Behind the scenes, Swedien and Jackson refined "Billie Jean" through 91 mixes, ultimately selecting the second as the final version to retain raw energy, while collaborating on unique effects like the "Don't think twice!" vocal through a 5-foot cardboard tube. For "The Girl Is Mine," they integrated playful sound effects, including an elephant stomp, and utilized natural echo chambers to enhance reverb without digital processing. Swedien's approach prioritized analog warmth and minimal compression to capture Jackson's performances authentically, often favoring early takes to avoid over-polishing. Swedien continued engineering Bad (1987) and Dangerous (1991), adapting techniques to Jackson's evolving style without Jones' direct involvement on the latter. On Bad, he introduced a custom plywood drum riser platform surrounded by Tube Traps to isolate Jackson's lead vocals, minimizing room reflections and capturing consistent tone even as Jackson danced during recording. This setup, refined for Dangerous, emphasized vocal clarity and layered percussion builds, with multiple overdubs creating dense rhythmic foundations while preserving stereo width through careful panning. Swedien's "one-take" philosophy—selecting the most emotive early performances, such as the second vocal take for key tracks—ensured spontaneity amid meticulous layering. Collectively, , Thriller, Bad, and Dangerous have sold over 160 million units worldwide, underscoring Swedien's pivotal role in their sonic legacy.

Other notable projects

Swedien engineered Quincy Jones's 1989 album , a genre-blending project that featured contributions from artists across pop, , and hip-hop, including a vibrant cover of "Birdland" led by the New York Jazz Repertory Company. His precise recording techniques captured the album's dynamic ensemble performances, earning it widespread acclaim for its sonic clarity and energy. In the early 1980s, Swedien collaborated with on recording sessions that extended his pop engineering expertise. This project highlighted Swedien's ability to blend diverse influences into polished, radio-ready soundscapes. Swedien's work in the 1980s extended to R&B and pop with , where he engineered tracks emphasizing her and emotional delivery amid lush arrangements. He also applied his skills to recordings, notably engineering George Benson's 1980 album Give Me the Night, produced by , which fused with and disco grooves to showcase Benson's guitar and vocal talents. Swedien's innovative miking and mixing created a spacious, immersive sound that elevated the album's crossover appeal. Beyond studio albums, Swedien contributed to film soundtracks, serving as recording engineer for the 1978 musical The Wiz, where he captured the score's orchestral and vocal elements under Quincy Jones's production to support the film's urban reimagining of The Wizard of Oz. In later years, his expertise informed audio contributions to music-related documentaries, preserving high-fidelity captures of archival performances and interviews. Swedien's late-career projects demonstrated his enduring adaptability, including engineering on Jennifer Lopez's 2002 album This Is Me... Then, where he mixed tracks like "Jenny from the Block" to achieve a warm, vintage-inspired R&B texture that complemented Lopez's contemporary pop style. These efforts underscored his role in bridging classic recording principles with modern production demands.

Innovations in recording techniques

Bruce Swedien championed "total recall" mixing as a cornerstone of his , utilizing custom Harrison 32C consoles equipped with capabilities to precisely store and recall fader positions, EQ settings, and for complex sessions involving up to 48 channels that could expand to 100 tracks through multitrack . This approach allowed him to revisit and refine mixes without losing fidelity, as demonstrated when he produced 91 versions of a track but ultimately selected an early iteration for its raw energy. Central to Swedien's "Swedien Sound" was a commitment to natural acoustics and minimal processing, achieved by recording in analog environments with sparse compression—often limited to 1-2 dB via Teletronix LA-2A units—to preserve transients and dynamic range. He favored high-fidelity microphones such as modified AKG C414 EB models for their presence peak around 7 kHz, which enhanced clarity without artificial enhancement, and paired them with stereo techniques like Blumlein pairs to capture spatial depth. Swedien's philosophy emphasized selecting exceptional recording rooms, such as Westlake Audio's Studio A with its non-parallel walls and controlled reflections via Acoustic Sciences Corporation Tube Traps, to leverage inherent acoustics rather than fixes; he delayed digital conversion until mastering to maintain analog warmth, arguing that starting in digital diminished sonic quality. For percussion, he innovated layered blending by stereo pairs and using custom covers on bass drums to integrate live-feel elements seamlessly into pop arrangements. He also developed cable-free stage monitoring setups to minimize clutter and enhance performer mobility during live-room captures. Swedien critiqued over-production in , decrying excessive compression and treatment as stripping away emotional reality—"over-treated, over-compressed music with no sense of reality at all"—and instead promoted studio techniques that evoked a live performance vibe, such as positioning musicians in shared spaces with gobos for isolation while retaining natural bleed and energy.

Awards and recognition

Grammy Awards

Bruce Swedien earned five in the category of Best Engineered Album, Non-Classical, recognizing his exceptional contributions to audio engineering on landmark recordings during the 1980s and 1990s. These victories primarily stemmed from his collaborations with and , underscoring his mastery in capturing pristine soundscapes for pop and R&B productions. Over his career, Swedien amassed 12 nominations in engineering categories, reflecting his consistent influence in the field. His Grammy wins are detailed below:
YearAlbumArtist(s)Co-Engineers
1984ThrillerNone
1988Bad
1991None
1993Dangerous
1997Al Schmitt, Francis Buckley, Tommy Vicari
A pivotal moment came with the 1984 win for Thriller, the album that revolutionized and became the best-selling album in history, with over 70 million copies sold worldwide. Swedien's engineering on Thriller—employing innovative analog techniques for clarity, depth, and musicality—played a crucial role in its enduring sonic excellence, earning acclaim at the ceremony. This achievement highlighted his commitment to high-fidelity recording, which he often championed in discussions of the era's production standards.

Other honors and tributes

In addition to his Grammy successes, Swedien received multiple TEC Awards, recognizing technical excellence and creativity in recording, sponsored by Mix magazine and the Mix Foundation. He was nominated for five TEC Awards and won in the Outstanding Creative Achievement - Recording Engineer category in 1985, 1988 for engineering Michael Jackson's Bad, 1992, and 1996. These accolades highlighted his innovative approaches to sound capture and mixing during the and . Swedien was inducted into the TEC Hall of Fame with a Lifetime Achievement Award in 1991, honoring his overall impact on audio engineering and production. In 2014, the awarded him its Fellowship, the organization's highest honor, for his "impact in creating a sonic reference in modern " through pioneering techniques like the Acusonic Recording Process. Swedien's influence was widely acknowledged by peers in the industry. , his longtime collaborator, described him as a "sonic genius" and "without question the absolute best in the business," emphasizing their deep professional bond forged on landmark projects. Similarly, fellow Al , a 23-time Grammy winner, called Swedien a "real legend" whose work set enduring standards in recording quality. On November 10, 2001, Swedien was awarded an Honorary degree by in , recognizing his lifetime achievements as a sound engineer and his contributions to audio technology education. Post-2000, Swedien's methods and philosophy appeared in prominent audio engineering texts, such as the second edition of The Mixing Engineer's Handbook by Bobby Owsinski, where he is profiled as one of the most revered mixers for his work on iconic pop recordings.

Later life and legacy

Personal life

Swedien was married to Beatrice "Bea" Swedien beginning in the early , a union that lasted 67 years and provided a stable foundation amid his demanding career. The couple shared a close partnership, with Bea often present in studio environments during key recording sessions, supporting the creative process behind landmark albums. They raised two daughters, and Julie, while their son predeceased them; the family emphasized a balanced life that integrated music with personal bonds. Later in life, the family relocated to , where Swedien continued to maintain a personal studio equipped with a custom 32-channel Harrison console for ongoing work. Beyond his professional pursuits, Swedien pursued personal interests that reflected his hands-on creativity, including to craft custom studio furniture and to document recording sessions. His home life also revolved around shared family hobbies such as horseback riding, caring for Great Danes, and on large vessels during travels. In his later years, Swedien navigated health challenges by carefully selecting projects to protect his hearing, a vital asset accumulated over decades in high-volume studio environments. He contributed to through , including donations of equipment to schools in the and service on the Audio Advisory Board at , mentoring emerging engineers. Additionally, the Audio Engineering Society established the Bruce Swedien Scholarship Fund in 2014 to honor his legacy and support students in audio studies.

Death

Bruce Swedien died on November 16, 2020, at the age of 86 in , from complications following surgery for a broken hip. His daughter, Roberta Swedien, confirmed that he had also tested positive for but remained asymptomatic at the time. The news of his passing was first announced by Roberta Swedien to media outlets, including , highlighting his long and influential career in audio . Industry peers quickly paid tribute, with longtime collaborator posting an emotional statement on , describing Swedien as "my dear brother-in-arms" and "without question the absolute best in the business," emphasizing their decades of partnership on landmark recordings. Other figures in the music world, including musicians and producers who worked with him, echoed sentiments of profound loss and admiration for his innovative techniques.

Industry influence and publications

Swedien's publications provided valuable insights into his recording philosophies and practical methods, influencing generations of audio professionals. In his 2003 book Make Mine Music, he shared detailed accounts of his studio experiences from musical, technical, and personal viewpoints, illustrated with photographs and diagrams to demonstrate his approaches. This work emphasized the emotional and artistic dimensions of sound engineering, serving as a guide for aspiring engineers. His 2009 memoir In the Studio with Michael Jackson offered an in-depth look at his collaborations, including recording strategies and creative decision-making processes that shaped iconic albums. Complementing these, The Bruce Swedien Recording Method (2012) delivered hands-on instructions for capturing drums, bass, guitars, keyboards, vocals, strings, and horns, based on techniques honed over decades. Beyond writing, Swedien actively mentored emerging talent through workshops and master classes, particularly at (AES) conventions from the 1990s through the 2010s. These sessions, often held at his studio, trained engineers worldwide in critical listening and production fundamentals, fostering a new generation committed to high-fidelity audio. His emphasis on innovative placement and acoustic control, as seen in his books, continues to inspire modern producers in pop and hip-hop genres, who emulate his clarity and depth using digital tools like plugins. Swedien's influence extended to advocacy for superior , including support for analog-era practices that prefigured high-resolution digital formats, ensuring recordings preserved musical nuance. Posthumously, following his death in 2020, the AES honored his legacy with the ongoing Bruce Swedien , established in 2014 to fund for young audio students, alongside tributes in documentaries and interviews that analyze his techniques. In 2025, his widow Beatrice Swedien published the memoir My Life as a Studio Wife: A Lifetime of and Music with Bruce Swedien, offering personal insights into their life together and his career. These efforts underscore his role in elevating industry standards for sonic excellence.

References

  1. https://www.nytimes.com/2020/11/22/arts/music/bruce-swedien-dead.html
  2. https://grammy.com/news/bruce-swedien-obituary-thriller
  3. https://www.ocala.com/story/news/2020/11/20/ocalas-bruce-swedien-legendary-sound-engineer-behind-michael-jacksons-thriller-dies-age-86/6354270002/
  4. https://www.soundonsound.com/people/bruce-swedien-recording-michael-jackson
  5. https://bestclassicbands.com/bruce-swedien-recording-engineer-obituary-quincy-jones-michael-jackson-11-17-20/
  6. https://aes.digitellinc.com/p/s/bruce-swedien-aes-legends-1386
  7. https://www.startribune.com/mpls-native-helped-shape-michael-jackson-s-sound/573175231
  8. https://signaturesoundsonline.com/people/studio-engineers/bruce-swedien-recording-engineer-extraordinaire/
  9. https://www.startribune.com/remembering-bruce-swedien-the-father-of-twin-cities-recording-studios-and-michael-jackson-s-engineer/573112131
  10. https://musictech.com/news/bruce-swedien-dies-at-86/
  11. https://www.mixonline.com/recording/bruce-swedien-legendary-engineer-dead-at-86
  12. https://www.rollingstone.com/music/music-news/bruce-swedien-audio-engineer-michael-jackson-dead-1091779/
  13. https://tapeop.com/interviews/91/bruce-swedien
  14. https://patsyclinediscography.com/natkingcole/nat-king-cole-capitol-1958-1960.php
  15. https://www.grammy.com/news/michael-jacksons-wall-record
  16. https://www.grammy.com/news/bruce-swedien-obituary-thriller
  17. https://www.michaeljackson.com/news/bruce-swedien-explains-the-number-of-vocal-takes-mj-would-record/
  18. https://chartmasters.org/cspc-michael-jackson-popularity-analysis/
  19. https://www.sessiondays.com/2018/11/1989-quincy-jones-back-on-the-block/
  20. https://www.mixonline.com/news/bruce-swedien-1934-2020
  21. https://www.theguardian.com/culture/2019/apr/30/george-benson-how-we-made-give-me-the-night-quincy-jones
  22. http://www.asc-studio-acoustics.com/studio-articles/swedien-works-with-jennifer-lopez/
  23. https://albumism.com/features/jennifer-lopez-this-is-me-then-album-anniversary
  24. https://www.prosoundweb.com/bruce-swedien-on-the-control-room-techniques-more/
  25. https://grammy.com/artists/bruce-swedien/14319
  26. https://www.awardsandshows.com/features/best-engineered-album-356.html
  27. http://legacy.tecawards.org/tec/1985.html
  28. http://legacy.tecawards.org/tec/1988.html
  29. http://legacy.tecawards.org/tec/1992.html
  30. http://legacy.tecawards.org/tec/1996.html
  31. https://studylib.net/doc/7304701/bruce-swedien-cv
  32. https://www.bbc.com/news/entertainment-arts-54985951
  33. https://sonicscoop.com/rip-bruce-swedien-chart-shattering-mixer-and-engineer-for-michael-jackson-thriller/
  34. https://www.aes.org/events/135/presenters/?ID=1827
  35. https://www.ltu.se/en/research/academic-ceremony/our-honorary-doctors
  36. https://archive.org/download/soi-book-collection-4/the-mixing-engineers-handbook-2nd.pdf
  37. https://studiowifebook.com/
  38. https://www.prosoundweb.com/bruce-swedien-on-the-control-room-techniques-more/2/
  39. https://www.aes.org/press/?ID=251
  40. https://www.instagram.com/p/CHs-tYih-N6/
  41. https://www.npr.org/2020/11/18/936189699/the-sonic-genius-behind-michael-jacksons-thriller-has-died
  42. https://www.amazon.com/Make-Mine-Music-Bruce-Swedien/dp/142346494X
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  44. https://www.acousticsciences.com/news/art-noxon-guest-lecturer-at-bruce-swedien-workshop/
  45. https://www.aes.org/events/135/specialevents/?ID=3706
  46. https://www.avnetwork.com/avnetwork/aes-educational-foundation-honors-bruce-swedien-with-scholarship-fund-119315
  47. https://www.youtube.com/watch?v=24i4KjSt3KE
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