Mushaf layout tool is used to create layout of any physical Mushaf. We can adjust pages, number of lines per page, alignment of each line on page, and word placement on each line to accurately represent the Mushaf page.
This page lists the available Mushaf layouts we've in the QUL. If you have a unique layout that you'd like to see added to QUL, feel free to submit a request on Github.
Listen to the multitrack of "Who Is It." Remove the synth bass. What do you hear? Michael beatboxing a rhythm so tight and complex that it rivaled the drum machine. MJ didn't just sing melodies; he punched in the arrangement. In the multitracks of Dangerous , producers were shocked to find that many of the final percussive elements were not Teddy Riley’s synths, but Michael’s mouth, layered, pitched, and treated.
No multitrack analysis is complete without the punctuation marks. In the stems of "Smooth Criminal," take the vocals down to just the center channel. You will hear the infamous "Annie, are you okay?" but also the quiet intake of breath before the chorus. You will hear the whispered "Hee-hee!" layered so low in the mix you never consciously noticed it, but your brain did.
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If you are looking to study these files for educational or production purposes, several creators and platforms specialize in deep-dive analyses:
: Engineered by Bruce Swedien, MJ’s tracks famously used minimal compression. The "dynamic control" was performed by Michael himself, who would physically move toward or away from the microphone to "work the room" while singing. Arrangement "Beatboxing" Listen to the multitrack of "Who Is It
The iconic bassline was played on a Moog synthesizer by Bill Bottrell and recorded directly, often with slight variations in the raw takes.
Bruce Swedien built a custom wooden isolation box for the bass drum and placed a special baffle on the snare. The isolated track delivers a dry, punchy, unmistakable groove. MJ didn't just sing melodies; he punched in the arrangement
In an era where digital correction tools can fix any mistake, Jackson's stems remind the world that true greatness comes from raw talent, relentless practice, and emotional authenticity.
Similarly, in the Smooth Criminal multitracks, the iconic "Annie, are you OK?" vocal is not sung in a studio booth. It was recorded in a live room with a slap-back echo. When you hear the isolated vocal, it sounds like he is shouting at you from the end of a long, tiled hallway. That spatial confusion is what makes the song unsettling.
We fell in love with Michael Jackson through the radio—the compressed, mastered, perfect product. But the multitrack reveals the messiness of genius. It reveals the obsessive late nights at Westlake Studio, the panting breath after a dance take, the whispered melody that nobody else in the room understood.
: Discover alternate takes where Michael improvises, showing a free spirit and vocal range that didn't always make the final cut. Why Producers Love Them