Listeners often report a more "open" soundstage, particularly on rhythm-heavy tracks like "Jam" and "In the Closet," where the New Jack Swing production by Teddy Riley is notably dense.
For many fans and critics, this version is considered one of the definitive digital ways to experience the album.
: Audiophile comparisons note that while the 2014 High-Res version offers improved clarity, it follows a "remastered" sound profile which sometimes features more dynamic compression (lower Dynamic Range score) compared to the original 1991 CD. The 24/96 FLAC release includes the original 14 tracks: Why You Wanna Trip On Me In The Closet She Drives Me Wild Remember The Time Can't Let Her Get Away Heal The World Black Or White Give In To Me Will You Be There Keep The Faith Gone Too Soon comparison Michael Jackson - Dangerous -2014- -FLAC 24-96-
In short, the release allows the listener to hear the nuances, instrumentation, and vocal textures that are often compressed out of existence in lower-quality formats. The Mastering: A Return to the Source
Dangerous is a dense, heavily layered album. Unlike the smoother, analog-heavy textures of Thriller and Bad , Dangerous relies on sharp digital synthesizers, industrial sound effects, industrial metallic clangs, and beatboxing. The 24/96 FLAC release includes the original 14
This is where the debate gets theological. Nyquist's theorem suggests 44.1kHz captures the human hearing range (20Hz-20kHz) perfectly. However, 96kHz captures ultrasonic frequencies (up to 48kHz). While you cannot "hear" a 30kHz tone, the theory of intermodulation suggests that ultrasonic content can create harmonic distortions that fall into the audible range. On Dangerous , this manifests in the shimmer of the hi-hats on "Remember the Time" and the attack of the synthesized bass on "Jam." The 96kHz version has a more "air" and space around the transients.
CD audio caps frequencies at 22.05kHz. The 96kHz sampling rate captures frequencies up to 48kHz. While human hearing technically stops around 20kHz, the higher sampling rate allows for much smoother anti-aliasing filters during playback. This removes digital harshness and recreates the natural, silky high-end frequencies of the original analog studio gear. This is where the debate gets theological
Michael’s breathy delivery and beatboxing become more intimate and distinct, especially on the title track, "Dangerous".
The 24-bit depth lowers the noise floor significantly. The silent gaps between sudden synth stabs or drum snaps become dead silent, making the music feel incredibly punchy and dynamic.