I read this on Wikipedia (Scroll down for Wikipedia Article) about Michael Jackson that "His vocal range as an adult was F2-E♭6 (or F2-Eb6)." This is notation for Pitch using the Scientific Pitch Notation (see Image below).
I doubt that this is accurate. That F2 would be the 2nd F below Middle-C. That's what the Choir Basses are hitting. If anyone out there know in what song he does this please let me know.
Wait! Let me search on YouTube. There's always someone out there doing something like this. Ah yes... here it is (Scroll down for Video)... but title wrong lah... the F1 should be F2.
Alamak! If his vocal quality of the F2 is like that one, so lousy still can be officially recorded in Wikipedia. Than... like that... i also can easily go down to a C2 and maybe go pass it to even reach a G1... or lower... sometimes.
Michael Jackson's Vocal Range (F1-C6)
Image 1 ~ Scientific Pitch Notation
Jackson sang from childhood, and over time his voice and vocal style changed noticeably. Between 1971 and 1975, Jackson's voice descended from boy soprano to high tenor. His vocal range as an adult was F2-E♭6. Jackson first used a technique called the "vocal hiccup" in 1973, starting with the song "It's Too Late to Change the Time" from The Jackson 5's G.I.T.: Get It Together album. Jackson did not use the hiccup technique— somewhat like a gulping for air or gasping— fully until the recording of Off the Wall: it can be seen in full force in the "Shake Your Body (Down to the Ground)" promotional video. With the arrival of Off the Wall in the late 1970s, Jackson's abilities as a vocalist were well regarded. At the time, Rolling Stone compared his vocals to the "breathless, dreamy stutter" of Stevie Wonder. Their analysis was also that "Jackson's feathery-timbred tenor is extraordinarily beautiful. It slides smoothly into a startling falsetto that's used very daringly". 1982 saw the release of Thriller, and Rolling Stone was of the opinion that Jackson was then singing in a "fully adult voice" that was "tinged by sadness".
A distinctive deliberate mispronunciation of "come on", used frequently by Jackson, occasionally spelled "c'mon", "cha'mone", or "shamone", is also a staple in impressions and caricatures of him. The turn of the 1990s saw the release of the introspective albumDangerous. The New York Times noted that on some tracks, "he gulps for breath, his voice quivers with anxiety or drops to a desperate whisper, hissing through clenched teeth" and he had a "wretched tone". When singing of brotherhood or self-esteem the musician would return to "smooth" vocals. When commenting on Invincible, Rolling Stone were of the opinion that—at the age of 43—Jackson still performed "exquisitely voiced rhythm tracks and vibrating vocal harmonies". Nelson George summed up Jackson's vocals by stating "The grace, the aggression, the growling, the natural boyishness, the falsetto, the smoothness—that combination of elements mark him as a major vocalist".
Very concerned about a transparent rendition of this identity, the sound engineer Bruce Swedien opted for some technical approaches and studio strategies aiming at keeping as truly as possible the singer’s intimate and natural expressions : mikes, analogic recordings, special techniques elaborated to design vocal prisms, creation of natural acoustic spaces, conversion of stereophonic fields in tri-dimensional sound spaces playing with early reflections, plywood, Monstercable or Tubetraps..