DJ Techniques And Scratches

Since this is bout vinyl i guess it can go here. Post any DJ shit here.

this is from www.remix.com



Maybe you have the right DJ equipment. Maybe you even have your turntables and mixer dialed in for optimal performance. That's great, but no matter how good your equipment setup is, you might as well play Mantovani records on it if you don't have the skills to use it.

In this column, I will turn my attention to some basic scratch techniques. Learning these methods may not be as impressive as mastering today's advanced techniques, but it will provide you with skills that lay the foundation for more complicated moves. After all, you have to learn how to crawl before you can run.

PRACTICE MAKES PERFECT
Before explaining any specific scratch techniques, I'd like to say a little about practice. Practice — and lots of it — is absolutely essential if you want to become a skilled turntablist. Without practice, chances are that even though you may be able to perform basic techniques, you won't perform them very well.

When you're learning to scratch, you should always record and listen to your practice sessions. Listening to yourself with a critical ear is one of the best things you can do to improve your skills. Try to picture what you were doing when you created a particular sound or scratch, and then imagine what you can do to improve it. By analyzing your performance you will better understand your weak areas, and that will in turn help you improve.

One thing that often frustrates budding turntablists is that the pros make it look extremely simple. The uninitiated see someone scratching a record and say, “It's just wiggling the record back and forth!” If you have already tried scratching a record yourself, you've probably discovered that it's not all that easy. Scratching requires a lot of skill and experience, and learning to scratch can be as complicated as learning to play the guitar or piano. Just as with those instruments, you need to develop a basic understanding of musical structure before you can scratch.

THE RHYTHM METHOD
The most valuable skill a DJ can develop is a sense of rhythm. All scratch techniques require the ability to flow with the rhythm of the beat. Whether you are performing basic baby scratches or advanced crab-style scratches, if you lack rhythm it will be glaringly and gratingly obvious in your sound's flow. Listen to the structure of songs and try to understand the elements that make up the rhythm.

For turntablists, the most important rhythmic elements to grasp are beats and bars. In their simplest form, hip-hop songs are typically constructed of repeating bars, each containing four beats. Most basic hip-hop beats consist of some variation of “kick-snare-kick-snare.” If you were to number each kick and snare as elements of a bar, you would typically get 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 4, and so on — the odd numbers being kick or bass drum sounds, and the even numbers being snare drum sounds. Each group of four beats is a distinct rhythmic element, referred to as a bar or measure.

Although this is an oversimplified way of looking at music, the beginning DJ needs at least a rudimentary comprehension of rhythmic structure. Understanding fundamental song divisions is essential because the timing involved in almost any scratch technique works in unison with the flow of the beats and bars of the music you're using.

BASIC FADERLESS TECHNIQUES
We can make two simple divisions when categorizing scratches: those that involve a combination of vinyl and fader manipulation, and those that require only vinyl manipulation (aka faderless scratches). Although not all of them are simple, faderless scratches are somewhat less complex and are therefore a good place to start. They allow you to concentrate on perfecting only the vinyl-manipulation aspect of scratching. For that reason, in this month's column we will look at two basic faderless techniques: the baby scratch and the scribble.

BABY SCRATCH
The most basic technique (and the grandfather of all scratches) is known as the baby scratch. Invented by Grand Wizard Theodore in the late ’70s, the baby scratch involves simply moving the record back and forth rhythmically. Perfecting this scratch is vital because it forms the basis of all other scratch techniques.

A baby scratch is a slow, steady scratch, usually consisting of one back-and-forth cycle per beat. To perform it, locate the start of the sound you want to scratch and hold the record so the needle is positioned just before the point where the sound begins. Play a basic beat on the other turntable and start to push forward on the scratch sample at the start of each beat. Pull back at the same speed at which you pushed forward, and be ready to push forward again at the start of the next beat. Leave the fader open. Continue this rhythmic motion in time with the beat, and you're doing a baby scratch!

Concentrate on “reading” the record so you know where your selected sample starts and ends. (See “Turntablist Techniques” in the March 2001 issue of Remix for tips on how to read a record.) Try to make your hand motions consistent, moving the record the same amount forward and backward each time. Push the record at roughly the same speed that it would normally play. You can introduce variations by changing the sample length; however, the baby scratch is almost always performed at or near the speed at which the record would normally spin.

SCRIBBLE
A scribble is basically a very fast baby scratch, consisting of the same forward-and-backward motion; the main difference is that you do it at a faster tempo. The name comes from the rapid hand movement this technique requires, similar to scribbling with a pen on paper.

The range and types of sounds you can achieve are greater with a scribble than with a baby scratch, because there are typically more variations in the speed at which you can manipulate the record. With the scribble technique, the sound created by the back-and-forth motion tends to blend, creating a fluid scratch effect. You can also vary the tone and tempo of this scratch effect to create different rhythmic accompaniments to the beat.

VARIATIONS
I have described fairly specific ways of performing each scratch, but the real beauty of these techniques is that you can vary them and throw in new ideas to come up with your own style. You should concentrate on learning each technique first, but then try experimenting with combinations of techniques (called patterns). For example, flow from a baby scratch for one bar to a fast scribble for the next bar. Follow this with a 1-beat slower scribble, a 1-beat baby scratch, and a 2-beat fast scribble. The combinations are as endless and varied as your imagination.

Even though these techniques are basic, you can use them to develop your own personal style right away. As you become familiar with additional scratch techniques, remember to work on the transition from one technique to another. A good turntablist learns every individual scratch technique; a great turntablist knows how to combine all techniques into a masterful and varied showcase of skill and creativity. Now go practice!

from www.remix.com

Turntablism 101 The term turntablist is a combination of the words turntable and instrumentalist. Simply put, it is the art of using the turntable as an instrument to create new music from existing vinyl recordings. Manipulation of a sound recording's pitch and volume, combined with multiple fader techniques, allows turntablists (also called scratch DJs) to create new and inventive sound patterns they can combine in musical performances or songs. The scratch DJ can transform two turntables and a mixer into an instrument every bit as musically expressive as a guitar or a drum set.

Though turntablism clearly qualifies as a subgenre of deejaying, a substantial difference exists between a club DJ and a turntablist. I see it like this: Club DJs play records; a turntablist plays with records. While many turntablists have DJ backgrounds, the role of the turntablist differs from that of the DJ. The scratch DJ focuses on creating music, whereas the club DJ focuses on playing music. A successful club DJ can read a crowd, mix records, understand tempo, and make people dance. A successful turntablist can manipulate a mixer and vinyl with precision and creativity to twist the sounds on a record into a new and musically different composition.

Turntablism Subgenres The craft of turntablism encompasses multiple approaches and practices that one can group into subgenres. The current styles of turntablism are trick mixing, beat juggling, team mixing, and battle mixing, and many turntablists combine elements of each subgenre in their performances.

Trick Mixing Trick mixing involves creating new sounds (known as patterns) through the twisting and tweaking of various vinyl recordings. The broadest category of turntablism, trick mixing is also the hardest to define, as it constantly changes and evolves. DJs continue to invent scratch techniques and innovate with new combinations of existing patterns.

Most scratch techniques and patterns fall under the umbrella of trick mixing (also known by the more generic term scratch mixing). Scratches such as the transformer, chirp, flare, orbit, and crab are classic examples of trick mixing techniques. However, trick mixers often combine these techniques and are continually attempting to make them faster, more precise, or more complex than their predecessors.

Beat Juggling Beat juggling is a technique that focuses primarily on creating drum patterns, usually from the manipulation of one or more drum sounds on a record. Historically, beat juggling developed from backspins, in which the DJ repeatedly played the same drum break on two turntables to extend its length. While the drum break was playing on one turntable, the DJ would backspin a record to the beginning of the same break on the other turntable, thereby keeping the break in continuous play. DJs started experimenting with backspins by varying the sample's starting and ending point and the length, time, and speed of playback. As this method advanced, DJs found they could create new and complex drum patterns by simply rearranging the snare and kick of a prerecorded drum beat using the methods outlined above. Beat juggling was born!

The ideal beat juggle is one in which the resultant drum pattern sounds nothing like the source drum break the DJ is manipulating. Classic beat jugglers-such as Rob Swift (from New York's X-ecutioners) or Shortkut (from San Francisco's Invisibl Skratch Piklz)-prove that a good beat juggler is as talented, skilled, and inventive as a traditional drummer. The only difference is that they manipulate turntables instead of playing a drum kit.

Team Mixing Team mixing encompasses many of the above techniques, performed simultaneously by multiple DJs. This approach allows performance of entire songs. One or more DJs provide the drum break (through beat juggling and other techniques), whereas the other DJs scratch various patterns and phrases over the top (using trick mixing).

The first, and still one of the best, examples of team mixing is the Invisibl Skratch Piklz's "Invasion of the Octopus People" (available on both Return of the DJ, vol. 1, and QBert's Wave Twisters). A different DJ scratches each sound, from the drum breaks to the samples. No record plays in the background; instead, the band members constantly scratch everything.

Battle Mixing Battle mixing differs somewhat from the above categories in that it puts turntablism into a live, competitive environment. DJs use all the techniques I've outlined to compete against one another. Typically, battle DJs incorporate insults toward the other DJs or previous champions as an attempt to hype up the crowd. The reaction of the audience and the competitors usually plays a part in the judges' decisions.

Long-running annual events such as the DMC/Technics World DJ Championships and the International Turntablist Federation DJ Championships have been instrumental in advancing the genre and furthering acceptance of the notion that turntablists are legitimate musicians. Many DJ battles also now include separate competitions for beat juggling, trick mixing, and team mixing.

The Future The turntable currently outsells the guitar in Japan, and in the United States turntable sales are the fastest-growing segment of the musical-instrument market. Mixer and turntable manufacturers have finally recognized the large market out there for equipment designed to meet the needs of the scratch DJ. These facts, along with the popularity of scratch-related events, indicate that many budding turntablists have yet to scratch their mark on the industry. The future should see turntablism continuing to evolve into an increasingly complex and fascinating musical genre.

Skratchcon Last July, Skratchcon 2000 took place at the Yerba Buena Theatre in San Francisco. It was one of the first events to treat turntablism as a serious art form, and included interactive seminars covering all styles of scratch mixing, beat juggling, team mixing, and battling. The tagline for the show sums it up best: "Education and Development of Skratch Music Literacy."

The event, planned by the Invisibl Skratch Piklz, exposed attendees to all facets of the genre. Hip-hop's biggest turntablists attended, and for many in the audience Skratchcon offered a prime opportunity to witness-in a live setting-a multitude of DJs who have shaped turntablism into what it is today. The highlights included the following:

* Mixmaster Mike ripped crazy rhythms with a battle-mixing routine that mostly involved manipulation of just one record.

* The Scratch Perverts demonstrated its "no-record" technique, which involves scratching of feedback and noise generated by the mixer and turntable, without using records.

* The History of Scratching, by QBert, traced the development of various scratch techniques from Grand Wizard Theodore's original style to today's crab techniques. DJ Flare, inventor of the flare scratch, was also on hand to provide live examples of each scratch style.

* 8-Ball's test-tone scratching seminar included a scratch performance of his test-tone-based "Don't Stop the Rock" routine.

* A-Trak and DJ Radar presented two different methods of scratch notation-both aimed at putting the complexity of what the DJ does on paper. Doing this would allow various DJs to perform scratch compositions, just as an orchestra performs a Mozart composition.

One of the best features of Skratchcon was that it streamed over the Internet, in Real Video (that's how I saw it). Highlights are now available in smaller, categorized sections. Visit www.drinkeclipse.com to register for access to video footage of this historic event, a must-see for all turntablists. I hope more events like this will be scheduled in the near future as the exposure and acceptance of turntablism as a serious form of music keeps expanding.

Recommended Listening As an introduction to the variety of styles in turntablism today, you should purchase the Return of the DJ series (vol. 1 to 3), available on the Bomb Hip Hop label. These three albums have played an important role in the resurgence of the scratch DJ, and they offer a good overview of the various styles of turntablism.

Until Next Time I hope that you now have a good understanding of the background and elements of turntablism. In future columns I will present a more hands-on approach to turntablism and explore some specific techniques and equipment setups in detail, and I will continue to report on important events in the turntablist community.

In the next column, I will take a look at specific equipment requirements for a basic scratch DJ setup, including equipment recommendations and tips for optimal configuration. I welcome your feedback, including topic suggestions and any tips and ideas you'd like to share with fellow readers.

Robin Smith is a former radio and club DJ. Lurking as a bedroom mixer and geek, he is creator of The Online 1200, a Web version of the Technics SL1200MK2 operating instructions (www.turntablism.com/online1200). He can be reached at [email protected].

IN FRENCH OOO WEE WEEE
http://www.djindamix.fr.st/
LES TECHNIQUES DE SCRATCH


Le BABY SCRATCH

Le scratch le plus simple à réaliser. Le baby scratch est effectué sans le crossfader en bougeant le disque d'avant en arrière; un mouvement avant puis un arrière ou inversement.

Forward and Backward Scratches

Les scratches avant-arrière sont également simples mais là on utilise le fader pour couper (cut) le son du disque. Par exemple, en faisant 2 baby scratches et en laissant le fader "ouvert" quand le scratch est vers l'avant et "fermé" lorsqu'il est fait vers l'arrière, on obtient un 2 scratches "avant".

Tear Scratch
Cela ressemble au baby scratch car on n'utilise pas le crossfader mais lorsque l'on revient en arrière, il faut faire une sorte de pause avec la main afin de ralentir le disque. On obtient ainsi un scratch avant et deux scratches arrière de vitesses différentes.

Transform Scratch
Rendu célèbre par DJ Cash Money, le transform scratch s'effectue en bougeant la main sur un son assez long du disque et en même temps en bougeant le crossfader de la position ouverte à fermée. Le transform doit commencer avec une position fermée (on n'entend pas le disque) puis on bouge le crossfader en même temps que le son.

Flare
Scratch Inventé par DJ Flare, ce scratch ressemble au transform mis à part qu'au lieu de commencer dans la position "fermée" du crossfader, on commence en position "ouverte". Un flare de base s'effectue en commençant en position ouverte et en effectuant un scratch avant sur un son. Au milieu de ce scratch on ramène le crossfader dans sa position fermée puis on revient directement à la position ouverte (un click). On obtient ainsi deux sons différents. En faisant 2,3 ou plusieurs clicks (si vous êtes assez rapide) on obtient des flares encore plus spectaculaires.

Orbit Scratch
En général , l'orbit représente un scratch effectué vers l'avant et l'arrière dans la même séquence mais en utilisant le crossfader. Cependant on peut parler d'orbit quand on effectue rapidement un flare en avant puis un flare en arrière (créant ensemble 4 sons très distincts) on obtient un orbit simple.

Crab Scratch
On appelle aussi le crab le "3 doigts" en français mais on peut utiliser aussi 4 doigts. Le principe est de bloquer le fader en position fermée avec le pouce puis en tapant rapidement du petit doigt (ou l'annulaire) à l'index sur le fader (le pouce servant de ressort) on obtient une sorte de transform très rapide.

Twiddle Scratch
Le Twiddle (tripoter) est en fait le prédécesseur du crab. C'est en fait un crab mais avec 2 doigts au lieu de 3 ou 4 pour "tripoter" le crossfader.

Chirp Scratch
Le chirp s'effectue en fermant le son avec le fader au moment où l'on fait un scratch avant puis en ouvrant le son en faisant un scratch vers l'arrière. Ce scratch est très spectaculaire quant il est effectué à grande vitesse.

Scribble Scratch
Le scribble s'effectue en contractant les muscles de l'avant bras et en bougeant les doigts sur le disque presque comme un baby scratch hyper rapide. Le résultat est une vibration très rapide.

Tweak
Scratch Pour faire un tweak scratch, il faut couper la platine disque puis bouger le plateau avec les doigts d'avant en arrière. On peut faire un transform avec le fader.

Bubble Scratch
Inventé par DJ Noize, cette technique s'effectue en bougeant le disque d'avant en arrière tout en tournant le bouton EQ (equalizer) de la table du maximum au minimum. L'effet resemble à celui d'une pédale wah-wah.

Zig-Zag Scratch
Pour faire un zig zag, il faut utiliser une main sur le disque et l'autre main qui fait un va et vient entre le fader du volume et le disque.

Hydroplane
L'hydroplane s'effectue pendant que le disque tourne en exerçant une légère pression sur la surface du disque avec un ou plusieurs doigts sans stoper le disque. Le résultat est une sorte de son grave.

Airplane
On appelle aussi cette technique le phazing. Le principe est de prendre 2 beats identiques et de les mettre à la même vitesse en même temps sur les deux platines. En laissant le crossfader au milieu, on obtient un son "spatial".

Beat Juggling
En utilisant deux disques similaires, on peut recréer de nouveaux beats en passant d'un disque à l'autre avec le crossfader.


Strobing
Inventé par DJ Shortkut, le strobing s'effectue en faisant un passe -passe entre 2 disques (qui peuvent être différents) tout en ralentissant le tempo en tapant légèrement sur les disques. On peut ainsi créer de nouveaux beats en jouant sur les caisses claires, cymbales, etc...

Pass pass
En prenant 2 disques identiques, on peut répéter une phrase à l'infini en passant d'un disque à l'autre. Une fois qu'une phrase à été jouée sur une platine, on la rejoue sur l'autre (en gardant le même tempo). Pendant ce temps on revient sur cette phrase sur l'autre platine

http://www.djashmix.com/Turntablist/Scratching.htm
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SCRATCHING


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If you have any problems with you Technics 1200 check out this Web site. It might just help solving your problems. http://music.hyperreal.org/dj/sl1200.html

SCRATCHING

Don't think you want to record your turntable techniques? Consider this: besides practicing, listening to your scratching is probably the most important thing you can do to improve your skills. As you learn new scratch skills and incorporate them into your performances, it is important to objectively review yourself, and it's not easy to analyze your skills while in the throes of a performance. Turntablism is primarily a live medium; however, you should record yourself frequently and listen to the results.

As you listen, analyze the good and the bad. Are you too fast, too slow, too sloppy, or not rhythmic? What sounded good, and what could use work? Your skills may not be up to snuff for a variety of reasons. Only by listening to yourself can you truly analyze what you need to work on. Another benefit of listening to recordings of your scratch sessions is that you may discover a new scratch sound — one that you didn't realize sounds good.

TRANSFORM

Mastering the transformer scratch is an essential skill for performing many of today's more advanced scratch techniques such as the flare and the crab. The essence of the transformer scratch is a rhythmic cutting off and on of the sound while moving the record back and forth or letting it play. Using that simple technique, you can create an amazing variety of sounds. Before I get into specific details about performing the technique, take a look at the transformer scratch's history.

There are two main ways to produce the signature transformer sound. The first and easiest method involves using the Phono/Line switch found on most DJ mixers. On battle mixers, that switch is often called the transformer switch. Some mixers also have dedicated Transformer switches, which are simply on/off buttons located near the main crossfader. The second method, which is more challenging but ultimately more flexible, involves manipulating the crossfader. That technique is easiest to perform using a crossfader with adjustable cut-in (set it to the sharpest setting).

Although you can perform the transformer scratch using many different sounds, using a long, consistent sample is best while learning the move. For the purposes of this description, I will refer to the classic “Yeah Boyee” sample, spoken by Flava Flav at the start of Public Enemy's “Bring the Noise.”

Begin by performing the scratch using the Phono/Line switch. Start with the record cued to the start of Flava's classic phrase and the Phono/Line switch set to line (sound is off). Play a basic slow beat on the other turntable and simply let go of the “Yeah Boyee” record in time to the beat. Repeatedly flick the Phono/Line switch on and off. As you do that, you should hear the sound cut off and on. That is the basis of the transformer sound. Practice that a few times until you feel comfortable with your technique. At this point, concentrate only on playing the record forward and creating the chopped-up sound effect.

Next, play the record forward and flick the switch in a rhythm that matches the beat playing on the other turntable. Grab the record when the sample is halfway through the “Yeah” part (see Fig. 1). Pull it back a little and then play it forward again, all the while flicking the switch off and on in time to the beat. The sample should sound as though it is being extended during the middle part of “Yeah.” The goal is to rhythmically click the sound on and off in time with the beat, not merely to click as fast as possible.

FADER TRANSFORMING

Once you have those basics down, advance to the next stage. If you have a mixer with adjustable crossfader cut-in, set it to the sharpest or most rapid cut-in. Setting up your turntables hamster style may also be helpful (see Fig. 2). Many scratch mixers are equipped with a hamster switch that reverses the crossfader direction without affecting anything else. If you do not have a mixer equipped with a hamster switch, you can achieve the same basic result by hooking up your right-hand turntable to the left-hand mixer inputs and vice versa. Whichever method you use, moving the crossfader all the way left should turn on the right turntable and all the way right should turn on the left turntable.



FLARE SCRATCHING

This scratch is much like the transform in some ways, only instead of starting with the sound that you are cutting up off, you start with the sound on and concentrate on cutting the sound into pieces by bouncing the fader off of the cut out side of the fader slot to make the sound cut out and then back in a split second. Each time you bounce the fader off of the side of the fader slot it makes a distinct clicking noise. For this reason, flares are named according to clicks. A simple one click forward flare would be a forward scratch starting with the sound on as you bounce/click the fader against the side once extremely quickly in the middle of the forward stroke creating two distinct sounds in one stroke of your record hand and ending with the fader open. In the same manner, 2 clicks, 3 clicks, and even more clicks (if you're fast enough) can be performed to do different types of flares. The discovery and development of the flare scratch was instrumental in elevating this art form to the level of speed and technical scratching that we're so used to seeing today.

TURNTABLIST TRANSCRIPTION
from
http://www.battlesounds.com/home.html

In June 1997 while siting in on the X-ecutioners first studio session, I found myself scribbling down different line patterns in hope of creating an orchestrated turntablist team routine. Since then this transcription system has been constantly refined via the collaboration with Ethan Imboden , an industrial designer, who helped develop a more user friendly method, and recently DJ Ray Dawn a dedicated student of Turntablism who independently was developing a similar system that focused on advanced scratches. This booklet is the first product of this group collaboration. It is an open source effort. We look forward to your opinions, questions and suggestions. This new audio language is now visible, the possibilities are endless, compose, create, innovate. - John Carluccio


Click on a link to download the TURNTABLIST TRANSCRIPTION METHOD booklet.


Entire Booklet

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For More Info or if youhave a direct question about TTM please visit
http://www.ttmethod.com

History of Turntablism

http://www.digitaljayhawk.org/J415Su02/ ... rytwo.html


Grandmaster Flash on the "Wheels of Steel."
The history of turntablism spans nearly 65 years. Like any other instrument, the turntable went through many stages and variations as an instrument.


Two musicians constitute the prehistory of turntable music. As early as 1937 American avante-garde composer John Cage had ideas for using records to create music, which he describes in his book, "The Future of Music: Credo." By 1948 a French avante-garde composer, Pierre Schaeffer, used multiple turntables to cue desired sounds from existing recordings and altered the music through changing the speed, adjusting the volume and playing the sounds backwards.


Nothing revolutionary occurred in the history of turntablism until 1973 when Bronx DJs like Afrika Bambaataa, Grandmaster Flash and Kool Herc showed what could be done with turntables. Kool Herc invented what is called "breakbeats," which is when a DJ fuses together different parts of songs into a musical collage. Grandmaster Flash is known as the DJ who expanded the most upon Kool Herc's breakbeats discovery to invent more turntablist techniques.


In 1977 an entertaining piece of turntablism history took place when Grand Wizard Theodore invented the "scratch." 14-year-old Theodore was messing around with his record player when his mom walked in his room. As she walked in, Grand Wizard stopped the record with his fingers to listen to her while unconsciously moving the record back and forth over the same drumbeat, creating a scratch. The "scratch" has been a major component of turntablism ever since.


From 1979 through the early 80s, DJs drifted out of the spotlight as commercial hip-hop musicians chose to use live funk bands on their recordings instead of DJs. Turntablism reached the mainstream in 1983 when jazz musician Herbie Hancock performed the song, "Rockit," with Grandmaster D.S.T. Kids across the world were captivated by Grandmaster D.S.T. as he scratched a record to the beat of the song.


The next step in the evolution of turntablism took place throughout the 1980s as turntablists showed off their skills at DJ battles. At these battles, extremely competitive DJs showed how fast and creative they could DJ while maintaining the rhythm.

DJ Cynsere, a Lawrence turntablist, said in the 1980s DJs were the spotlight of hip-hop and MCs (rappers) were in the background. He said nowadays this has unfortunately reversed to the point that the DJs are on the backburner while the rappers reach fame. Cynsere said DJs have been able to get a little more exposure over the last few years.

In the late 1980s popular culture lost interest in turntablism, and it went back underground where it continued to thrive with its truly devoted fans and musicians.


Throughout the 1990s turntablists continued to expand the vocabulary of the instrument by inventing new techniques. According to Kembrew McLeod, a turntablism historian, the amount of full-length turntablist albums by individual artists has grown exponentially since 1996. Presently turntablists like DJ Q-bert, Rob Swift, DJ Shadow, Mix Master Mike, DJ Spooky and Cut Chemist experiment with their turntables and demonstrate the dynamic range of the unique instrument.

Turntablism's history continues to sculpt itself. Without a doubt, turntablism has much room to expand into the future, and it will be interesting to see how it continues to evolve.

http://music.hyperreal.org/dj/AVH/Mixing.html#mixing
Mixing
With the master out you have control over the music volume for the crowd, monitor out controls what you hear directly yourself. And next to that there is the headphone out to control the music volume of your headphone. The first one of these 3 should be controlled with care: Big changes in music volume for the crowd should only be a result of the records themselves! During a performance you can slowly build up the volume towards a climax at the end or you can use the master out to boost a particular record a little more. The other outputs can be set according to your own needs.

Like the balance between the volume of the monitor speakers and the dancefloor speakers, there is also the need to balance the volume of your headphone and that of the monitor speakers. Set the volume of the headphone in relation to the volume of the monitors in such a way you can hear both records equally loud. This will give you the best chance to hear any possible difference in phase or speed.

In order to explain the use of the mixer to make a proper transition I'll use what is called reverse engineering: I start with the desired end-result and reason backwards how you can possibly use the equipment to achieve this result.

There is beat-matching, bar-matching, loop-matching and stage-matching. However, there is something else that is important: matching of music volume. The procedure was also described in the beginning, Sound checking.

End result: provide the crowd with music. Use the master out to set the music volume for the dance floor. As it was already mentioned: Try to avoid any abrupt changes in music volume, unless they are part of the track that is playing. If you are using a home system you only have to set the monitor out to your own liking.

Incoming records should have the same music volume as the currently playing record. There are more ways to achieve this, but the easiest one is setting the gain for each record before you start mixing it. Play part of the body and use the gain to adjust the maximum peak height. The value you use is somewhat arbitrary but whatever you choose, it is wise to set the limit somewhere between 0 dB and +3 dB on the VU meter. The mixer I use myself needs special attention. If one channel (or more) is cued the value of the VU meter is about 3 db lower than normal. So: make sure to test your own mixer.

At any rate, if you have a record playing on a fully opened channel, no channels cued, then you should have set the gain in such a way it will show peak values between 0 dB and +3 dB because this is the signal that will be send to your amplifier(S). An occasional peak to +4 dB is no problem, but if the output of your mixer continuously peaks to +4 dB or more you can get a distortion of sound and/or clipping. Gently reduce the gain of the record or, if this happens during a transition, pull one or both sliders a little bit back to solve the problem.

Keep the maximum peak value in mind. It is not so much this value that is important, but you need to match the music volumes. The easiest way to set it is before you start getting record 2 up to speed and in phase. Put the needle somewhere in the body of the track (or at least at some point in the track where music volume is at it's normal level) and adjust the gain in such a way that you get your desired peak height.

Back to the top.


The Transition
Get your equipment set up, master- and/or monitor out set right, headphone on, all channels closed and channel 1 cued.

Start a record, set the gain right and restart it. (Now you have Record 1 going.)
Open channel 1 and throw it onto the speakers and (imaginable) dance floor.
Pick another record with about the same speed and music style as record 1.
Uncue channel one and cue channel 2 to set the gain for record 2.
Locate the first beat of record 2.
If you did not start this way: put your headphone on one ear only.
Jumpstart record 2 in phase with the beats and the bars.


... And now the REAL fun starts! It is time to adjust the speed for record 2. Re-read Beat Matching, Continued for details. Getting record 2 up to speed will probably involve some restarting as well. For now, I assume you have, after an unknown number of re-setting, record 2 at the right speed.

Pay attention to the phase of record 1. Wait untill after the break.
Jumpstart record 2 right at the return of the beat, at the climax.
Make sure record 2 is not only at the right speed, but also in phase.


Now it is time to make the actual transition between the 2 records. There are numerous ways to make this transition. I will only describe one of them as example.

Close the low range for record 2.
Open channel 2 to about 75% and reduce channel 1 to 90%.
Keep a constant eye on the VU meter, do not let it peak to high!
If you still have not reached the maximum peak limit, open channel 2 more.
Slowly open the low range of channel 2 while you partially close the low range of channel 1.
Re-check the VU meter and make sure the records are still in phase.
If they are out of phase: correct the record with the lowest music volume.
Equalise both channels without exceeding the maximum peak limit too much or too often.


A few occasional peaks above, to +4 or +5 dB, is no problem. At +6 dB you have to worry about mixers compressing the audio signal and amplifiers clipping. It is possible at this point to compensate by adjusting the gain of record 2. A dance crowd might not really notice a little distortion but they might not appreciate the too loud music volume.

Now, depending on how accurate you got record 2 at the same speed, you can pick your point where you want to finish the transition... or wait for the records to slightly go out of phase. As a beginner this will happen very quickly. The second part of the transition is a partial reverse of the process.

Close channel 1 a bit more, while further opening channel 2.
Finish the transition by fully fading out channel 1.
Now channel 2 and record 2 become channel 1 and record 1.
Incoming record has become current record.
Time to repeat the process.


If closing channel 1 will drop the peak level more than 2 or 3 dB below your desired maximum, while channel 2 is already fully open, you can adjust the gain of channel 2 to compensate.

So, here you have it: just one of many possible ways to make a transition between 2 records.

Another possible transition, for instance, is to close low, mid (if your mixer has a midrange control) and high range of record 2 and, when ready, fully open channel 2. You make the transition by simultaneously closing the ranges of channel 1 and opening the one of channel 2. It is up to you to pick the order: high, mid or low first, whatever will sound best.



There are 2 things important here:

Check the VU meter, stay within your set maximum peak value.
Constantly check if the records are still in phase.
If your mixer does not have a VU meter, then you have to listen carefully to any distortion of sound. Any sign of distortion whatsoever indicates that your amplifier or speakers are having a hard time. And if that is not the gain of amplifier itself, then it must be the outgoing signal of the mixer. Reduce the gain of the proper channel.




IMPORTANT: Just practice, practice and practice and don't be afraid to experiment: Try different things, figure out new tricks.


Back to the top.


Simple Tricks
This set of tricks is just the tip of the iceberg. Little things you can do with your records and equipment to, as it were, customise your mixing by adding your own effects to the records. The best way to find out more tricks is to watch other DJs (also called "trainspotting") and listen to mixed CDs. The same thing that has been said a few lines above applies here too: Practice and dare to experiment!

Also take a look at the Examples Section.

During a break and/or build up: Play with the balance, mid range and/or high range. If this will create a nice effect or not will highly depend on the specific record you play. Increasing the mid range is the most commonly used effect.
In the build up: If you turn off the power of a turntable, it will slowly rotate to a halt. 1 Bar before the climax you switch off the turntable and almost immediately switch it on again. The speed will drop down and when you have counted 4 beats, hit the Start/Stop button to let it catch speed again right at the climax. NOTE: Most turntables will power up in 33 RPM mode, so you will have to switch back to 45 RPM before you hit the Start/Stop button if a 45 RPM record is playing. (This one is quite tricky, use it with records you know very well.)
At the start of a transition: Instead of slowly and gradually opening channel 2, you can also briefly swap channels by throwing in 2 beats (3r and 4th beat of a bar). Fully slide open channel 2 and simultaneously reduce channel 1 to about 80 or 90%. Flick them back after 2 beats. Repeat a few times if you feel like, before starting the normal transition. As an alternative you can skip the gradual transition and, after swapping a couple of times, leave channel 2 and open close channel 1.
Between 2 transitions: cut out the bass of the 4th, the 3rd and 4th or all 4 beats of one bar. Either use the kill switches (if your mixer has those) to surpress the low range or use the regular knob to surpress the bassline. You can also slowly fade out the bassline over 1 or 2 whole bars and snap the bass back.
Between 2 transitions: "Preview" a sample of another record. This can be from the incoming record, but this can also be from a record you do not intend to play (yet). Select a characteristic sample or melody and roughly adjust speed. (You do not need to do this very accurate, the records only need to run synchronous for a one or two bars.) Get the start of the sample under the stylus and wait for the first beat of a bar. Then jump start the sample and open channel 2. Close channel 2 and spin back the record if you want to repeat it. This trick can be used for crowd teasing: take a sample or melody of a popular track, give them the impression that that is going to be the next record, and mix in a different record instead.
Finishing a transition: Sometimes the most simple solutions are best. Kill record 1 by hitthing the Start/Stop button. This results in a very characteristic sound which can, if you time it correctly with a starting break on record 2, create a very nice effect. Of course you still have to close channel 1. NOTE: this works fine on high quality turntables, cheaper turntables might have difficulty stopping the record fast enough.
Finishing a transition: Backspinning. Similar to the previous trick, it is important to time this right. Like the name says, you spin back record 1. Put a finger on record 1 and pull back hard enough to make the record spin back for a second or so. Make sure you close channel 1 right after that because, unlike the previous trick, the record will continue to play. NOTE: you can not use this with a record that is not entirely flat. The needle might jump.
I you have separate balance control for all channels: Try gradually panning record 1 to one side while you open channel 2 panned to the other side. This can create a bizarre split stereo effect. Make sure you use records that sound exceptionally good together, otherwise this might sound awful. During this trick you have to pay extra attention to the VU meter! Once you start closing channel 1 you have to pan channel 2 back to the middle.
Anything you come up with yourself...
Back to the top.


Mixing with CDs
The principle behind mixing with CDs does not differ much from mixing vinyl. First, you need a starting point (cue point) and then it is a matter of starting, adjusting pitch, restarting and re-adjusting pitch until you have the speed right. When you reach the point where you need to jump start record 2 (CD 2 in this case) you start it, make sure it runs in phase and start making the transition.

Some years ago the music industry predicted that CDs would completely dominate the house scene and make turntables obsolete... That was one wrong prediction. Comparing vinyl records with CDs will be a battle without end because both systems have advantages over the other. CDs are lighter to carry around and are less vulnerable to scratching. Vinyl on the other hand is much better and more accurate to manipulate in a mix and you have a better idea of track structure because you can see the groove... But this discussion is outside the scope of this web-page. Decide for yourself.

CD mixers come in 3 different "tastes". Double front-loading CD players come with a separate front panel which holds the displays and controls for both the drives. Single front-loaders usually have the controls on the same front panel. Single top-loading single CD players are more like the turntables, drive and controls are incorporated into a single unit. Top loaders usually have a big flywheel which allows for better control. ( Other combinations are possible too.)

( Note: My own experience when it comes to mixing with CDs is limited to the now almost classic Denon dual mixer, the Denon DN-2000. So, the actual control of other CD mixers may very well differ from what is written down here. )

Mixing with CDs works as follows:

Any CD mixer will let you set a so-called cue point. You have to set this on the first beat of a bar of four, preferaby also on the first bar of the melody/theme. The first beat of the track will even be better point to start.

Once this cue point is set, you can start again and again from exactly that beat. Now it's a matter of starting it in synch with record 1, or CD 1 in this case. Adjust pitch roughly, go back to the cue point and try again. Re-adjust pitch, wait for CD 2 to go out of phase, and start using the flywheel/jog-dial or the pitch bend buttons to correct the problem.

Pitch bending on turntables requires a lot of skill, because it is difficult to return the slider exactly to its original position, (See the advanced section) but on a CD player it's a different story: as soon as you release the flywheel/jog-dial or the pitch bend buttons, the pitch is again as you set it. If you're still not close, well, go back to the cue point and try again.

Once you have CD 2 at the right speed, you return once again to the cue point and start it on the right moment. Use the flywheel/jog-dial or the pitch bend buttons to correct any out of sync-ness, and now you're ready to make the transition.

This would translate to the following steps:

Insert a CD, select the right track and hit play/pause.
When you hear your desired starting point (the first beat for instance) hit play/pause again.
With the jog-dial, track-search buttons or the flywheel (depending on the type of CD player you have) you can search the exact start of the beat. The CD player will repeat a very small timeframe which allows you to recognise the specific sounds. This is will become your cue point.
How you actually Store this cue point into the memory of the CD mixer depends on the brand.
Make sure you have activated the pitch control! Most players have the ability to switch off the pitch control, so make sure it's enabled.
Hitting play/pause starts the music exactly at the cue point . Make sure you time this with the beats and bars of CD 1 or record 1.
This is where you have to get CD 2 at the right speed. If there is a big difference in pitch, roughly adjust the pitch control and hit Cue. This will make the CD player jump back to the cue point.
Hit play/pause again, timed with CD 1, and repeat the process.
Once you have small difference in pitch you can use the flywheel/jog-dial or the pitch bend buttons to nudge CD2 forward or slow it down temporarily. Make sure to adjust the pitch too in order to eliminate the final difference.
Once you have pitch sufficiently accurate, return to the cue point you've set.
Start CD2 again in sync with record 1 by hitting play/pause at the point where you would otherwise jumpstart a vinyl record.
If CD 2 is slightly out of phase after jumpstarting, use the flywheel/jog-dial or the pitch bend buttons to correct the problem.
Start making the transition.
Depending on the quality of your CD player, you can also have sample memory and loop-facilities.

too bad im not a dj haha

montivani

fuk pedestrian djs

I think scratch transciption is garbage. And most of the "names" variations of certain scratches is mad annoying too. I read an article once that Dj babu was asked about scratch terminology and said something like if I hear it I can figure out how to do it but I don't know the name - babs is on the money if its sounds dope do you really need to call it a triple click-orbit-reverse-crab-phaser-rubblahblahblah?

deity13 wrote:montivani

fuk pedestrian djs

I think scratch transciption is garbage. And most of the "names" variations of certain scratches is mad annoying too. I read an article once that Dj babu was asked about scratch terminology and said something like if I hear it I can figure out how to do it but I don't know the name - babs is on the money if its sounds dope do you really need to call it a triple click-orbit-reverse-crab-phaser-rubblahblahblah?

lol...

the super-leg bend behind the back-eyes shut-hands in the air-d*ck on the fader-scratch.

see i wouldnt have known bout flaring or crabs without someone tellin me what it was. Saved alot of guess work and just let me get down to cutting. And thats bullshi* babu knows all that shit. He battles and shit and the judges judge u on turntablism and techniqe. Im not a scratch nerd but i know the names of most of the cuts and how to do them. Its like learning chords or scales. the transcription is cool to cats to see how to do the cut with the fader. Theres more and more battles and turntablisit out there with cats doin crazy shit. of course there is gonna be a reference.

the transcription is cool .

but there are to many dj's out there that can't do anything but scratch, what is that good for . if you can't roc a party and make people dance you aint a dj then your just a scratcher not a dj. a dj roc's a party and scratches and mixes and combines all his skills.

noding is not concidered dancing.

you must learn the proper fundimental of djing thats to roc a party and make people dance to music.

don't get me wrong i like all that scratching, but i seen it all to many times these guy's that have come up in the last ten years and they just mix two records together. they can beat juggle but that's it. people can't dance to that.

learn to mixtwo records and add scratches into your mix maybe juggle an intro theres to many overnight dj's
just my two cents
DJe.D.e

yeah i hear that. there like kids that own like 20 battle records and thats it. but whatever its there lil thing. I think if u gonna be a real dj, u need know how to program a night, u need to have the music and be ready to play anything, and u gotta have mixing skills. the scrtaching shit is a perk and it makes people take notice to ur sets, but to sit there and geek out for 6 mins doin crazy sets that shit gets old REAL fast.

binger0 wrote:see i wouldnt have known bout flaring or crabs without someone tellin me what it was. Saved alot of guess work and just let me get down to cutting. And thats bullshi* babu knows all that ****. He battles and **** and the judges judge u on turntablism and techniqe. Im not a scratch nerd but i know the names of most of the cuts and how to do them. Its like learning chords or scales. the transcription is cool to cats to see how to do the cut with the fader. Theres more and more battles and turntablisit out there with cats doin crazy ****. of course there is gonna be a reference.

I didn't say babs knows all, I just like the way he put it. I know the names of most of that ish I just think it gets a little tired. If transcription helps some people good for them, I personally think its a waste of time.

also I def. co-sign dj ede statement about cats scratching for 5 hours st8 or juggling ish for way to fukin long, don't get me wrong i love to cut but it has its place and you gotta keep the mix going too.

skratching is like any other music. it takes years to get the basic techniques down (depending on how much you practise of course) but same mentality applies, you got to have funk/soul. you can have super clean skratches but no soul. you can have soul on just baby skratches.


anyone can say, yeah i got shit down, but if you don't have soul, you're styles are wack basically. i personally wouldn't want to get any of that shit on my tracks...


babu is a good example of techniques AND soul. he's not really a skratch musician, but a more battle dj. there are pure skratch artists (d-styles) that push the boundaries of skratching. babu and all those cats don't really do it in the same way as some other skratch dj's do. there are a lot of different kind of skratchers, even though they all might be categorized the same way...