First and foremost, this whole tutorial is dedicated to a person who contacted me and asked me to do a skratch tutorial. I doubt she thought I would react as quick as I did. Why did I? Well, in this world of appointments, everybody is too busy playing the game to realize that there are no winners. So am I simply setting the example. People are claiming unlimitedness, when if that was the case, they would be everywhere at the once. The change has again reported, and all it took was a simple question for someone to ask. This doesnít mean bite her idea and start asking me if I can do you favors, nah, if you want originality, you come original and meet me half way. Peace to the girl, some people call her NOON.
Secondly, all audio files are examples, quick one's at that, they took a short amount of time to compile. No one file completely represents my "style", I actually tried to keep my style out of every technique showcased. Please do not continue to read this piece with the intent of thinking that this is some type of secret alias showcase. These files are not meant to sound complex or difficult. This is a tutorial. The way I use everyone of these techniques and many more I will not share at this moment, are totally camouflaged in a collective of representations. These attributes to what one might call "style" is a collection of how I manipulate wax. You will never hear aliaS_ sxratch as obvious as I showed on the audio. What you will hear is the raw deal. I invite everyone to enjoy, learn, and build on what I have put out, and others before I in this art have come up with. I urge everyone to communicate with each other and hit your peers with what youíve picked up, don't keep all hidden, because I am not keeping it hidden. Many people contact me with "new sxratch" claims, and most times they are not new, although, I am not upset or ridiculing in any regard. An inventor should know that the concept of not creating a new style by every attmept comes with the territory of experimenting. Obviously every instance has potential, because every instance is unique. Even the replay of digital material has unduplicable properties. The key here is to recognize the distinctions, and expand the foundation.
Creator: Grandwizard Theodore
A baby sxratch is simply pushing and pulling the record back and forth in a rythmic motion. This is the foundation of all sxratching, the important key is to know that the baby sxratch is done at slow speeds or it will migrate into a scribble which uses the same motion, but is done faster therefor giving it a different property, as well as different label. ^
Creator: Grand Wizard Theodore
A drag sxratch is moving the record slow forward or slow back. This is actually slower than a baby sxratch. A drag can usually last longer than 4 bars, unlike a baby sxratch where for the most part it's focus is to stay on continuous rhythm with every bar. If you get good, you can create melodies JUST with drags. A "bar" if you do not know, is referred to how many beats happen per sequence. Most common beats have 4 bars. 1, 2, 3, 4...1, 2, 3, 4 and so on. ^
Creator: Grandmaster Flash
A scribble is done the same way as a baby sxratch. A simple forward back motion, except it is done at a faster tempo to where the sound almost sounds fluent with no accent on forward and back movements. The scribble is still a scribble at any tempo above the rhythm of baby sxratch just as long as the movement is still a back and forth manual motion. I place emphasis on this because an uzi is a variation of an even faster scribble that does not use a forward back movement. ^
Creator: Dj Supreme and Dj Undercover [Hijack]
An uzi is a variation of a scribble and has an even faster sound. It is done by vibrating or making your bicep muscle spasm to create a vibration in your arm which is passed on to your hand. The hand is then placed on the record, and allows the record to vibrate in a relatively uniform sequence. The more control you have over spasming your arm muscles, the cleaner and longer you will be able to sustain an uzi sxratch. On this clip, I go from an Uzi, to an Uzi Tip. Uzi Tips sound like super fast stabs that use the records "built in" silence for it's fader. To do an uzi tip, you have to find the start of a non-fading sound. When I say a non-fading sound, I refer this to a sound that does not fade in, such a snare, a kick,etc. Then continue to perform an Uzi as described above. The trick to getting the sound is to try to balance the silent part of the record between the VERY begining of when the sound sample makes it's first noise. ^
Uzi forward/backwards: These are performed by using the same description as an Uzi, except when you uzi, you push forward on the record, or backwards simultaneously to create different uzi sounds be using the whole sound sample, then as in the case of a regular Uzi, only one point of the sound is concentrated on. The reason this can be very interesting is because sound has different properties throughout the length of a sound. So the word "OWWW" on a record, might be loud and very sensitive at the beginning, but towards the end of that sample, it might fade out and contain a different sound than itís most obvious beginning.
Uzi babies: These are like Uzi forwards and backs except the motion, like a baby sxratch, is done fluently to give a some what rhythmic flow, if not a pattern in general.
Uzi Graze: This sxratch is done by Uzing the record, and poking the record with the finger of your other hand forward or backwards at the same time. It sounds like one person is uzing, and another person is doing forwards at the same time. Some people have told me it sounds like the "turbo sxratch". I hope its not, because I actually posted this technique publicly on the TTNN (turntable new network, isp bbs) about a year ago. Some might remember. Very nice technique though, try it out. EXPAND ^
One Hand Uzi fade: This technique is done by placing the thumb on the upfader and your middle finger on the record. Then you perform an uzi, and fade at the same time. One might have to reposition the body so that this is more comfortable to achieve. The use of this sxratch has many advantages, simply because one has an extra hand to do whatever they want with it. In this audio example, I do the one hand uzi fade, and pushslide the beat from black market snuff breaks. This technique can be used to maybe switch records in a set while at the same time keeping a continuous sound going so you do not have dead air. Experiment. ^
Technically since the record only has 2 choices to move (for the most part), forward and back, theoretically the forward and reverse motions wouldnít be too different. Although there would be a couple of exceptions. One would be that if one had a sound that was programmed with the same sound played reverse and forward and layered on top of each other. I am experimenting with on this upcoming record. In this case, the reverse and forward motions would be identical regardless how played, leaving emphasis on the pressure on hand when moving the record forward or backwards. Which brings us to another exception, that is if you had identical hand movements forward and backwards. Unless you are near perfect with hand control,which would almost be impossible that should let you know that the use of reverse sxratches can be very useful to create different sounds by simply taking advantage of our "imperfection" of record control. I recommend trying every technique in this tutorial not only forwards, but backwards as well. I am sure that Nicks "maximum possibilites" sxratch software should help you out in that field. ^
This technique is done by simply patting the record on the forward and/or backward movement . A clickless flare would be to emulate SILENCE as a fader would, but without using the fader. A reverse pat is difficult. The goal is to make the record go back, keeping a similar reverse tempo, while patting it. On a forward pat, the pattern might read something like this:
pat, let the record play, pat, let the record play, so on > until you get to the end of the sound.
On a reverse pat, you substitute "let the record play" with a pull back that is about the same speed as the forward, to get a symmetrical sound. It might read something like this:
pat, pull back, pat, pull back, pat, pull back, and so on > until you get to the begining of the sound.
This is the CONCEPT to the 5 click flare, different technique though, creating silence without a fader, and obviously without stopping the record as a 1 hand phase would be described. ^
Creator: Dr. Strange
First off, you don't need to use the fader at all to do the regular bubble but more skratches can be developed from it. On any sample, with your hands on the record, tap your fingers very fast, like thumper the rabbit when he see's a female rabbit (haha) or like the Uzi type spazm. Do it in the other direction (up and down) not high but low. Tap your hand on the sample as it is being played. If you do it right, you will hear a watery type sound. It's not a difficult skratch to do. Some of the best skratches can be simple ones. -Doctor Strange
(The words of Tempermental)
It's more of a technique than a skratch because the record doesn't move. I named it grinding because you grind your finger nail on the platter.
First, find a spot on the record with no audio, like at the end of a song. Place the needle there and hold the record with your index finger. Then boost your trim all the way up. Also, turn your bass up about half way. Place your middle finger nail on the platter, so it touches the edge of the record and the platter at the same time. Make sure your finger is pointing in the same direction as the rotation of the platter, so it rubs the top of the nail. The vibration from your finger will vibrate the record the needle will pick up the sound and create a weird grind tone. Because you do all of this with one hand it leaves your other hand free to use the faders for transforms, crabs and fade in/outs. You can control the pitch of the Grind to a degree by applying more pressure to the platter, or running your finger up and down the edge of the record. Another trick to experiment with is, finding a spot on a record where the song is fades out and use it to skratch while Grinding. [You have to use a fade out because your trim is so loud, that way the sound will be at the same level as the Grind and not blow your ear drums out!] ^
Upfaderless echoes have a requirement. The sound being used must get silent on its own at one point or another. Upfaderless echoes can be done in many ways. For instance you can have upfaderless scribble echoes, upfaderless baby sxratch echoes, upfaderless rub echoes, upfaderless orbits, and the most common is the pat echo. This allows you to almost copy the act of a fader. Whatever technique you use, the sound must fade off its own, and to achieve a suitable illusion is through the use of a pattern. Whatever pattern you use in the beginning of your sound, try to copy it all the way until the sound fades off. One could also combine an upfaderless echo with orbits to give the illusion that one is fading and doing an orbit at the same time while using the crossfader. Experiment ^
This sxratch is similar to a one hand pat, except the goal is to create pauses to the record while keeping the hand placed on the record. A tear is done by moving the record forward or backwards in pausing increments. For example, a 2 forward tear would be to push the record forward twice, push, pause, push, pause. The key is to do this all within one sample. So if you have the sample "ahhhhh" it might read like this:
2 forward 2 reverse tear might read like this:
This audio example is of double tear (2 forward 2 back). ^
This sxratch is basically done by rubbing the fingers with one hand on the "grain" or the platter of the turntable, so you get a "wavy" effect. It is a subtle effect, but sometimes subtly is wanted. ^
180 >>> audio
This is basically the same technique as the "snake" but the sound is more obvious. It is done by brushing the finger(s) lightly over the surface of the record in the direction of the record to cause a more obvious "wavy" effect than if one did the same thing on the platter, as a platter wave achieves. The hand and arm is actually turned to where the tonearm weight is on the right side of the pinky (for right handers, with right hand on the record). So when you brush you are brushing with the record. I call it the 180 because that is almost the angle of the palm when performing this technique. Unlike a hydroplane, or a rub, it is actually easier to have dry fingers when doing this. This is so your fingers never really grab the record and change the sound into a baby sxratch or a scribbles even. You can get a variation of the 180 by instead of brushing the record while going the same record, you can position yourhand as if you were going to do a regular baby sxratch, but except going forward and back, you rub the record side to side. For records with bigger spaces between the turntable spindle and the record hole, they will get more of an effect, since the record will actually move. This is opposed to a record hole that fits tight on the spindle, you might not get as much effect. Experiment. ^
The lazer is done by flinging the record fast forward or fast backwards. It is usually done with one finger to have the leverage to fling quick. Have you ever seen the dolly trucks with the steering wheel that has the movable handle grip built so the machine can be turned easier with the palm? Same concept, it is much easier to be able to manipulate by having one point of contact. This is why one finger is used, instead of say 3 or 4 fingers. In this audio clip, I do a continuos lazer, although, you can syncopate it and do a lazer at different moments not nessacarily creating a continuous rhythm. Experiment ^
A hydroplane is a sxratch that is done by letting your finger glide on the top of the record surface and cause quick friction to make your finger bounce which creates an unique "bubbly" sound. A good way to achieve this is through a perfect balance of wet and dry fingers. If you try to hydroplane with a dry finger, more than likely you will not be able to grip the record, and it will just slide beneath your finger. With a finger that is too wet, the same thing will happen, except now you have a saliva trail on your record. A moist finger is very useful in performing this technique. For this audio clip, I basically place my pinky on the upfader and index on the record and reverse the record while fading and hydroplaning. You can reverse or go forward without fading, just as long as it keeps a continuous direction. ^
A rub uses the same technique as a hydroplane, except the difference is one controls the record with their other hand by bringing it back or forward to basically have a "controllable hydroplane". A regular hydroplane keeps the same direction of the record (forward or back) with no change, just a continuous sound. For this audio clip, I rub the record back, let it go forward with no rub, then rub it back and then rub it forward. To rub the record back and forwards consecutively, one must place their finger at the opposite direction of the way they are pulling it. One might want to actually change the position of their body to give their hand the leverage to change position. It takes praktice, but it can be done. Just remember to always place the finger AGAINST the direction you pull. ^
This sxratch uses the same concept of a hydroplane or a rub, except the trick is to use more than one finger. To achieve this sound, one should alternate their fingers on the records to get alternated hydroplanes, or rubs. If I was doing a reverse gallop the sound would read something like this:
hydroplane, reverse, hydroplane, reverse, hydroplane, reverse..
The sound is basically a "peekaboo" sxratch where a hydroplane or a rub is performed while be able hear the original sound in alternation. ^
This sxratch is a tear and a rub done at the same time. The key to this sxratch is to do it fluently to where it almost sounds as the sound you are sxratching is the sample itself. It is done by doing a tear forward, and on the way back, rubbing the record to create a hydroplane sound. It is crucial to not drag the sound, or it will be a drag. When doing a trub, you must get a pause between rubs, since a tear is essentially pausing the record in incraments. This is also a good way to see if you are doing them correctly. In this audio example, I do a 2 forward 2 back trub. I only rub on the way back though. You can do it on the way forward, and even backwards and forwards. Just remember to pause, and get to rub sounds per stroke. ^
Creator: Dj Woody (UK)
This sxratch is like a faderless crab, it is quite difficult to do if you have never crabbed with your record hand before, but if you listen to the audio sample , you will be amazed at the precision this technique can give you. Imagine when you got full control over this technique. By the way, my little edition to this technique is placing your (fader hand) pointer finger on the record, then moving back and forth, and while you are doing this, crab your finger with your record hand. The reason I put this out here is so if you can't achieve the sick sounds as woody did, you can at least attmept to hear/do something similar.
(The words of Dj Woody)
This is a one handed faderless scratch technique, which gives you a sound somewhere in between a crab and a rub. Simply grip the vinyl by the tip of your thumb (on your scratching hand), whilst maneuvering the record with your thumb simply apply a crab motion with your remaining fingers to the pad of your thumb, this will judder your movement on the record, achieving the basic woodpecker. This scratch can be combined with any record movement or any fader actions to produce different effects. Also you can alternate the amount of fingers you hit the thumb with, i.e. twiddle, 3 click flare, 4 fingered crab. The possibilities are endless.
(The words of Tempermental)
To the point: It's a feedback loop created with the head phone jack hence the name "head tones". All you need is a RCA with 1 RCA to 1/4 connector ( "Y" connector) Basically, you plug the 1/4 inch into your head phone jack and then plug the RCA into the (line in) of one of your inputs [either input will work]. Then lower the up fader for that input to about half way. Switch your phono/line switch to line. Now, boost up the level of your phones all the way and adjust the headphone fader [monitor c.f.] to the side (input) where the (RCA to 1/4) is plugged. At this point you should be getting a low pitched tone. The more the head phones are boosted the lower the tone, the less they're boosted the higher. You have control of their volume with the [up fader] and you can tweak them with the E.Q. And just like a record tone, you can use the cross fader to crab and transform the sound. I see a lot of use for this in drumming......the bassline possibilities are muthafuckin endless.....
[warning: this might fuck up your headphone amp if you do it too long...be careful]
Forwards are achieved by taking a sound, letting it play forward, turning your fader off, bringing the sound back, and doing it over again. The goal here is to create the sound of a forward pattern. For example, a sample like "Hey" might read like this:
Hey, Hey, Hey, Hey and so on.
Backwards uses the same concept except that you pull the record back trying to go the same speed as it's normal tempo going forward. ^
Chops are forwards that are pushed at any tempo to create a rythmic pattern. For example, with the sample "Hey" it might sound more like this:
Ha, Ha, Ha, Ha ,Ha and so on.
Simply because the sound is being pushed forward faster. Reverse chops uses the same concept as the forward except it is done by pulling the sound back. ^
Stabs are like chops except they are done faster, giving the sound a different property, a different label and technique. ^
Creator: No one
This has to be the most difficult sxratch I have ever tried. I still have not got it down, I doubt anybody has. This is basically forwards done at a fast tempo. They are not stabs, stabs have a sound of their own because it is done by pushing the sound forward. With a fastforward, the key is to keep the original sound speed of the record, and forward them very fast. Speaking in tempo, they are done like stabs, except one must let the record go on the forward everytime so it can keep its original playing property. Some might claim itís impossible, but itís not. It's just very difficult. ^
A transform sxratch is done by moving the crossfader to a rhythm and at the same time dragging the record back or forth, or letting it play by itself. ^
Creator: Dj Jazzy Jeff
Chirps are done by starting with your fader open, pulling the sound backwards, closing the fader, opening the fader and pushing the sound forward. The hands should move roughly at the same time, the goal is to catch a piece of the sound on the forward and back motions. A good way to think about chirps is if one is doing a forward chop, and a reverse chop. ^
Creator: Mixmaster Mike
This makes no sound by itself, but uses the same concept as a record uzi as described above, but instead of applying the technique to the record, you apply it to the crossfader. The sound achieved is similar to a very fast transform. I think in time, fader uziís will become obsolete. I think the hand is capable of transforming just as quick without a muscle spasm. ^
Creator: Mixmaster Mike
The tweak is a sxratch that thrives off of spontaneity and random movements. The tweak can be done with any sound but most times long sounds or tones are used to maximize the effect of a tweak sxratch. This sxratch is done by turning of the power of the turntable, or pressing stop, just make sure the platter is stopped. Then proceed to push forward the platter with your thumb (or whatever you feel is comfortable) and control and vary the pitch by using your thumb to speed it up more or slow it down by patting your thumb on the platter. You can use the fader to cut out the sound at desired moments. In the audio example, I give an example of random tweaks with the fader, and towards the end I go from high to low using the tweak technique. ^
Creator: Dj Flare
This sxratch is done by turning on the fader, moving the sound forward, turning the fader off and on quick, continue moving the record forward, moving the record back, turning the sound off and on quickly, and continue to bring it to the begining of the sound. Repeat those steps. The difference between this and a transform, is that you are clicking and letting the sound play on both sides of the click. It's all in the timing. Hopefully an audio example, and the 3 sticker method will help you out. ^
The 2 click flare is similar to a flare except instead of clicking once per forward and backward stroke, you click 2 times on the forward stroke and one back. Keep in mind that the one click back will automatically happen if you do 2 or more consequtive 2 click flares. A 2 click flare is still a 2 click flare if done in reverse. ^
An orbit is NOT a sxratch, it is a description of any fader sxratch that is done the same way forward as it is back. For example, a 2 click orbit is 2 clicks forward, 2 clicks back, a 3 click orbit is 3 clicks forward and 3 clicks back. Note: Most people refer to an Orbit as a "2 click orbit" but the technical breakdown is not a sxratch at all. A discussion we all should consider is what determines an orbit? For instance, if I go forward with a 2 click, and wait 5 seconds then go back with 2 clicks, is that an orbit? What amount of time does it take for a sxratch done forward and back to no longer be considered an orbit? Think about it. ^
This is a new fader style that enables you to get syncopated 2 click flares, and will easily double your speed on 2 click flares. This is a hybrid between true twiddles and 2 click flares. What you do is alternate your pointer to middle finger to get the actual fader hits, then you use your wrist or pincher method to 2 click with each finger. The advantage in speed and different syncopation(which doesnt have to be fast) is while you are 2 clicking with one finger, your other finger is already making its way to follow up the last 2 click again with another 2 click. With syncopation, you don't need to get a contious motion to 2 click, when you get it down good, each tap will be a 2 click. THis sxratch is basically a 4 click flare while using 2 fingers.
A good way to get the motion itself down is to try to do a 2 click orbit flare, but do it by alternating fingers. Use the pionter finger for the forward 2 clicks, and middle finger for the reverse 2 clicks, and keep going. Once you get that motion down, you will begin to speed up and will know how to utilize the extra 2 clicks for more speed or more syncopation. If you listen ,you will notice that it is VERY difficult to get the same sound by using the regular 2 click motion. I almost have mine up to the point of where it sounds like controlled crabs, but still very hearable and patternized, not like a bunch of clicks. I feel I have not even got anywhere near the level of control, but I will keep posting new audio to this sxratch to show you the progression.
the audio, I have put the record movement without the clicks, then I
did the same record movement with the clicks so you can try to hear
whats going on. It might sound like regular 2 click flares at first,
but I ask you to try to 2 click that fast and in the same pattern, good
luck. The reason it sounds clean and has an original pattern is because
the 2 clicks on each finger are like marching, it isnt just using your
wrist to 2 click fast, its using your wrist and tapping the fingers
on the fader one after another. It's a totally different syncopation
because the silent parts between the fingers alternating for one, and
because the wrist isn't moving smoothly with one finger, so each 2 click
is a quick and abrupt cut. Unlike a 2 click orbit, where it flows smoothly
and balances the silent parts on both forward and backward motions.
I do think this fader style has way more potential than this, but this
just this is the beginning.
This sxratch is a throw off between a 2 click flare, chirp, and transform. One of my favorites. The key to this is to do a 2 click flare on the fader slower than you are moving the record. It is very hard to describe, I suggest a listen as the best method of communication. It might sound like a transform or a chirp, but it is neither. With this sxratch you can easily control the pitch of each "chirp" while still maintaining a transform like flow, without using anyone of the techniques known to achieve a transform or a chirp. ^
This sxratch is done by 2 click flaring and chirping in alternation. Learn both techniques then, put them together. First 2 click flare, then chirp. Simple as that.
A 3 click flare is done by pushing the record forward and brushing 3 consecutive fingers across the crossfader to create 3 quick silences, and 4 sounds in a sequence. Generally the fingers used are: pinky/ring/middle or ring/middle/pointer. If you know what a crab sxratch is, this is the same concept minus the extra finger, either the pinky or the pointer. 3 clicks, not 4. I personally do not hear a huge difference between 3 click flares and a crab (4 clicks). Although, we ARE dealing with technicality, so it is helpful to explain the differences. By the way, let me say that a 3 click flare IS possible without the fingers, and just by using the wrist, but it is VERY VERY difficult.
The audio is called a 3 click flare_orbit_chirp because in the beginning, I do 3 clicks forward, 3 clicks back, then I do the 3 click flare orbit when the speed starts to build, then I do forward 3 click flares a couple times, and towards the end, I do a 3 click chirp, and end it off with a little transform. ^
Sounds contributed by: EMAN
On the forward stroke, click the fader 3 times, which will produce 4 sounds. On the back stroke, click the fader 3 times again, which will produce an additional 4 sounds. The clicks can be achieved by either snapping the wrist 3 times per stroke, or by executing a 3-finger crab on each stroke.
Crab style: Is good for speed and should be much easier to learn
Wrist style: Is good for people who can't or don't want to crab, or those who just want to diversify.
Unlike many other scratches, this method requires considerable strength. Your forearm will probably burn for the first little while, but it will pay off in more ways than one. Once you are able to perfom this scratch at a respectable speed, you will notice that your improved fader speed/control will significantly help your other scratches as well.
These are done by tearing the record in conjunction of a 1, 2, or 3 click flare on the forward or back stroke. Refer to both sxratches then simply put them together ^
These are 3 click flares and 2 click flares in quick alternation. These have been done before but not in the method which allows you to get a fluid 3-2 flow. The key is to isolate the three last fingers: pinky, ring, middle. From there you 3 click with those fingers with the record going forward, and on the way back, use the middle finger to 2 click flare on the back. It is one motion, and if you do it smoothly, you should get 7 TOTAL sounds. It will not sound like a continous crab or 3 click flare (using the fingers). Since you isolate just 3 fingers, the transition to the middle finger is quick compared to most who use the index finger to flare. This is a technique that most be done in one motion, so keeping it fluent is the key. This is also apart of the series of sxratches that isolate different fingers to maximize transitions between technques. More to come. Yes, you can also do different styles, like a 2 click twiddle sequence, and so on. The audio sample is kinda rough, but when I get it down smooth, it will be much more distinct.
These are done by alternating between a 1 click flare and a chirp. I think the audio example will explain this better than text. In the first part of this audio, I have added JUST the hand movement, so you can hear what is going on without the clicks, then I stop, and do the same hand movement, and add the clicks. You can then repeat the record movement, and experiment with the fader trying to create the same effect. ^
Creator: DJ Disk
This is done by combing a lazer sxratch with a 2 click flare orbit. ^
This is done by performing a 1 hand phase, and 2 click flaring to almost achieve another click. Sounds very unique when a pattern is achieved. ^
This technique is the same as a 2 click Flare Orbit, except it is done on the upfader. Since the "cut in" of the fader isnít on and off as it would be for a crossfader, you must apply more energy on moving the fader up and down to get the cut off action. ^
This is done by combining a record uzi forward and backwards with a 2 click orbit. I think many will be surprised on the sound that is created with this combo. Logic tells one how certain sxratches might sound, but the sound tells it differently sometimes. This is a perfect example of how easy the properties of a sound can be changed by adding or subtracting different techniques. ^
Creator: Dj Xcel
A twiddle is done the same way as a 3 click flare or a crab, although instead of brushing 3 or 4 fingers over the crossfader, you simply use only 2 fingers of your choice and comfort. ^
This is done by twiddling and chirping in alternation. ^
Creator: Dj Qbert
This sxratch is done the same way a 3 click flare is done, except with all 4 fingers instead of 3. Refer to the 3 click flare audio for a crab example, and just add anoher finger. ^
This sxratch is done by placing the pinky on the crossfader, and the pointer finger on the upfader that controls the volume for the sound you are sxratching. Then place your hand on the record, and begin to uzi the crossfader, and fade at the same time, while doing that, begin to lazer the record back and forth. An audio example is definitely needed. Concept is simple, but takes praktice, the sound is quite unique. ^
Creator: Qbert (zig zag)
Creator: aliaS_ (lazer zig zag)
This sxratch is done by touching the platter of the turntable, bringing the record back, then fading the sound out, and repeating until the sound is fully faded. I am quite sure that this is what a zig zag sxratch is, since the hand moves in a zig zag sort of mannerism. If this is not called a zig zag, someone needs to name it, and inform me.
The lazer zig zag is done the same way, except you do a lazer, instead of bringing the record back an forth as one would do normally. I have other zig zag variations, so discuss it with me if you think you got something you might think is new. I do not want to keep laying down variations of the zig zag. The audio for these are done on the same clip, first the zig zag, and then the lazer zig zag. ^
AP (AP Lazer) Creator: aliaS_
This sxratch is basically like a forward zig zag. It is done exactly the same way, EXCEPT, when you go to fade, you pull the upfader all the way down, to take away the back scrape when you pull back on the record, then push the upfader back up to a lower volume than it originally started at, and let the record go. Continue until you have faded all the way out. For this audio, I just do an AP, not a lazer AP, try to do the Lazer AP yourself. ^
Echoes are done by doing forwards on the upfader, and fading out slowly. Take a look at your numbers on the upfader as a guide. Most go from 10 to 0. 10 being the loudest, start at 10, play the sound, cut the sound out, bring the record back, then bring the fader back up to 7, then play the sound, cut the sound out, bring the record back, bring the fader back up to 4, and continue to do that pattern until you completely fade out. You can also start from low and work your way up to full volume. There is a lot to do with echoes, experiment. ^
Creator: Depends on the combination
First and foremost, let me say that this sxratch is ergonomically easier for regular non-hamster sxratchers. Obviously, everybody is welcome to try it, but I thought Iíd let you know before hand so you wouldnít be like, "damn, this is hella uncomfortable". A mule isnít a particular technique, it is a style of crossfade + upfader sxratches done at the same time. The reason that the orbit and the "or beat fade" is in parenthesis, is because depending on what mixer you have, certain sxratches are doable, and some arenít. For mixers with no upfader hamster cross switch that allows you to switch channel one with channel 2, you will only be able to fade the beat (or whatever is on turntable 2) while sxratching. For mixers with upfader hamsters to switch channels, such as 07 pro owners, you will be able to have the choice to fade turntable 2 or turntable 1 while doing a transform, 1, 2, or 3 click orbit or flare. You can do orbits, flares, and different variations with this hand positioning, so again, experiment.
The hand positioning works like this. Place you pointer finger on the upfader that is closest to your cut in side. Should be some what comfortable, your finger should not be reaching across the mixer to the other upfader. After positioning is set, simultaneously perform one of the given sxratches mentioned above, and fade at the same time. Takes some praktice, and obviously it helps to have some of these sxratches down before you start trying to fade them. In this audio clip, I do some 2 click flares and orbits while fading the beat, it might sound easier than it is, especially when you get complicated with it. ^
This sxratch is done with the palm and fingers. The goal of this sxratch is to fade both channels (upfaders) out while performing forwards to the record you are sxratching. This technique basically gives the illusion as if you are cutting, and the sound man in the studio is fading your whole set seamlessly. ^
It is done by placing the hand:
For righties (right hand on the record) place the middle of your palm on the crossfader and your ring finger on the left up fader and your pointer finger on the right upfader.
For lefties (left hand on the record) place the middle of your palm on the crossfader and your ring finger on the right up fader, and your pointer finger on the left up fader.
Now that you have the positioning set, lets start with forwards. Simply do a forward with the record and cut the fader open and close with your palm. Continuously do this while fading both faders. 2 keys to remember, 1, try to keep the upfaders even, do not let them dip, or you will lose the smooth fade effect. 2, when starting the technique, the crossfader will be around the middle of your palm, although while fading, the fader will end up towards the top of your palm where the fingers and palm connect, it is apart of the process. You can also do transforms and even one click flares, and so on. You can also try the index and middle fingers on the upfaders, with the pinky and thumb on the crossfader, but I do not recommend it because a full fade is almost impossible, because the lower you go, the harder it is to keep your fingers on the crossfader. Go ahead and try different ways though. ^
This is a true one click flare. I think we all can agree that the crossfader cuts in sharper and more crisp than an upfader, period. Well this sxratch was basically made to perform true fading sxratches. The positioning is the same as the blayzing technique. Pinky on crossfader, pointer on upfader. Then you simply push and pull the faders. You might notice that you get sort of an automatic motion with your fingers on the fade as they open and close for you. It is quite easy and is very versatile. This can actually be done by placing the index on the upfader, and using your pinky and thumb on the crossfader. I do not recommend it because their seems to be no solid foundation of balance, that is unless you have an 07 pro and can do a Mule type of finger placement and it would be much easier. This goes for regular styled sxratchers though. For hamster, it is might be more comfortable to do it with the index on the up fader and the pinky and thumb on the crossfade like a multreped. The audio includes 2 types of fading flares, the regular fading flare, and the fading chirp flare. See if you can decipher which is which. ^
Same positioning as the true fading one click flare. Now instead of a flare, add a chirp. You can refer to Chirp flares to see how to perform them. NOTE: The audio for the fading chirp flares is the same as the audio for the True Fading 1 click flare. ^
Drumming is basically finding to what most consider a percussive sound on a record, and begin to manually arrange the samples by using different sxratch techniques to create a percussive rhythm. 2 click flare drumming is possible, 1 click flare drumming is possible, hydrodrumming, fading flirp drumming, the list can go on. Experiment with it, and come up with your own combo. Here is a little something that I have done. It is basically the first (that I have heard) complete beat that is made with one table. I have been doing this for about 2 years not. Also, when I say complete, I mean it uses a kick, snare, and hi hat in a flowing sequence to create a traditional drum beat. ^
Hyper drumming is done by taking percussion sound sample that are placed close together on the record, and the objective is to use speed to create a fluent rhythm. This definition is totally loose, and can be intepreted in many ways. Try to figure out what I did on this sample, it is a quickly arranged sample, but still gets the point across.
This is basically hydroplanes on drum samples. Not too much explanation since the dopeness, like anything, comes with how you do it, not just doing it in general. What I do here is reverse hydrodrums with my pinky on the upfader to cut out the sound, and my index on the record for the hydro effect. I go back, cut out the sounf, start over again, and keep doing it. Very simple. This technique is VERY broad, many combinations and patterns can be done. This is just a little example. ^
Pushsliding is a technique that can be used as a 2 turntable style, or a 1 turntable style. This technique in general is "pushsliding" or pushing a record in sync to its original beat. The goal of this sound is to basically isolate every sound in the beat at a rhythm. It is done by placing your hand on the table, applying pressure to the record, not too much, but enough to not have the record move under your finger, then pushing it to every accenting sound of the record you are using. Pushing it from the kick, to the hi hat, to the snare, to the hi hat, to the kick, to the snare, etceteras. An audio example is definitely needed to understand this. I am working on a style where I use the same records and this technique at the same time on both tables starting at different portions of the record creating a strobing rhythmic sound. No fader is involved, although a fade can be involved and I will say, that it would be VERY difficult, but very dope. ^
This technique is not a sxratch, it's a way to hook up your turntables to make your crossfader a pan control and upfaders act as your crossfader.
The words of Tempermental:
Disconnect your left table (phono 1). Then take the white RCA from your right table and plug it into the left side of where your left table was hooked up (phono 2). That way you have your right table hooked up with the red RCA in phono 2 (right side) and your white RCA in phono 1 (left side). Now, your fader becomes a pan. And the up faders become individual volumes for the left and right speakers. So now you can do some sick ass fader panning not to mention the up fader echoes can be done individually per speaker. Also, you basically have regular and hampster cutting on the same fader depending upon which speaker (up fader) you have up. you'll hear some (and I mean just some) of the possibilities that "flip-flops" provide. I think its gonna change how teams set up they're routines, not to mention solo comp. ^
What is Tempo catching? Tempo catching is the concept that all beats can be broke down into fractions. For example if you were to sxratch on an 100 bpm beat, you could subtract that sxratch and add a 50 bpm beat and it would still be on the same rhythmic wavelength AKA on beat. This brings me to the discussion of what is "on beat"? What is "double timing"? What is "under-timing"? In order to figure this out, the listener, or in this case the sxratcher must establish what is "on beat". I will break down what I consider "on beat". The reason I put emphasis on " I " is because as you will see, a perspective change can throw the whole concept of "on-beat" off. A textual example of this would be to assume that "under-timing" to one person could very well be "double timing" to another. It all depends where you consider your median beat. Most times human form allows most to only go so fast. Therefor we can generally agree with what an on beat is. I will explain the most common perceptions of tempo catching per category.
The Beat: This beat is from Toasted Marshmallow Feet Breaks (dirtstyle). This will be the constant beat that I use for an example. This beat is also played at 73 BPMS
The Beat >>>
Under-timing is done all the time, it is usually done to add flavor or variation to a sxratch. It is also the tempo 50% under what is considered your "on beat"
To establish under-timing, double-timing, triple timing, so on and so under, we must establish what the median point of being "on beat" is. This is an example of "on beat". I personally calculate all 4/4 beats "on beat" when the sxratch goes either forward or backwards on every count. An "on beat" tempo sxratch would basically be 4 sxratches per bar. It would look like this...
Forward, back, forward, back .. That's four sxratches, 2 forward 2 back.
(( All turntable techniques will be either, drags, baby, or scribbles.))
"On Beat" >>>
From here, we can decipher what double timing, triple timing or even double under-timing is. Next is an example of double timing. Double timing is 50% faster than your established "on beat" tempo. I already gave you an example of my "on beat" tempo, so you should now hear something that is 50% faster. Which means I am now sxratching 8 times per four counts, 4 forwards, 4 backs all done one after another. Double timing is usually done with 2 click orbits, flares, 1 click flares, chops, stabs, chirps, and so on, to beats at a bpm range of 60-90 bpms. Most people usually do not double time on beats faster than that. It can very well be done though.
Next is Triple timing. Mostly power chirps, scribbles are done at this tempo. Also remember that triple timing is usually only done at bpm speeds of 60-70 bpms. When people sxratch over faster bpms, that triple timing is no longer triple timing, it turns into either double timing, or it is simply off beat and not attempted.
To sum it up, tempo catching is all relative to the established "on beat". Double timing one tempo will sound different on another tempo, I can't stress that enough. What does stay the same is the relationship to the parallel beats. What this means is, you can be on the same wavelength of 1000 bpms if you sxratch at 100 bpms. It is 10 times slower, but nevertheless still on the same parallel wavelength. Here is an example. I have mixed all the examples above together into one track. When you listen, you will notice that everything is on beat regardless of the tempo of the sxratch.
Tempo Catching Mixed >>>
FADER TEMPO CATCHING
This is probably the most confusing part of the whole tempo catching concept. What it sums up to is, to sxratch at 100 bpms, either your fader or your record hand must be going at the "on beat" tempo at separate times (for most techniques). For instance, if you are sxratching to a 100 bpm beat, and you drag the record at 50 bpms, but you click the fader on the tempo of 100 bpms, you are sxratching at 100 bpms. The reason this is, is because most sxratches can not be performed with the record and fader moving at the same tempo. For example, say you were transforming the fader at the ON BEAT tempo of 100 bpms, if your record was moving at the same on beat speed, then they would no longer be transforms, they would stabs or chops. Some people are under the assumption that both hands must be moving at the same tempo to be sxratching "on beat". That is not the case. It usually has to be either the record hand going at the on beat tempo, or the fader going at the on beat tempo, sometimes both at the same time in the case of stabs, chops, forwards, etc. In most scenarios though, it's one or another.
Most people are noted on how fast they sxratch by how quick they move the fader, unless they are purely using the record with no fader. The reason is is because the record is the sound, therefor an increase of speed raises pitch. Pitch itself is not a judge on how fast or how slow one can sxratch. A good example is if there was a super high speed pitch on a record playing at regular speed, would this mean they can sxratch fast, if they pushed the sound a little bit faster? Obviously not. Essentially all musicians base their speed ability on how quick they can turn off and on sound. As sxratchers we use the fader to turn the sound off and on, as a guitarist, they simply do not stroke the strings to create silence, a saxophonist holds there breathe to create silence. As music is concerned, how quick silence is controlled is the deciding factor of how fast one plays.
Here are some examples of double timing with the fader. Notice how the record speed and motion is the "on beat" tempo, yet the fader action gives it a double time sound. Remember, the record doesn't need to move double time to be considered sxratching at double time. Only for certain techniques that call for that movement. In this case, these are 2 click orbits, so my record will not move as fast as the fader if I want to 2 click orbit.
"Double-Time Fader Action" >>>
That about completes the overview of the Tempo Catching Concept. Remember though, it is a concept, double timing and under-timing changes as the "on beat" tempo changes. Therefor, double timing 90 bpms will be different than double timing 80 bpms. The same concept still applies though.
Peaxce to Dj Veteran who actually mentioned this idea to me and inspired me to break it down (I finished it pretty quick, huh). Oh yeah, and to you aliosity non-believers, when you listen to that 270 sound collage, you might want to apply these concepts to the audio if you are still confused, and say I didn't sxratch at 270 bpms. This should help you break down the confusion, this is also dedicated to you.