Dj's United > Scratch Guide

Dj's United > STARTING OUT > Getting Started

mobile_dj_crooks

Aug 27 2003, 03:22 AM

READ THIS FIRST!
First, make sure you have a good pair of needles that won't destroy your vinyl or won't damn the stylus. Recommendations are Stantons!
Second, make sure you have a good pair of slipmats, that slip well, but not too much...you don't want it to scratch on its own

Third, get ready to buy lots more vinyl! Your first practicing is going to ruin a few records, so make sure you have mulitple copies....
Forth, a few notes....if you don't understand any of this, post in "Scratch Guide Help/Advice" topic instead of this one, because i will be adding my notes and the rest of the scratch guide here....also, any errors, should be PM'ed to me or emailed! and i'll fix it ASAP! other then that, have fun reading and trying these techniques!

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Baby >>>

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.

Drag >>>

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.

Scribble >>>

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.

Uzi + Uzi Tips>>>

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.

Record Uzi Forwards/Backwards >>>
Record Uzi Baby >>>
Record Uzi Graze >>>

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 it’s 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 >>>

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.

This is used from website THE EVER :: evolving skratch tutorial :: courtesy Aliosity - with permission from Nick and Aliosity

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All info excluding the noted contributors, done by
Aliodity © ASISPHONICS/NET

i'm gonna add more, so plz do not post in this, but post in "Scratch Guide Help/Advice" topic plz. Thank You!

mobile_dj_crooks

Aug 27 2003, 07:18 PM

Hi! Here's a new edition!

Note basics - Each music bar consists of 4 beats. Techno uses 8-32 beats, and hip-hop uses 4-8 beats. Hence, if your scratching for techno, you'll have plenty of time to make up patterns to fit within the loop. But if your using hip-hop music, you better time it right....so first pratice with a song that is slow or slowed down.

mobile_dj_crooks

Aug 28 2003, 05:02 AM

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Reverses
Technically since the record only has 2 choices to move (for the most part), forward and back, theoretically the forward and reverse motions wouldn’t 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.

1 hand phasing (pats) clickless clicks >>>
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.

Bubble Sxratch >>>
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

Grinding >>>

(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 >>>

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

QUOTE

All info excluding the noted contributors, done by
Aliodity © ASISPHONICS/NET

mobile_dj_crooks

Sep 14 2003, 01:08 AM

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Tears >>>

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:

ahh--hhh-- A

2 forward 2 reverse tear might read like this:

hh--hhh--hhh—hha

This audio example is of double tear (2 forward 2 back).

Snake >>>

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 >>>

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.

Lazer >>>

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

Hydroplane >>>

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.

Rubs >>>

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.

Trubs >>>

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.

QUOTE

All info excluding the noted contributors, done by
Aliodity © ASISPHONICS/NET

sorry for the late section, busy with a lot of things now

mobile_dj_crooks

Sep 21 2003, 10:08 PM

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Woodpecker >>> 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.
Head Tones >>> 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 f### up your headphone amp if you do it too long...be careful]

Forwards/Backwards >>>

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/Reverse chops >>>

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 >>>

Stabs are like chops except they are done faster, giving the sound a different property, a different label and technique.

Fastforwards >>>

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 it’s impossible, but it’s not. It's just very difficult.

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YourBigEvent

Sep 22 2003, 02:03 PM

Great post if you are interested Crooksey, well done mate but shouldn't you be studying ?

mobile_dj_crooks

Oct 5 2003, 04:37 AM

Like i promised, here's the next batch on saturday

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Transformer >>>

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.

Chirps >>>

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.

Fader Uzi >>>

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 uzi’s will become obsolete. I think the hand is capable of transforming just as quick without a muscle spasm.

Tweaks >>>
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.

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.

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