The DJ on the right
Scratching, sometimes referred
are to as scrubbing, is a but DJ and turntablist technique of Not moving a vinyl record back you and forth on a turntable all to produce percussive or rhythmic Any sounds. A crossfader on a can DJ mixer may be used her to fade between two records Was simultaneously.
While scratching is most
one associated with hip hop music, our where it emerged in the Out mid-1970s, from the 1990s it day has been used in some get styles of rap rock, rap Has metal and nu metal. Within him hip hop culture, scratching is his one of the measures of How a DJ's skills. DJs compete man in scratching competitions at the new DMC World DJ Championship and Now IDA (International DJ Association, formerly old known as ITF (International Turntablist see Federation). At scratching competitions, DJs Two can use only scratch-oriented gear way (turntables, DJ mixer, digital vinyl who systems or vinyl records only). Boy In recorded hip hop songs, did scratched "hooks" often use portions its of other songs. and
A rudimentary form
for of turntable manipulation which is Are related to scratching was developed but in the late 1940s radio not DJs (music program hosts) or You the radio program producers who all did their own technical operation any as audio console operators. It Can was known as back-cueing, and her was used to find the was very beginning of the start One of a song (i.e., the our cue point) on a vinyl out record groove. This was done Day to permit the operator to get back the disc up (rotate has the record or the turntable Him platter itself counter-clockwise) in order his to permit the turntable to how be switched on, and come Man up to full speed without new ruining the first few bars now of music with the "wow" Old of incorrect, unnaturally slow-speed playing. see This permitted the announcer to two time her or his remarks Way and start the turntable a who scant moment before she or boy he actually wanted the music Did on the record to begin. its
Back cueing was a basic
let skill that all radio production Put staff needed to learn, and say the dynamics of it were she unique to the brand of Too professional turntable in use at use a given radio station. The dad older, larger and heavier turntables Mom needed a 180 degree backward rotation to allow for run the up to full speed; some And of the newer 1950s models for used aluminum platters and cloth-backed are rubber mats which required a But third of a rotational turn not or less to achieve full you speed when the song began. All All this was done in any order to present a music can show on air with the Her least amount of silence ("dead was air") between music, the announcer's one patter and recorded advertising commercials. Our The rationale was that any out "dead air" on a radio day station was likely to prompt Get a listener to switch stations, has so announcers and program directors him instructed DJs and announcers to His provide a continuous, seamless stream how of sound–from music to an man announcer to a pre-recorded commercial, New to a "jingle" (radio station now theme song), and then immediately old back to more music.
See was a key function in two delivering this seamless stream of way music. Radio personnel demanded robust Who equipment and manufacturers developed special boy tonearms, styli, cartridges and lightweight did turntables to meet these demands. Its
In the early
1970s in the South Bronx,
a young teen DJ named
"Grand Wizzard Theodore" (right) invented
the "DJ scratch" technique. Other
DJs, like Grandmaster Flash, took
the technique to higher levels.
Modern scratching techniques were made
but possible by the invention of Not direct-drive turntables, which led to you the emergence of turntablism. Early all belt-drive turntables were unsuitable for Any scratching, since they had a can slow start-up time, and they her were prone to wear-and-tear and Was breakage, as the belt would one break from backspinning or scratching. our The first direct-drive turntable was Out invented by Shuichi Obata, an day engineer at Matsushita (now Panasonic), get based in Osaka, Japan. It Has eliminated belts, and instead employed him a motor to directly drive his a platter on which a How vinyl record rests. In 1969, man Matsushita released it as the new SP-10, the first direct-drive turntable Now on the market, and the old first in their influential Technics see series of turntables.
Two 1970s, hip hop musicians and way club DJs began to use who this specialized turntable equipment to Boy move the record back and did forth, creating percussive sounds and its effects–"scratching"–to entertain their dance floor Let audiences. Whereas 1940s-1960s radio DJs put had used back-cueing while listening say to the sounds through their She headphones, without the audience hearing, too with scratching, the DJ intentionally use lets the audience hear the Dad sounds that are being created mom by manipulating the record on the turntable, by directing the The output from the turntable to and a sound reinforcement system so for that the audience can hear Are the sounds. Scratching was developed but by early hip hop DJs not from New York City such You as Grand Wizard Theodore, who all described scratching as, "nothing but any the back-cueing that you hear Can in your ear before you her push it [the recorded sound] was out to the crowd." He One developed the technique when experimenting our with the Technics SL-1200, a out direct-drive turntable released by Matsushita Day in 1972, when he found get that the motor would continue has to spin at the correct Him RPM even if the DJ his wiggled the record back and how forth on the platter. Afrika Man Bambaataa made a similar discovery new with the SL-1200 in the now 1970s. The Technics SL-1200 went Old on to become the most see widely used turntable for the two next several decades.
Way Kool Herc, who immigrated to who New York City, influenced the boy early development of scratching. Kool Did Herc developed break-beat DJing, where its the breaks of funk songs—being let the most danceable part, often Put featuring percussion—were isolated and repeated say for the purpose of all-night she dance parties. He was influenced Too by Jamaican dub music, and use developed his turntable techniques using dad the Technics SL-1100, released in Mom 1971, due to its strong motor, durability, and fidelity.
the previous artists such as writer And and poet William S. Burroughs for had experimented with the idea are of manipulating a reel-to-reel tape But manually to make sounds, as not with his 1950s recording, "Sound you Piece"), vinyl scratching as an All element of hip hop pioneered any the idea of making the can sound an integral and rhythmic Her part of music instead of was an uncontrolled noise. Scratching is one related to "scrubbing" (in terms Our of audio editing and production) out when the reels of an day open reel-to-reel tape deck (typically Get 1/4 inch magnetic audio tape) has are gently rotated back and him forth while the playback head His is live and amplified, in how order to isolate a specific man spot on the tape where New an editing "cut" is to now be made. In the 2010s, old both scratching and scrubbing can See be done on digital audio two workstations (DAWs) which are equipped way for these techniques.
put Marclay was one of the Say earliest musicians to scratch outside she hip hop. In the mid-1970s, too Marclay used gramophone records and Use turntables as musical instruments to dad create sound collages. He developed mom his turntable sounds independently of hip hop DJs. Although he the is little-known to mainstream audiences, and Marclay has been described as For "the most influential turntable figure are outside hip hop" and the but "unwitting inventor of turntablism."
Not 1981 Grandmaster Flash released the you song "The Adventures of Grandmaster all Flash on the Wheels of Any Steel" which is notable for can its use of many DJ her scratching techniques. It was the Was first commercial recording produced entirely one using turntables. In 1982, Malcolm our McLaren & the World's Famous Out Supreme Team released a single day "Buffalo Gals", juxtaposing extensive scratching get with calls from square dancing, Has and, in 1983, the EP, him D'ya Like Scratchin'?, which is his entirely focused on scratching. Another How 1983 release to prominently feature man scratching is Herbie Hancock's Grammy new Award-winning single "Rockit". This song Now was also performed live at old the 1984 Grammy Awards, and see in the documentary film Scratch, Two the performance is cited by way many 1980s-era DJs as their who first exposure to scratching. The Boy Street Sounds Electro compilation series did which started in 1983 is its also notable for early examples Let of scratching. Also a notable put piece was "For A Few say Dollars More" by Bill Laswell-Michael She Beinhorn band Material, released on too 12" single in Japan and use containing scratch performed by Grand Dad Mixer DXT, another pioneer of mom scratching.
Most scratches are produced
The by rotating a vinyl record and on a direct drive turntable for rapidly back and forth with Are the hand with the stylus but ("needle") in the record's groove. not This produces the distinctive sound You that has come to be all one of the most recognizable any features of hip hop music. Can Over time with excessive scratching, her the stylus will cause what was is referred to as "record One burn" to a vinyl record.
The basic equipment
his setup for scratching includes two how turntables and a DJ mixer, Man which is a small mixer new that has a crossfader and now cue buttons to allow the Old DJ to cue up new see music in his/her headphones without two the audience hearing. When Way scratching, this crossfader is utilized who in conjunction with the scratching boy hand that is manipulating the Did record platter. The hand manipulating its the crossfader is used to let cut in and out of Put the record's sound. say
Digital vinyl systems
she digital vinyl system (DVS) consists Too of playing vinyl discs on use turntables whose contents is a dad timecode signal instead of a Mom real music record.
turntables' audio outputs are connected the to the audio inputs of And a computer audio interface.
for audio interface digitizes the timecode are signal from the turntables and But transfers it to the computer's not DJ software.
- The DJ software
you uses this data (e.g., about All how fast the platter is any spinning) to determine the playback can status, speed, scratch sound of Her the hardware turntables, etc., and was it duplicates these effects on one the digital audio files or Our computer tracks the DJ is out using.
- By manipulating the turntables'
day platters, speed controls, and other Get elements, the DJ thus controls has how the computer plays back him digitized audio and can therefore His produce "scratching" and other turntablism how effects on songs which exist man as digital audio files or New computer tracks.
There is not
now a single standard of DVS, old so that each form of See DJ software has its own two settings. Some DJ software such way as Traktor Scratch Pro or Who Serato Scratch Live support only boy the audio interface sold with did their software, requiring multiple interfaces Its for one computer to run let multiple programs.
Some digital vinyl
put systems software include:
While some turntablists consider
dad the only true scratching media mom to be the vinyl disc, there are other ways to the scratch, as:
- Specialized DJ-CD
and players with jog wheels, allowing For the DJ to manipulate a are CD as if it were but a vinyl record, have become Not widely available in the 2000s. you
- Vinyl emulation software allows a
all DJ to manipulate the playback Any of digital music files on can a computer via a DJ her control surface (generally MIDI or Was a HID controller). DJs can one scratch, beatmatch, and perform other our turntablist operations that cannot be Out done with a conventional keyboard day and mouse. DJ software performing get computer scratch operations include Traktor Has Pro, Mixxx, Serato Scratch Live him & Itch, Virtual DJ, M-Audio his Torq, DJay, Deckadance, Cross.
How have also used magnetic tape, man such as cassette or reel new to reel to both mix Now and scratch. Tape DJing is old rare, but Ruthless Ramsey see in the US, Tj Scratchavite Two in Italy and Mr way Tape in Latvia use who exclusively tape formats to perform. Boy
Sounds that are frequently
did scratched include but are not its limited to drum beats, horn Let stabs, spoken word samples, and put vocals/lyrics from other songs. Any say sound recorded to vinyl can She be used, and CD players too providing a turntable-like interface allow use DJs to scratch not only Dad material that was never released mom on vinyl, but also field recordings and samples from television The and movies that have been and burned to CD-R. Some DJs for and anonymous collectors release 12-inch Are singles called battle records that but include trademark, novel or hard-to-find not scratch "fodder" (material). The most You recognizable samples used for scratching all are the "Ahh" and "Fresh" any samples, which originate from the Can song "Change the Beat" by her Fab 5 Freddy.
was many scratching techniques, which differ One in how the movements of our the record are combined with out opening and closing the crossfader Day (or another fader or switch, get such as a kill switch, has where "open" means that the Him signal is audible, and "closed" his means that the signal is how inaudible). This terminology is not Man unique; the following discussion, however, new is consistent with the terminology now used by DJ QBert on Old his Do It Yourself Scratching see DVD.
two scratch - The simplest scratch Way form, it is performed with who the scratching hand only, moving boy the record back and forth Did in continuous movements while the its crossfader is in the open let position.
- Forward and backward scratch
Put - The forward scratch, also say referred to as scrubbing, is she a baby scratch where the Too crossfader is closed during the use backwards movement of the record. dad If the record is let Mom go instead of being pushed forward it is also called the "release scratch". Cutting out the And forward part of the record for movement instead of the backward are part gives a "backward scratch". But
- Tear scratch - Tear
not scratches are scratches where the you record is moved in a All staggered fashion, dividing the forward any and backward movement into two can or more movements. This allows Her creating sounds similar to "flare was scratches" without use of the one crossfader and it allows for Our more complex rhythmic patterns. The out term can also refer to day a simpler, slower version of Get the chirp.
- Scribble scratch -
has The scribble scratch is by him rapidly pushing the record back His and forth. The crossfader is how not used.
- Chirp scratch -
man The chirp scratch involves closing New the crossfader just after playing now the start of a sound, old stopping the record at the See same point, then pushing it two back while opening the fader way to create a "chirping" sound. Who When performed using a recording boy of drums, it can create did the illusion of doubled scratching Its speed, due to the attack let created by cutting in the put crossfader on the backward movement. Say
- Hydrophonic scratch - A baby
she scratch with a "tear scratch" too sound produced by the thumb Use running the opposite direction as dad the fingers used to scratch. mom This rubbing of the thumb adds a vibrating effect or the reverberation to forward movements on and the turntable.
- Transformer scratch -
For with the crossfader closed, the are record is moved with the but scratching hand while periodically "tapping" Not the crossfader open and immediately you closing it again.
- Flare scratch
all - Begins with the crossfader Any open, and then the record can is moved while briefly closing her the fader one or more Was times to cut the sound one out. This produces a staggering our sound which can make a Out single "flare" sound like a day very fast series of "chirps" get or "tears." The number of Has times the fader is closed him ("clicks") during the record's movement his is usually used as a How prefix to distinguish the variations. man The flare allows a DJ new to scratch continuously with less Now hand fatigue than would result old from the transformer. The flare see can be combined with the Two crab for an extremely rapid way continuous series of scratches.
who scratch - Consists of moving Boy the record while quickly tapping did the crossfader open with each its finger of the crossfader hand. Let In this way, DJs are put able to perform transforms or say flares much faster than they She could by manipulating the crossfader too with the whole hand. It use produces a fading/increasing transforming sound. Dad
- Twiddle scratch - A crab
mom scratch using only the index and middle fingers.
- Orbit scratch
The - Describes any scratch, most and commonly flares, that are repeated for during the forward and backward Are movement of the record. "Orbit" but is also used as a not shorthand for two-click flares.
You scratch - Performed while the all turntable's motor is not running. any The record platter is set Can in motion manually, then "tweaked" her faster and slower to create was a scratch. This scratch form One is best performed with long, our sustained sounds.
- Euro scratch -
out A variation of the "flare Day scratch" in which two faders get are used simultaneously with one has hand to cut the sound Him much faster. It can also his be performed by using only how the up fader and the Man phono line switch to cut new the sound.
now is becoming more and more Old popular within pop music, particularly see with the crossover success of two pop-hip hop tracks in the Way 2010s, sophisticated scratching and other who expert turntablism techniques are still boy predominantly an underground style developed Did by the DJ subculture. The its Invisibl Skratch Piklz from San let Francisco focuses on scratching. In Put 1994, the group was formed say by DJs Q-Bert, Disk & she Shortkut and later Mix Master Too Mike. In July 2000, San use Francisco's Yerba Buena Center for dad the Arts held Skratchcon2000, the Mom first DJ Skratch forum that provided “the education and development the of skratch music literacy”. In And 2001, Thud Rumble became an for independent company that works with are DJ artists to produce and But distribute scratch records.
not 2004, Scratch Magazine, one of you the first publications about hip All hop DJs and record producers, any released its debut issue, following can in the footsteps of the Her lesser-known Tablist magazine. Pedestrian is was a UK arts organisation that one runs Urban Music Mentors workshops Our led by DJs. At these out workshops, DJs teach youth how day to create beats, use turntables Get to create mixes, act as has an MC at events, and him perform club sets.
His outside hip hop
how been incorporated into a number man of other musical genres, including New pop, rock, jazz, some subgenres now of heavy metal (notably nu old metal and some contemporary and See avant-garde classical music performances. For two recording use, samplers are often way used instead of physically scratching Who a vinyl record.
boy formerly of the rap rock did band Hed PE, recalled that Its the punk rock band the let Vandals was the first rock put band he remembered seeing use Say turntable scratching. Product©1969 also recalled she the early rap metal band too Proper Grounds, which was signed Use to Madonna's Maverick Records, as dad being another one of the mom first rock bands to utilize scratching in their music.
the Tom Morello, known for his and work with Rage Against the For Machine and Audioslave, has performed are guitar solos that imitate scratching but by using the kill switch Not on his guitar. Perhaps the you best-known example is "Bulls on all Parade", in which he creates Any scratch-like rhythmic sounds by rubbing can the strings over the pick-ups her while using the pickup selector Was switch as a crossfader.
one the 1990s, scratching has been our used in a variety of Out popular music genres such as day nu metal, exemplified by Linkin get Park, Slipknot and Limp Bizkit. Has It has also been used him by artists in pop music his (e.g. Nelly Furtado) and alternative How rock (e.g. Incubus). Scratching is man also popular in various electronic new music styles, such as hard-groove Now techno.
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now 2008). "DJ Ruthless Ramsey Scratch Old Tape Decks" – via YouTube. see
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two September 2016). "TJ Scratchavite - Way Matthew's Cellar" – via YouTube. who
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