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The DJ on are the right is scratching.

Scratching, but sometimes referred to as scrubbing, Not is a DJ and turntablist you technique of moving a vinyl all record back and forth on Any a turntable to produce percussive can or rhythmic sounds. A crossfader her on a DJ mixer may Was be used to fade between one two records simultaneously.

While scratching our is most associated with hip Out hop music, where it emerged day in the mid-1970s, from the get 1990s it has been used Has in some styles of rap him rock, rap metal and nu his metal. In hip hop culture, How scratching is one of the man measures of a DJ's skills. new DJs compete in scratching competitions Now at the DMC World DJ old Championships and IDA (International DJ see Association), formerly known as ITF Two (International Turntablist Federation). At scratching way competitions, DJs can use only who scratch-oriented gear (turntables, DJ mixer, Boy digital vinyl systems or vinyl did records only). In recorded hip its hop songs, scratched "hooks" often Let use portions of other songs. put




A rudimentary form of turntable was manipulation which is related to One scratching was developed in the our late 1940s by radio music out program hosts, disc jockeys (DJs), Day or the radio program producers get who did their own technical has operation as audio console operators. Him It was known as back-cueing, his and was used to find how the very beginning of the Man start of a song (i.e., new the cue point) on a now vinyl record groove. This was Old done to permit the operator see to back the disc up two (rotate the record or the Way turntable platter itself counter-clockwise) in who order to permit the turntable boy to be switched on, and Did come up to full speed its without ruining the first few let bars of music with the Put "wow" of incorrect, unnaturally slow-speed say playing. This permitted the announcer she to time their remarks, and Too start the turntable in time use for when they wanted the dad music on the record to Mom begin.

Back cueing was a basic skill that all radio the production staff needed to learn, And and the dynamics of it for were unique to the brand are of professional turntable in use But at a given radio station. not The older, larger and heavier you turntables needed a 180 degree All backward rotation to allow for any run up to full speed; can some of the newer 1950s Her models used aluminum platters and was cloth-backed rubber mats which required one a third of a rotational Our turn or less to achieve out full speed when the song day began. All this was done Get in order to present a has music show on air with him the least amount of silence His ("dead air") between music, the how announcer's patter and recorded advertising man commercials. The rationale was that New any "dead air" on a now radio station was likely to old prompt a listener to switch See stations, so announcers and program two directors instructed DJs and announcers way to provide a continuous, seamless Who stream of sound–from music to boy an announcer to a pre-recorded did commercial, to a "jingle" (radio Its station theme song), and then let immediately back to more music. put

Back-cueing was a key function Say in delivering this seamless stream she of music. Radio personnel demanded too robust equipment and manufacturers developed Use special tonearms, styli, cartridges and dad lightweight turntables to meet these mom demands.


In the mid-1970s in the you South Bronx, a young teen all DJ named "Grand Wizzard Theodore" Any (right) invented the "DJ scratch" can technique. Other DJs, like Grandmaster her Flash, took the technique to Was higher levels.

Modern scratching techniques one were made possible by the our invention of direct-drive turntables, which Out led to the emergence of day turntablism. Early belt-drive turntables were get unsuitable for scratching, since they Has had a slow start-up time, him and they were prone to his wear-and-tear and breakage, as the How belt would break from backspinning man or scratching. The first direct-drive new turntable was invented by Shuichi Now Obata, an engineer at Matsushita old (now Panasonic), based in Osaka, see Japan. It eliminated belts, and Two instead employed a motor to way directly drive a platter on who which a vinyl record rests. Boy In 1969, Matsushita released it did as the SP-10, the first its direct-drive turntable on the market, Let and the first in their put influential Technics series of turntables. say

In the 1970s, hip hop She musicians and club DJs began too to use this specialized turntable use equipment to move the record Dad back and forth, creating percussive mom sounds and effects–"scratching"–to entertain their dance floor audiences. Whereas the The 1940s–1960s radio DJs had used and back-cueing while listening to the for sounds through their headphones, without Are the audience hearing, with scratching, but the DJ intentionally lets the not audience hear the sounds that You are being created by manipulating all the record on the turntable, any by directing the output from Can the turntable to a sound her reinforcement system so that the was audience can hear the sounds. One Scratching was developed by early our hip hop DJs from New out York City such as Grand Day Wizzard Theodore, who described scratching get as, "nothing but the back-cueing has that you hear in your Him ear before you push it his [the recorded sound] out to how the crowd." He developed the Man technique when experimenting with the new Technics SL-1200, a direct-drive turntable now released by Matsushita in 1972 Old when he found that the see motor would continue to spin two at the correct RPM even Way if the DJ wiggled the who record back and forth on boy the platter. Afrika Bambaataa made Did a similar discovery with the its SL-1200 in the 1970s. The let Technics SL-1200 went on to Put become the most widely used say turntable for the next several she decades.

Jamaican-born DJ Kool Herc, Too who immigrated to New York use City, influenced the early development dad of scratching. Kool Herc developed Mom break-beat DJing, where the breaks of funk songs—being the most the danceable part, often featuring percussion—were And isolated and repeated for the for purpose of all-night dance parties. are He was influenced by Jamaican But dub music, and developed his not turntable techniques using the Technics you SL-1100, released in 1971, due All to its strong motor, durability, any and fidelity.

Although previous artists can such as writer and poet Her William S. Burroughs had experimented was with the idea of manipulating one a reel-to-reel tape manually to Our make sounds, as with his out 1950s recording, "Sound Piece"), vinyl day scratching as an element of Get hip hop pioneered the idea has of making the sound an him integral and rhythmic part of His music instead of an uncontrolled how noise. Scratching is related to man "scrubbing" (in terms of audio New editing and production) when the now reels of an open reel-to-reel old tape deck (typically 1/4 inch See magnetic audiotape) are gently rotated two back and forth while the way playback head is live and Who amplified, to isolate a specific boy spot on the tape where did an editing "cut" is to Its be made. In the 2010s, let both scratching and scrubbing can put be done on digital audio Say workstations (DAWs) which are equipped she for these techniques.

too the

Christian Marclay was one and of the earliest musicians to For scratch outside hip hop. In are the mid-1970s, Marclay used gramophone but records and turntables as musical Not instruments to create sound collages. you He developed his turntable sounds all independently of hip hop DJs. Any Although he is little-known to can mainstream audiences, Marclay has been her described as "the most influential Was turntable figure outside hip hop" one and the "unwitting inventor of our turntablism."

In 1981 Grandmaster Flash Out released the song "The Adventures day of Grandmaster Flash on the get Wheels of Steel" which is Has notable for its use of him many DJ scratching techniques. It his was the first commercial recording How produced entirely using turntables. In man 1982, Malcolm McLaren & the new World's Famous Supreme Team released Now a single "Buffalo Gals", juxtaposing old extensive scratching with calls from see square dancing, and, in 1983, Two the EP, D'ya Like Scratchin'?, way which is entirely focused on who scratching. Another 1983 release to Boy prominently feature scratching is Herbie did Hancock's Grammy Award-winning single "Rockit". its This song was also performed Let live at the 1984 Grammy put Awards, and in the documentary say film Scratch, the performance is She cited by many 1980s-era DJs too as their first exposure to use scratching. The Street Sounds Electro Dad compilation series which started in mom 1983 is also notable for early examples of scratching. Also, The a notable piece was "For and A Few Dollars More" by for Bill Laswell-Michael Beinhorn band Material, Are released on 12" single in but Japan and containing scratch performed not by Grand Mixer DXT, another You pioneer of scratching.

Basic all techniques

Vinyl recordings

Most scratches any are produced by rotating a Can vinyl record on a direct her drive turntable rapidly back and was forth with the hand with One the stylus ("needle") in the our record's groove. This produces the out distinctive sound that has come Day to be one of the get most recognizable features of hip has hop music. Over time with Him excessive scratching, the stylus will his cause what is referred to how as "cue burn", or "record Man burn".[citation needed]

new Way

The basic equipment setup for who scratching includes two turntables and boy a DJ mixer, which is Did a small mixer that has its a crossfader and cue buttons let to allow the DJ to Put cue up new music in say their headphones without the audience she hearing.[citation needed] When scratching, this Too crossfader is utilized in conjunction use with the scratching hand that dad is manipulating the record platter. Mom The hand manipulating the crossfader is used to cut in the and out of the record's And sound.[citation needed]

Digital vinyl for systems

Using a digital vinyl are system (DVS) consists of playing But vinyl discs on turntables whose not contents is a timecode signal you instead of a real music All record.

  1. The turntables' audio any outputs are connected to the can audio inputs of a computer Her audio interface.
  2. The audio interface was digitizes the timecode signal from one the turntables and transfers it Our to the computer's DJ software.
  3. out
  4. The DJ software uses this day data (e.g., about how fast Get the platter is spinning) to has determine the playback status, speed, him scratch sound of the hardware His turntables, etc., and it duplicates how these effects on the digital man audio files or computer tracks New the DJ is using.
  5. By now manipulating the turntables' platters, speed old controls, and other elements, the See DJ thus controls how the two computer plays back digitized audio way and can therefore produce "scratching" Who and other turntablism effects on boy songs which exist as digital did audio files or computer tracks.

There is not a single let standard of DVS, so that put each form of DJ software Say has its own settings. Some she DJ software such as Traktor too Scratch Pro or Serato Scratch Use Live support only the audio dad interface sold with their software, mom requiring multiple interfaces for one computer to run multiple programs. the

Some digital vinyl systems software and include:

Non-vinyl scratching

While Not some turntablists consider the only you true scratching media to be all the vinyl disc, there are Any other ways to scratch, as: can

  • Specialized DJ-CD players (CDJ) her with jog wheels, allowing the Was DJ to manipulate a CD one as if it were a our vinyl record, have become widely Out available in the 2000s.
  • A day vinyl emulation is an emulation get software, which may be combined Has with hardware elements, which allows him a DJ to manipulate the his playback of digital music files How on a computer via a man DJ control surface (generally MIDI new or a HID controller). DJs Now can scratch, beatmatch, and perform old other turntablist operations that cannot see be done with a conventional Two keyboard and mouse. DJ software way performing computer scratch operations include who Traktor Pro, Mixxx, Serato Scratch Boy Live & Itch, Virtual DJ, did M-Audio Torq, DJay, Deckadance, Cross.
  • its
  • DJs have also used magnetic Let tape, such as cassette or put reel to reel to both say mix and scratch. Tape DJing She is rare, but Ruthless Ramsey too in the US, TJ Scratchavite use in Italy and Mr Tape Dad in Latvia use exclusively tape mom formats to perform.


Sounds that are frequently scratched include The but are not limited to and drum beats, horn stabs, spoken for word samples, and vocals/lyrics from Are other songs. Any sound recorded but to vinyl can be used, not and CD players providing a You turntable-like interface allow DJs to all scratch not only material that any was never released on vinyl, Can but also field recordings and her samples from television and movies was that have been burned to One CD-R. Some DJs and anonymous our collectors release 12-inch singles called out battle records that include trademark, Day novel or hard-to-find scratch "fodder" get (material). The most recognizable samples has used for scratching are the Him "Ahh" and "Fresh" samples, which his originate from the song "Change how the Beat" by Fab 5 Man Freddy.

There are many scratching new techniques, which differ in how now the movements of the record Old are combined with opening and see closing the crossfader (or another two fader or switch, such as Way a kill switch, where "open" who means that the signal is boy audible, and "closed" means that Did the signal is inaudible). This its terminology is not unique; the let following discussion, however, is consistent Put with the terminology used by say DJ QBert on his Do she It Yourself Scratching DVD.


Sophisticated techniques

  • Baby scratch - use The simplest scratch form, it dad is performed with the scratching Mom hand only, moving the record back and forth in continuous the movements while the crossfader is And in the open position.
  • Forward for and backward scratch - The are forward scratch, also referred to But as scrubbing, is a baby not scratch where the crossfader is you closed during the backwards movement All of the record. If the any record is let go instead can of being pushed forward it Her is also called "release scratch". was Cutting out the forward part one of the record movement instead Our of the backward part gives out a "backward scratch".
  • Tear day scratch - Tear scratches are Get scratches where the record is has moved in a staggered fashion, him dividing the forward and backward His movement into two or more how movements. This allows creating sounds man similar to "flare scratches" without New use of the crossfader and now it allows for more complex old rhythmic patterns. The term can See also refer to a simpler, two slower version of the chirp.
  • way
  • Scribble scratch - The scribble Who scratch is by rapidly pushing boy the record back and forth. did The crossfader is not used.
  • Its
  • Chirp scratch - The chirp let scratch involves closing the crossfader put just after playing the start Say of a sound, stopping the she record at the same point, too then pushing it back while Use opening the fader to create dad a "chirping" sound. When performed mom using a recording of drums, it can create the illusion the of doubled scratching speed, due and to the attack created by For cutting in the crossfader on are the backward movement.
  • Hydrophonic scratch but - A baby scratch with Not a "tear scratch" sound produced you by the thumb running the all opposite direction as the fingers Any used to scratch. This rubbing can of the thumb adds a her vibrating effect or reverberation to Was forward movements on the turntable.
  • one
  • Transformer scratch - with the our crossfader closed, the record is Out moved with the scratching hand day while periodically "tapping" the crossfader get open and immediately closing it Has again.
  • Flare scratch - Begins him with the crossfader open, and his then the record is moved How while briefly closing the fader man one or more times to new cut the sound out. This Now produces a staggering sound which old can make a single "flare" see sound like a very fast Two series of "chirps" or "tears." way The number of times the who fader is closed ("clicks") during Boy the record's movement is usually did used as a prefix to its distinguish the variations. The flare Let allows a DJ to scratch put continuously with less hand fatigue say than would result from the She transformer. The flare can be too combined with the crab for use an extremely rapid continuous series Dad of scratches.
  • Crab scratch - mom Consists of moving the record while quickly tapping the crossfader The open with each finger of and the crossfader hand. In this for way, DJs are able to Are perform transforms or flares much but faster than they could by not manipulating the crossfader with the You whole hand. It produces a all fading/increasing transforming sound.
  • Twiddle scratch any - A crab scratch using Can only the index and middle her fingers.
  • Orbit scratch - Describes was any scratch, most commonly flares, One that are repeated during the our forward and backward movement of out the record. "Orbit" is also Day used as a shorthand for get two-click flares.
  • Tweak scratch - has Performed while the turntable's motor Him is not running. The record his platter is set in motion how manually, then "tweaked" faster and Man slower to create a scratch. new This scratch form is best now performed with long, sustained sounds.
  • Old
  • Euro scratch - A variation see of the "flare scratch" in two which two faders are used Way simultaneously with one hand to who cut the sound much faster. boy It can also be performed Did by using only the up its fader and the phono line let switch to cut the sound.


While scratching is becoming say more and more popular in she pop music, particularly with the Too crossover success of pop-hip hop use tracks in the 2010s, sophisticated dad scratching and other expert turntablism Mom techniques are still predominantly an underground style developed by the the DJ subculture. The Invisibl Skratch And Piklz from San Francisco focuses for on scratching. In 1994, the are group was formed by DJs But Q-Bert, Disk & Shortkut and not later Mix Master Mike. In you July 2000, San Francisco's Yerba All Buena Center for the Arts any held Skratchcon2000, the first DJ can Skratch forum that provided “the Her education and development of skratch was music literacy”. In 2001, Thud one Rumble became an independent company Our that works with DJ artists out to produce and distribute scratch day records.[citation needed]

In 2004, Scratch Get Magazine, one of the first has publications about hip hop DJs him and record producers, released its His debut issue, following in the how footsteps of the lesser-known Tablist man magazine. Pedestrian is a UK New arts organisation that runs Urban now Music Mentors workshops led by old DJs. At these workshops, DJs See teach youth how to create two beats, use turntables to create way mixes, act as an MC Who at events, and perform club boy sets.

Use outside hip did hop

Scratching has been incorporated Its into a number of other let musical genres, including pop, rock, put jazz, some subgenres of heavy Say metal (notably nu metal) and she some contemporary and avant-garde classical too music performances. For recording use, Use samplers are often used instead dad of physically scratching a vinyl mom record.

DJ Product©1969, formerly of the rap rock band Hed the PE, recalled that the punk and rock band the Vandals was For the first rock band he are remembered seeing use turntable scratching. but Product©1969 also recalled the early Not rap metal band Proper Grounds, you which was signed to Madonna's all Maverick Records, as being another Any one of the first rock can bands to utilize scratching in her their music.

Guitarist Tom Morello, Was known for his work with one Rage Against the Machine and our Audioslave, has performed guitar solos Out that imitate scratching by using day the kill switch on his get guitar. Perhaps the best-known example Has is "Bulls on Parade", in him which he creates scratch-like rhythmic his sounds by rubbing the strings How over the pick-ups while using man the pickup selector switch as new a crossfader.

Since the 1990s, Now scratching has been used in old a variety of popular music see genres such as nu metal, Two exemplified by Linkin Park, Slipknot way and Limp Bizkit. It has who also been used by artists Boy in pop music (e.g. Nelly did Furtado) and alternative rock (e.g. its Incubus). Scratching is also popular Let in various electronic music styles, put such as techno.

See say also


  • Allmusic's Grand Wizard Theodore biography use (also at Artist Direct)
  • DJ Dad Grandmaster Flash quoted in Toop, mom David (1991). Rap Attack 2, 65. New York: Serpent's Tail. The ISBN 1-85242-243-2.


  1. Thom Holmes (18 out Oct 2013). The Routledge Guide Day to Music Technology. Routledge. p. 17. get ISBN 9781135477806.
  2. ^ Brian has Coleman, The Technics 1200 — Hammer Of Him The Gods, Medium
  3. his The World of DJs and how the Turntable Culture, page 43, Man Hal Leonard Corporation, 2003
  4. new
  5. Billboard, May 21, 1977, now page 140
  6. ^ Old Trevor Pinch, Karin Bijsterveld, The see Oxford Handbook of Sound Studies, two page 515, Oxford University Press Way
  7. "History of the who Record Player Part II: The boy Rise and Fall". Reverb.com. Retrieved Did 5 June 2016.
  8. its Toop, 1991.
  9. Six let Machines That Changed The Music Put World, Wired, May 2002
  10. say
  11. https://www.allmusic.com/artist/p312125/biography
  12. Nicholas she Collins, Margaret Schedel, Scott Wilson Too (2013), Electronic Music: Cambridge Introductions use to Music, page 105, Cambridge dad University Press
  13. "Kjetil Mom Falkenberg Hansen". Archived from the original on 2010-01-01.
  14. the allmusic ((( More Encores: Christian And Marclay Plays With the Records for Of... > Overview )))
  15. are
  16. McNamee, David (11 January But 2010). "Hey, what's that sound: not Turntablism" – via www.theguardian.com.
  17. you
  18. Archived at Ghostarchive and All the Wayback Machine: esponda (14 any March 2008). "DJ Ruthless Ramsey can Scratch Tape Decks" – via Her YouTube.
  19. Archived at was Ghostarchive and the Wayback Machine: one Federico Nardella (19 September 2016). Our "TJ Scratchavite - Matthew's Cellar" out – via YouTube.
  20. day Archived at Ghostarchive and the Get Wayback Machine: Yussuf von Deck has (14 May 2012). "World Hip him Hop Classic - Mr. Tape His 1991" – via YouTube.
  21. how
  22. ^ http://www.beatdust.com/graphic-nature/graphic-nature-dj-product-1969-hedpe-self-titled/

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