Source: Wikipedia 


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

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



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

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

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



In the mid-1970s day in the South Bronx, a get young teen DJ named "Grand Has Wizzard Theodore" (right) invented the him "DJ scratch" technique. Other DJs, his like Grandmaster Flash, took the How technique to higher levels.

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

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

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

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

Christian her Marclay was one of the Was earliest musicians to scratch outside one hip hop. In the mid-1970s, our Marclay used gramophone records and Out turntables as musical instruments to day create sound collages. He developed get his turntable sounds independently of Has hip hop DJs. Although he him is little-known to mainstream audiences, his Marclay has been described as How "the most influential turntable figure man outside hip hop" and the new "unwitting inventor of turntablism."

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

Basic techniques

Vinyl has recordings

Most scratches are produced Him by rotating a vinyl record his on a direct drive turntable how rapidly back and forth with Man the hand with the stylus new ("needle") in the record's groove. now This produces the distinctive sound Old that has come to be see one of the most recognizable two features of hip hop music. Way Over time with excessive scratching, who the stylus will cause what boy is referred to as "cue Did burn", or "record burn".[citation needed] its

The basic equipment use setup for scratching includes two dad turntables and a DJ mixer, Mom which is a small mixer that has a crossfader and the cue buttons to allow the And DJ to cue up new for music in their headphones without are the audience hearing.[citation needed] When But scratching, this crossfader is utilized not in conjunction with the scratching you hand that is manipulating the All record platter. The hand manipulating any the crossfader is used to can cut in and out of Her the record's sound.[citation needed]


Digital vinyl systems

Using a one digital vinyl system (DVS) consists Our of playing vinyl discs on out turntables whose contents are a day timecode signal instead of a Get real music record.

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

There is not the a single standard of DVS, and so each form of DJ For software has its own settings. are Some DJ software such as but Traktor Scratch Pro or Serato Not Scratch Live supports only the you audio interface sold with their all software, requiring multiple interfaces for Any one computer to run multiple can programs.

Some digital vinyl systems her software include:

Non-vinyl scratching

While Out some turntablists consider the only day true scratching media to be get the vinyl disc, there are Has other ways to scratch, such him as:

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


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

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


Sophisticated techniques

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


While scratching is you becoming more and more popular All in pop music, particularly with any the crossover success of pop-hip can hop tracks in the 2010s, Her sophisticated scratching and other expert was turntablism techniques are still predominantly one an underground style developed by Our the DJ subculture. The Invisibl out Skratch Piklz from San Francisco day focuses on scratching. In 1994, Get the group was formed by has DJs Q-Bert, Disk & Shortkut him and later Mix Master Mike. His In July 2000, San Francisco's how Yerba Buena Center for the man Arts held Skratchcon2000, the first New DJ Skratch forum that provided now "the education and development of old skratch music literacy". In 2001, See Thud Rumble became an independent two company that works with DJ way artists to produce and distribute Who scratch records.[citation needed]

In 2004, boy Scratch Magazine, one of the did first publications about hip hop Its DJs and record producers, released let its debut issue, following in put the footsteps of the lesser-known Say Tablist magazine. Pedestrian is a she UK arts organisation that runs too Urban Music Mentors workshops led Use by DJs. At these workshops, dad DJs teach youth how to mom create beats, use turntables to create mixes, act as an the MC at events, and perform and club sets.

Use outside For hip hop

Scratching has been are incorporated into a number of but other musical genres, including pop, Not rock, jazz, some subgenres of you heavy metal (notably nu metal) all and some contemporary and avant-garde Any classical music performances. For recording can use, samplers are often used her instead of physically scratching a Was vinyl record.

DJ Product©1969, formerly one of the rap rock band our Hed PE, recalled that the Out punk rock band the Vandals day was the first rock band get he remembered seeing use turntable Has scratching. Product©1969 also recalled the him early rap metal band Proper his Grounds, which was signed to How Madonna's Maverick Records, as being man another one of the first new rock bands to utilize scratching Now in their music.

Guitarist Tom old Morello, known for his work see with Rage Against the Machine Two and Audioslave, has performed guitar way solos that imitate scratching by who using the kill switch on Boy his guitar. Perhaps the best-known did example is "Bulls on Parade", its in which he creates scratch-like Let rhythmic sounds by rubbing the put strings over the pick-ups while say using the pickup selector switch She as a crossfader.

Since the too 1990s, scratching has been used use in a variety of popular Dad music genres such as nu mom metal, exemplified by Linkin Park, Slipknot and Limp Bizkit. It The has also been used by and artists in pop music (e.g. for Nelly Furtado) and alternative rock Are (e.g. Incubus). Scratching is also but popular in various electronic music not styles, such as techno.


See also



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


  1. Thom Holmes Way (18 Oct 2013). The Routledge who Guide to Music Technology. Routledge. boy p. 17. ISBN 9781135477806.
  2. ^ Did Brian Coleman, The Technics 1200 — Hammer its Of The Gods, Medium
  3. let
  4. The World of DJs Put and the Turntable Culture, page say 43, Hal Leonard Corporation, 2003 she
  5. Billboard, May 21, Too 1977, page 140
  6. ^ use Trevor Pinch, Karin Bijsterveld, dad The Oxford Handbook of Sound Mom Studies, page 515, Oxford University Press
  7. "History of the the Record Player Part II: And The Rise and Fall". for October 2015. Retrieved 5 June are 2016.
  8. Toop, 1991. But
  9. Six Machines That not Changed The Music World, Wired, you May 2002
  10. All
  11. Nicholas Collins, Margaret any Schedel, Scott Wilson (2013), Electronic can Music: Cambridge Introductions to Music, Her page 105, Cambridge University Press was
  12. "Kjetil Falkenberg Hansen". one Archived from the original on Our 2010-01-01.
  13. allmusic ((( out More Encores: Christian Marclay Plays day With the Records Of... > Get Overview )))
  14. McNamee, has David (11 January 2010). "Hey, him what's that sound: Turntablism". The His Guardian – via
  15. how
  16. Archived at Ghostarchive and man the Wayback Machine: esponda (14 New March 2008). "DJ Ruthless Ramsey now Scratch Tape Decks" – via old YouTube.
  17. Archived at See Ghostarchive and the Wayback Machine: two Federico Nardella (19 September 2016). way "TJ Scratchavite - Matthew's Cellar" Who – via YouTube.
  18. boy Archived at Ghostarchive and the did Wayback Machine: Yussuf von Deck Its (14 May 2012). "World Hip let Hop Classic - Mr. Tape put 1991" – via YouTube.
  19. Say
  20. ^ "Graphic Nature: DJ she Product @1969 [(hed)PE – Self too Titled] | BEATDUST". Archived Use from the original on 2017-10-13. dad

Find a DJ


Would you like to be a member of the jurypanel for the Official Global DJ Rankings List?

Would you like to help crowdsource data for the site? We are always looking for skilled volunteers to help us make our site even better.

Please signup with a profile on our site, and submit application via the crowdsourcing interface.





Copyright 2012-2023
Chuo-ku, Osaka, Japan

Created by Ajaxel CMS

Terms & Privacy