Hi readers, i hope you are all still want to be a turntablist, and here is the 3rd part of Turntablist techniques. Enjoy:)
For the record: a testimony to the virtues of vinyl.
Although CDs long ago surpassed vinyl as the format of choice for the music-buying mainstream, vinyl lives on thanks to DJ-driven musical styles such as hip-hop and underground dance music. Because a DJ can manipulate a record with precision and create sounds that are difficult to achieve with a CD, the 12-inch record remains an essential part of the turntablist's toolbox. Vinyl records are to a DJ what a hammer is to a carpenter: modern devices like nail guns may make the job easier, but a good carpenter still uses a hammer for tasks in which precision is essential. In this month's column we explore the most beloved tool on the turntablist's belt: the flat 12-inch black disc known as the vinyl record.
TAKING CARE OF YOUR COLLECTION
Keeping your records in good shape is important. Next to the abuse that vinyl endures from scratching, dust is a record's biggest enemy. You should handle your records with care and store them in clean paper sleeves and cardboard jackets. Buy a record-cleaning brush and use it frequently. If you have a lot of records to keep clean or you often buy stacks of dirty old used wax, you may want to invest in a record-cleaning machine like those made by VPI (available from Dusty Groove Records; tel. 773-645-0982; www.dustygroove.com). Store your records upright to avoid warping — milk crates are great for cheap storage — and keep them away from sources of heat. By following these tips, you'll greatly extend the life of your collection.
One of the bigger problems that scratch DJs face with vinyl is record burn: that nasty, hissing static noise heard when you play a frequently scratched section of vinyl. Record burn occurs when the needle wears out (burns) the record's groove. The rapidity with which record burn takes place varies greatly depending on many factors — including the vinyl's quality, the needle's tracking weight, and the configuration of the cartridge and head shell. Make sure you've set up your cartridges properly and adjust the tonearm so the needle tracks as lightly as possible without skipping. (For more tips on setup, see “Turntablist Techniques” in the February 2001 issue of Remix.)
MARKING YOUR VINYL
One of the most essential skills a scratch DJ needs to master is repeatedly — and quickly — locating a desired section of a record. Though some DJs have perfected the art of “reading” their records (locating a section by making note of the label's positioning), the majority rely on some type of marking system. Most turntablists use one of three main methods for marking their records; each technique has its advantages and disadvantages.
The simplest approach is to place a sticker or draw a line on the label (see Fig. 1). This makes it easy to know where the scratch starts by noting the position of the label mark. For example, if the start of the desired sound corresponds with the label mark at the 3 o'clock position, you can precisely and repeatedly play the same section by pulling the vinyl back until the label mark is at 3 o' clock.
The biggest drawback of this technique is that it doesn't help you locate the groove you want when you first place the needle on the record — you still need to cue up and audition the sample in advance. As a solution, many DJs have developed systems in which they mark the grooves on the record itself. One such method involves placing a small piece of tape at a precise location near the sample you wish to scratch. Typically you'd place the tape directly on a groove that's exactly one revolution behind the one you want to begin scratching. With this approach you can quickly place the needle beside the tape and be confident that it's ready to go. The drawbacks are that the pieces of tape prevent you from playing the entire record and may even damage the vinyl's surface.
Another record-marking technique involves writing on the record with a grease pencil (also called a china pencil). As in the tape method, you make a distinguishing mark directly on the vinyl, again typically placing the mark one rotation before the groove you want to locate. If you do this correctly, the grease pencil will leave enough of a mark to find easily but won't make the entire record unplayable. You can even use multiple colors to identify samples for different songs or to distinguish vocal phrases, drum breaks, bass lines, and so on. The negative aspect of this approach is that the markings often wear off over time.
When choosing the technique that best suits you, consider the specific application for the record. For example, if you are entering a DJ battle, you may prefer to mark directly on the record's grooves with tape or grease pencil, because speed and precision are important factors in winning a competition. If you're a DJ spinning records in dance clubs and want to add scratching effects to songs, you may want to use label marks or stickers because you're more concerned with playing an entire song. Bedroom turntablists who are still developing their skills and can afford a more leisurely pace should probably use marks or stickers as well, because that method doesn't damage the vinyl.
BATTLE BREAKS
As an avid vinyl collector, I can attest that the thought of scratching with many of the records I own is not very appealing. A lot of records with my favorite breaks and phrases are rare, and replacing them is often extremely expensive if not impossible. No matter how careful you are, repeatedly scratching a record will cause some damage to the grooves, such as the aforementioned record burn or even just light pops and crackles.
Also, a record may contain only one or two scratchable samples. Turntablists like to use many different samples, so you may end up frequently swapping discs and carrying around a huge collection of records you use only to play short passages.
DJs and turntablist-savvy record labels have responded to these issues by producing and releasing battle-break albums — collections of samples and breakbeats specifically chosen for turntablist applications. These records often include famous samples and breakbeats that have become an essential part of the turntablist's repertoire.
Battle-break albums frequently feature one or more of the following:
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Scratch sentences: logically laid out strings of samples that typically make up an on-beat collection of familiar phrases and sounds set to a specific tempo.
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Locked grooves: samples, drumbeats, or tones pressed into a single rotational groove that loops continuously until you lift the needle out of the groove.
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Skip-proof samples: samples pressed in such a way that when the needle accidentally skips forward or backward a groove, you can still play an on-beat scratchable sample.
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Beats and breaks: instrumental passages or drumbeats — often well-known ones — that provide a background for scratching performances.
BATTLE-BREAK RECORD RECOMMENDATIONS
The selection of battle-break albums on the market is constantly growing. The following are among my personal recommendations, with some of their most attractive features highlighted to help you determine which ones suit you.
Super Duck Breaks
(Stones Throw Records)
Probably my all-time favorite battle-break album, Super Duck Breaks includes two awesome scratch sentences containing many familiar samples laid out in a way that allows you to create some brilliant scratch routines. Additionally, it features eight medium-tempo hip-hop beats suitable for scratching over (including an instrumental version of Sway and Tech's classic “In Control”). This one is so good you'll want to own two copies!
Hamster Breaks 3 1/2
(TRC Distribution)
Hamster Breaks 3 1/2 is a 2-LP set. One side is stuffed full of classic scratch samples, including a nicely put-together series of samples from LL Cool J's “Rock the Bells,” a turntablist favorite. Two sides of this record set provide first-rate scratch beats, including an instrumental version of Original Concept's “Can U Feel It” beat and the “Live at the BBQ” instrumental by Main Source. The album's fourth side contains some great scratchable beat patterns laid out in a manner that encourages inventive beat-juggling techniques.
Toasted Marshmallow Feet Brayx
(DirtStyle Records)
Probably the most popular of the DirtStyle Records series of breakbeat albums, Toasted Marshmallow Feet Brayx features some good low- to midtempo beats for scratching. Each side ends in a locked groove tone that makes it easy to practice tone-scratching techniques. Most important, the record provides some classic and brilliant scratch sentences, including the famous “Aaaah, that stuff is really fresh” and Flavour Flav's “Yeaaaah boyeeee.” It also offers one good scratch sentence, consisting mainly of beats, that lends itself to beat juggling.
Bionic Booger Breaks
(DirtStyle Records)
Another classic from DirtStyle, Bionic Booger Breaks features one side of beats (including the Public Enemy “Miuzi Weighs a Ton” beat and the “Pump, pump, pump, pump me up” beat) and one side of scratchable samples, beat combos, and kung fu — movie samples. Some of the famous Invisibl Skratch Piklz/Rock Steady DJ routines used many samples included on this record.
Hee Haw Brayks
(DirtStyle Records)
Hee Haw Brayks is a bit different. One side features some obscure but very scratchable beats, both fast and slow. The other side is an excellently constructed masterpiece of several classic, desirable samples laid out in multiple ways. If you are looking for the classic “Aaaah” or “Fresh” sample, you will find it here in many different places following other familiar (and highly sought after) scratch samples. This record includes the start of LL Cool J's “Rock the Bells,” as well as a locked groove at the end of each side — one a continuous beat, the other a continuous tone.
Investing in one or more of these battle-break albums will provide you with a powerful arsenal of scratchable noises. Following some of the guidelines I've outlined for vinyl care should ensure that these records remain scratchable for some time to come — but just to be on the safe side, buy a few backup copies of your favorites while they're still available and relatively cheap.
So go grab some stickers or a grease pencil, mark up your vinyl, and practice, practice, practice — and in no time you will be hammering out some great turntablist sounds.
Tips and Tricks - Turntablist Techniques Part 3
Monday, 27 July 2009Posted by WIN at 21:19
Labels: Tips and Tricks, Turntablist
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