Tips and Tricks - Turntablism Techniques Part 10

Hi all, this is the 10th and also the last part of Turntablist Technique Articles set. This one is about setting up the tonearm of your turntable. Enjoy:)



NEW NEEDLES

Before I get into the specifics of tonearm tweaking, you should be aware that worn-out needles are one of the biggest and most often overlooked causes of skipping. One of the best improvements you can make to your setup is to install a new set of needles, particularly if you have been using the same needles for months or have dropped and abused them. You don't need to replace the cartridges (unless they are damaged), just the needles, which are usually available at one-third to half the cost of a cartridge — or less. A new needle might be just what the scratch doctor ordered.

TONEARMS

The tonearm is probably the turntable's most finely engineered feature. Sure, the platter has to spin at a constant speed and the pitch fader's performance should be precise, but you can usually get by if those features aren't exactly up to snuff. However, if your tonearm is unstable or poorly designed, you are going to have a difficult time performing even the most basic scratch technique.

First, give your tonearm a quick once-over, making sure that it has no loose screws and that its hinged and rotating parts move freely without a rough, gritty feel. If your tonearm fails any of those rudimentary tests, you should have it serviced by a professional. It may be tempting to try to fix the tonearm yourself, but you could damage the tonearm even more and be forced to replace it, which is an expensive proposition. If you're not sure what you're doing, take your turntable to a pro. Once you're sure that your tonearm is in normal operating condition, you can begin to tweak the user-adjustable settings for maximum skip-free performance.

TONEARM TWEAKS

Most tonearms feature at least two adjustable settings, such as a tracking-weight adjustment, which is typically located at the tonearm's back end. In addition, many feature a height-adjustment setting that lets you change the height of the tonearm's pivot point (see Fig. 1). Most turntables with S-shaped tonearms also feature an antiskate setting that allows you to control the force with which the needle pulls toward the center spindle (see Fig. 2). You will probably need to adjust all settings if you want to obtain optimal scratch performance.

TRACKING WEIGHT

Tracking weight is the downward force the cartridge applies to the needle and, consequently, the force the needle applies to the record. Your tracking-weight setting is one of the most important adjustments you can make, because it greatly determines your needle's tendency to skip — or not to skip. Generally, you adjust the tracking weight by turning a cylindrical weight at the tonearm's back end, moving the weight closer to or farther from the tonearm's pivot point.

The rule is to track with as little weight as possible while still minimizing skipping. Although other factors are involved in selecting your optimum tracking weight (such as needle design, personal style, and the scratch type you are performing), the bottom line is that decreasing the tracking weight will increase the likelihood of skipping. However, the less weight you track with, the longer your records will last, as heavier settings tend to increase the rapidity of record burn (the crackling noise heard on frequently scratched sections of vinyl). The key is to strike a balance between reducing record burn and increasing skip resistance.

The first considerations in determining the prime tracking weight are needle design and performance. Selecting the right needle is essential to extending the life of your records and to reducing skips while scratching. The Stanton 500AL, an old-school favorite, allows tracking weight settings of a maximum 5.0 grams. As a scratch needle, it performs best at the 4.5- to 5.0-gram setting. Contrast that with the current turntablist fave, the Shure M44-7, which tracks between 1.5 and 3.0 grams. In my experience, the Shure outperforms the 500AL and causes less record burn. That's mainly because its ideal tracking setting in the range of 2.5 to 3.0 grams is almost half the weight of the 500AL's. If you have been using the same cartridge and needle combo for years, take a look at the new models — you'll probably find something you like a lot better.

SCRATCH TECHNIQUE

Obviously, cartridge and needle selection are important to any discussion of tracking weight. However, if your goal is to track with as little weight as possible, it is equally important to improve your technique so that you can minimize skipping.

One big factor is the fluidity of your movements. Scratching with a lighter hand will let you track at a lighter weight. Watch a turntablist perform, and you may get the impression that he or she is beating on the records and throwing the needle around. Although many scratch techniques appear aggressive, the best DJs actually have a light but precise hand. The turntablist's skill combines speed and precision with fluidity and gentleness, allowing for the creation of amazing scratch sound bites without needle skips.

REVERSING THE WEIGHT

Turntablists often reverse the tonearm weight because doing so allows them to track at a heavier weight. On the Technics SL-1200MK2 (the most imitated turntable design), the weight forms a bullet shape that, when mounted properly, has more weight at the back than at the front. When mounted in reverse, the weight's heaviest end is closest to the pivot, which reduces the weight at the back of the tonearm and therefore increases the tracking weight.

That technique is popular, but I have found that it isn't necessary; I prefer scratching with the weight mounted properly. However, if you have maxed out the weight available on your turntable and are still skipping, that trick can increase your turntable's tracking-weight range.

TONING OUT

Next month, I will focus on height adjustment and antiskate issues. Until then, why not treat your cartridges to a new set of needles (or treat yourself to a new set of cartridges — try the Shure M44-7 if you are looking for a change) and test some of the adjustments. Remember, no one can tell you what the “correct” setting for your equipment is. Only through experimentation and practice can you find the setting that is best for you.

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Tips and Tricks - Turntablist Techniques Part 9

Hi all, this is the 9th part of Turntablist Techniques Articles set. This one is about Setting up your turntable (generally). Enjoy:)


One of the most confusing issues for aspiring turntablists is figuring out the best way to set up a turntable for scratching. The problem is that no standard configuration exists for scratch DJs. Ask five different DJs how they arrange their cartridges, tonearms, and headshells, and chances are you'll get five different answers. To help you figure out the configuration that works best for you, this month's column looks at tonearm, headshell, and cartridge setup.

Your turntable-component setup should minimize skipping while providing the highest possible audio fidelity. Typically, turntablists favor a skip-free setup over one that offers the best audio quality. However, with some careful adjustments and attention to specific settings, you probably can achieve a good balance between the two.

Three main distinguishing factors will help you choose the setup that works best for you:

* Your cartridge
* Your favored scratching style (beat juggling, beat mixing, crab)
* Your technique (how heavy- or light-handed your touch is and so on)

CARTRIDGE TYPES

Ortofon, Shure, and Stanton, the three main players in the turntablist cartridge world, manufacture a variety of cartridges designed for scratch DJs. Each model offers different features, so you may have to try a few different cartridges before you find the perfect one.

Most of the cartridges designed for turntablists require a separate headshell. Those cartridges must be attached to the headshell with screws; the headshell is then mounted to your turntable's tonearm. Some models feature an integrated quickmount design that eliminates the need for a separate headshell. Cartridges in Ortofon's Concorde line feature that design, as do some cartridges from several other manufacturers, including Stanton. Ortofon's Concorde Scratch is a particularly good performer for turntablist applications. All-in-one combos are definitely easier to set up, but they don't offer as many options for tweaking. If setting up quickly is important to you, the integrated models are worth exploring.

HEADSHELL TWEAKS

Cartridges requiring a separate headshell offer two main options for making custom setup adjustments:

* Use of the optional headshell weight
* Cartridge alignment

Before making any adjustments, you should be aware of the difference between the terms total weight and tracking weight. Total weight refers to the actual weight of the headshell-and-cartridge combo; it's a fixed value. Tracking weight is the force exerted by the needle on the record; it's a variable value. You can adjust tracking weight by rotating the tracking-weight dial and counterbalance weight (usually located at the back end of the tonearm). It's important to know that a headshell setup with a greater total weight requires a heavier counterbalance-weight setting to achieve a desirable tracking weight.

HEADSHELL WEIGHT

In the early days of scratch DJing, turntablists often taped a penny to the headshell, providing additional tracking weight by increasing the headshell's total weight. Old-school cartridges were not designed for tracking applications, so the additional weight was necessary to prevent the needle from skipping out of the record's groove. DJs often selected the cartridge that gave them the heaviest tracking, because that reduced the likelihood of skipping.

Current cartridge models track much better while being scratched — some are even custom-designed for turntablist applications — and they typically outperform older models while requiring less tracking weight. Even though the extra weight often isn't necessary, many turntablists still use the extra weight plate provided with headshell-mounted cartridges.

Cartridges are designed to perform within a range of tracking weights, usually 2 to 4 grams. The reason many companies include an extra headshell weight is to ensure that all turntable tonearms can be adjusted to the desired weight setting. If you can adjust your tonearm to the desired setting without using the headshell weight, I recommend leaving it off.

Your objective is to reduce the total combined weight of the cartridge and headshell as much as possible and still maintain the target tracking weight. That will reduce skip-inducing wobbles during heavy scratch sessions. Wobble is caused by the needle's tendency to skate toward the center spindle. The needle counters the skate by moving in the opposite direction, and the cycle continues, causing the side-to-side wobble that leads to skipping. The lighter the cartridge's total weight, the less severe the wobble's effect.

HEADSHELL ALIGNMENT

In the '80s, several manufacturers produced what is known as a linear tonearm. Those tonearms were placed on a motorized sliding bar that kept the tonearm parallel with the groove across the entire record as it played. The design was an attempt to fix the main drawback of most traditional tonearms, which remain parallel with the groove through only a limited range on a 12-inch record.

With regular tonearms, the closer the needle is to the center spindle, the more it's misaligned in the groove. For normal music reproduction, increased misalignment typically leads to a reduction in audio fidelity as the needle approaches the center of a record. Scratch DJs also know that misalignment can result in an increase in side-to-side wobble.

Turntables with S-shaped tonearms (such as the Technics SL-1200MK2) are particularly susceptible to wobble. Several new turntables designed for scratch performance offer a newly developed straight tonearm design (the ASTS Tonearm System introduced by Vestax). The straight tonearms eliminate the wobble effect almost completely by reducing misalignment of the needle and groove.

If you have a turntable with the more traditional S-shaped tonearm, you can try to toe in the cartridge. If you angle the back end of the cartridge toward the center spindle, the needle's alignment is nearly parallel to the groove and the wobble effect is reduced — but not eliminated. The trade-off is that this adjustment increases record burn, and it will wear out the grooves on your records much more quickly than a standard setup.

When playing with that option, do not adjust the headshell more than 20 degrees. The best course of action is to experiment with small changes, checking after each adjustment to see if skipping is reduced. I recommend doing the modification only if you experience frequent skipping while scratching and none of the other tweaks outlined here seem to help.

The best way to reduce skipping is to develop a smooth, fluid scratching technique. Although radical setup adjustments can improve your cartridge's tracking abilities, adjustments are counterproductive if they reduce the life of your records.

SKIPPING OUT

These headshell tweaks should help you prevent the needle from skipping out of the groove and allow you to concentrate on improving your scratching technique. In next month's column, I will continue exploring tonearm, headshell, and cartridge tweaks by taking a detailed look at some adjustable tonearm settings.

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Tips and Tricks - Turntablist Techniques Part 8

Hi all, this is the 8th part of Turntablist Technique Article sets. Enjoy:)


ONE, TWO, THREE, FOUR

As you learn how to beat-mix, you will start to listen to music differently. Analyzing music as groups of bars helps you recognize common patterns in all music. Recognizing those patterns can help you better mix two songs together, because you will have a clearer idea about how to match the patterns.

Hip-hop and dance-music tracks typically consist of 4-beat bars, with 4, 8, or 16 bars forming series of logical, almost mathematical, groupings. A song's sounds will usually change predictably after that established number of bars. For example, new musical elements such as a busy hi-hat pattern may be introduced, whereas others, like a guitar riff, may disappear. You probably already understand that rhythmic structure on an unconscious level. Think about it: when listening to a mixed CD, don't you know when the kick will come in or when the bass will disappear for the breakdown? Listen to a variety of songs while counting beats and bars. Concentrate as you nod your head to the beats, and you should begin to grasp those mathematical patterns.

Proper beat mixing, however, requires more than just beat and pattern matching. Beyond a song's tempo and structure are other melodic elements, including, most importantly, song key — a more musical than rhythmic quality. Explaining the concept of correct and incorrect keys is beyond the scope of this lesson; suffice it to say that if the keys don't match or complement each other, you will probably know. Even if the beats are matched as perfectly as a new pair of sneakers, your mix still won't sound right if the musical notes clash.

PRACTICING BEAT MATCHING

You should already know how to release a second record in time with the first during a beat mix using two copies of the same record with the pitch set to zero. Using those same records, you can also practice other beat-matching techniques. Play the first record but randomly adjust its pitch to something other than zero. Without noting exactly where the setting is, cover the pitch fader so that you can't see the setting. Adjust the second record's pitch setting by ear until the records match again. Repeat that exercise, mixing the two copies of the song back and forth until you can quickly determine the rough zone in which to place the pitch fader.

One quality of a good beat mixer is the ability to adjust the incoming record manually to get it back on beat if the mix drifts off. No song — or any beat mix — is perfect. Frequently, a perfectly matched pair of songs will go off beat suddenly or drift off beat gradually. That happens for a variety of reasons: a song's tempo may change slightly, or your mix may have been somewhat off beat to begin with — a discrepancy not noticeable at first that grows more significant as the records play on. It's important to be able to quickly and precisely adjust the records to get them back in sync by making adjustments to the pitch fader.

To practice, set the two copies of the record to the same pitch setting and play them simultaneously. Hopefully, they will stay on beat with each other. Adjust one of the record's pitch faders up or down and count to five. The mix should begin to drift off beat. Gently put your hand on the outer edge of the vinyl and practice pushing the slow record or dragging the fast record so that you bring them back into sync for a beat or two. Then quickly adjust the pitch settings so that the records continue to play at the same tempo.

Being able to save potentially embarrassing mixes on the fly helps you mix more quickly and improve your ability to read beat-mixed records. No one wants to be a train wrecker.

SPECIAL EFFECTS

As the saying goes, once you know the rules, you can break them. The same applies to beat mixing. Once you have the concept down, you can experiment to perform some pretty cool audio effects. Here are a couple to try.

Flanging. Beat-match two identical records so they play perfectly in sync at precisely the same spot on both records; then adjust one very slightly so it drifts a tiny bit out of sync. The adjustment required is minimal, and you can achieve it simply by pinching the platter spindle with your fingers for a moment. If you do it right, you will hear a natural flanging effect. Adjusting the amount of drift can vary that effect, sometimes to the point of cutting out the bass tones of the song you are playing.

That concept may be difficult to grasp on paper, but if you have been trying to match beats with two copies of a song, you have probably already heard that effect. Use it to add variety to your scratch performances.

Echo. The basic echo effect is also achieved by using two copies of the same record. Instead of matching them to play simultaneously, match them so they are off by a half or whole beat. The best setting varies from song to song, so experiment. By playing only the leading record and alternately opening and closing the crossfader, you can create an echo effect on the beats or vocal parts of the song. When pulled off correctly, the aptly named echo effect could make the phrase “That stuff is really fresh!” sound like “That that stuff stuff is is really really fresh fresh!”

That is also one of the most basic concepts behind beat juggling, a technique involving vinyl manipulation and speed in which you play alternating parts from two different records. By understanding and being able to perform the basic echo, you will be on your way to understanding the basic skills of beat juggling.

Practicing the beat-mixing skills and techniques outlined here and in last month's column will help you not only master the art of beat mixing but also better understand music composition and become a better DJ and remixer.

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Tips and Tricks - Turntablist Techniques Part 7

Hi all, this is the 7th part of Turntablist Techniques Article sets. This one is about beat mixing, so this is useful for every dj in every genre(s). Enjoy:)


While scratching may be the flashiest skill, the art of beat mixing can immeasurably improve your turntablist technique. Mastering the beat-mixing basics will help you understand song structure while also improving your timing and rhythm — two important ingredients of a successful scratch performance.

WHAT IS BEAT MIXING?

Beat mixing, also known as blending or performing a running mix, is the technique of transitioning from one song to another with no noticeable gap in the audio signal. You achieve this transition by matching the tempo of the incoming record with that of the current record, then playing the songs simultaneously as you fade the new song up and the old song out. Think of it as a segue.

BEATS PER MINUTE

Understanding the concept of bpm (beats per minute) is essential to successful beat mixing. DJs describe and classify a song's tempo by calculating its bpm, just as most people would classify a song more generally as fast, medium, or slow.

To better understand tempo or bpm, tap your foot in time to a song and count the number of taps your foot makes in a 60-second period. The resulting number is the song's bpm. To calculate a song's bpm faster, try counting the beats that play in 15 seconds and then multiply the resulting number by four. You don't need a precise number, just a ballpark figure so you know whether you can potentially match the beats of two songs.

For example, hip-hop tracks typically range between 85 and 120 bpm, while most house-based dance music clocks in between 110 and 140 bpm. Trying to beat mix a 90 bpm hip-hop track with a 125 bpm house track will not work very well because both tracks will require a wild adjustment in pitch that takes the songs beyond a tempo range that is acceptable.

LEARNING TO LISTEN

Once you know the tempo of your song, you can synchronize it with another record. First, listen to its basic structure. Songs are usually composed of multiple bars, each containing four beats, and typically group the bars in fours.

To practice, find two tracks that are similar (but not identical) in tempo and place them on your turntables. Start playing one of the songs and listen closely to its structure. Pay attention to the repetitive elements and start counting them. Look for a cycle of beats and bars; a single beat is usually composed of a snare or a kick. A four-on-the-floor “kick, snare, kick, snare” pattern is an example of a simple four-beat bar. Next, stop the first record and listen just as closely to the second one, trying to catch the pattern that makes up this song.

IN THE MIX

Your goal is to synchronize both records so you can release the kick drum of the second record at exactly the same time as the kick drum of the record you're already playing. With practice, you will figure out precisely when to release the second record so it starts playing in sync with the first.

To begin your beat mix, pause the second record at the start of one of the logical groups of bars and cue it up as if you were going to scratch the opening kick drum. Begin playing the first record again and listen for the starting kick drum of a bar. With the mixer's fader closed and the headphones on cue, perform a rhythmic baby scratch of the second record in time with each beat on the first record. When you hear the start of the next bar on the first record, open the fader and release the second record, giving it a push to get it up to speed quickly.

PITCH ADJUSTMENTS

What happened? Even if you released both records in perfect sync with each other, they probably drifted out of sync relatively quickly. This is where pitch control comes into play.

Manipulating the turntable's pitch control adjusts the record's tempo. Most DJ turntables come with a pitch control in one of two configurations: analog, featuring a sliding fader-style control, or digital, which is usually more precise and features a numeric readout of the current setting.

Listen to the records carefully to determine which one is slower. Quickly making this determination takes a bit of practice but gets easier with time. Adjust the incoming record's pitch fader in small increments (no more than 1 percent at a time is a good rule of thumb), and pay attention to the effect of the adjustment.

You also need to push or drag the incoming record to rerelease it at the correct moment and hear whether your pitch adjustment is having the desired effect. As you correct the pitch, the two records should stay in sync for a longer period of time. If they continue to drift apart, adjust the pitch control until the records closely match and can play together for quite a few bars without drifting. Fade out the first record and continue playing the second one. You have just beat mixed your first pair of records!

PRACTICE MAKES PERFECT

Although beat mixing may not be as technically impressive as busting a two-click Flare Laser Orbit combination, it is not an easy skill to master.

To practice, buy two copies of the same record. Since they are identical and have the same bpm, you can concentrate on locking down your release timing without worrying about pitch adjustments. Play the first record, then scratch in the kick drum of the second one and release it on the beat of the same kick drum in the first record. If you time it correctly, the two records should be in perfect sync.

Still train wrecking? Tune in next month to learn even more techniques that will improve your mixing skills. We will also explore some interesting beat-mixing effects to incorporate into your scratch sets. Remember that practice makes perfect, and you will be well on your way to mastering the art of beat mixing.

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Tips and Tricks - Turntablist Techniquest Part 6

Good Day/Noon/Evening people, This is the 6th part of Turntablist Techniques Article sets. This one is about how to modificate your Technics SL-1200MK2 for better scratching. Enjoy:)


Many turntablists consider the Technics SL-1200MK2 nearly perfect, but a few simple do-it-yourself modifications can make it even better. Out of the box, the SL-1200MK2 is a robust piece of high-end, professional audio equipment. Although it is very well suited to scratching (especially when used with the right cartridge-and-needle combo), by making a few tweaks you can significantly improve its scratch performance.

The steps described here involve modifying your Technics turntable's settings. Bear in mind that these modifications will void any warranty and could permanently damage your turntable if you're not careful. Should you choose to make them, do so with extreme caution. These modifications are very easy to make, but some of them will require a multimeter. If you don't know how to use a multimeter, consult a professional repair shop. The three modifications we will examine are pitch fader range adjustment, pitch fader center adjustment, and braking adjustment.

CIRCUIT BOARD ACCESS

You will need access to the turntable's circuit board to do any of the three modifications. Remove the top of your turntable as follows:

1. Unplug the turntable.
2. Secure the tonearm with the unit's arm clamp.
3. Remove any slip mats or rubber pads from the platter. You should now be looking at the bare metal of the turntable platter, which has two holes approximately 1 inch in diameter directly opposite each other (see Fig. 1).
4. Place your fingers in these holes and firmly pull straight up. The platter should feel as if it is resisting your pull at first and then suddenly release. This is due to the strong magnets (part of the direct-drive motor system) that both spin the platter and hold it in place.
5. You should now see a black plastic cover with five screws and some vents, through which you can glimpse the turntable's circuit board (see Fig. 2).
6. Remove the five screws and lift off the cover. Set all of these pieces aside and do not lose them! The main circuit board and turntable motor should now be exposed and accessible (see Fig. 3).

PITCH FADER RANGE ADJUSTMENT

The default pitch range of a Technics SL-1200MK2 is approximately ±8 percent. However, the actual range varies slightly from turntable to turntable. If you have a pair of SL-1200MK2 turntables, you will probably want their performance to match exactly so that sliding the pitch fader to the same setting on each turntable results in the same pitch adjustment. With the following modification, not only can you dial in your pair of turntables to match more closely, but you can also actually increase the pitch fader's range on each unit.

To adjust this setting, locate the blue pot (an adjustable cylindrical element soldered to the circuit board) in the circuit board's upper right corner, next to the pitch label. You can adjust this control by turning it left or right with a flathead screwdriver. Turning to the right will increase the pitch, and turning to the left will decrease it. The setting is very touchy — even a tiny adjustment can result in a massive change in pitch. With that in mind, take care and do a test after each little adjustment.

One advantage of this modification is that you can calibrate the pitch fader to better match the actual pitch adjustment. To do so, follow these steps:

1. Move your pitch fader to what looks like +3.3 on the markings.
2. Replace the platter temporarily and put on a record.
3. Observe the +3.3 percent dots on the side of the platter (second row from the top, directly above the large row of dots — see Fig. 4) where the red strobe, to the left near the power switch, illuminates them. If the dots move slowly to the right, your turntables are faster than +3.3 percent. If they move slowly to the left, your turntables are slower than +3.3 percent.
4. Remove the platter, adjust the pitch pot by a small amount (no more than a quarter turn), and continue testing until the +3.3 percent dots hold still. This indicates that the platter is rotating at +3.3 percent. Double-check this setting by moving the pitch fader to -3.3 percent and verifying that the corresponding platter dots are also stationary. If they are not, you may need to adjust the pitch fader center as described below.

If you make the same adjustment on your second turntable, both units should now accurately match each other and the pitch fader markings.

PITCH FADER CENTER ADJUSTMENT

The Technics SL-1200MK2 features a quartz-locked pitch setting. This means that when the green light beside your pitch fader is on, the decks are running at exactly the speed indicated (33 rpm or 45 rpm). This setting is not adjustable.

However, some SL-1200MK2 turntables have pitch problems when you move the pitch fader slightly off center (when the light just goes out). On some units the pitch will actually change slightly in the opposite direction from that corresponding to the fader setting. In other words, the turntable may actually slow down just after you pull the fader out of the zero setting while you're speeding up the pitch. As you continue to move the fader, it will pass through a second zero setting (not the quartz-locked one) and then begin changing the pitch in the correct direction. When this happens, you actually have zero in two places.

The following modification allows you to calibrate your turntable so that it has a true center, the one found when the quartz lock is on. Once calibrated, the pitch fader will make the appropriate plus or minus speed adjustments.

Locate the blue pitch pot (see the previous pitch range adjustment example). Beside it you'll see a hole about 3 to 5 mm in diameter. Inside this hole is a small Phillips-head screw and a pot.

Hook up a multimeter to the pot (connect it to the center lead and the one nearest the edge of the board) and use a small screwdriver to adjust the pot so that the meter reads 2.7 kW. (If you don't have a multimeter, you will have to rely on trial and error. Adjust the setting, hook everything back up, and try out the new setting. Then readjust until you have calibrated the pot accurately.)

Note that to allow accurate pitch range calibration, you may need to adjust this pitch fader center setting before adjusting the pitch fader range.

BRAKING ADJUSTMENT

On most SL-1200MK2s, pressing the Stop/Start button makes the record slow down to a somewhat abrupt stop. By adjusting the braking, you can set your turntable to brake harder — fast enough so that it will spin the record backward ever so slightly when you press Start/Stop. With the turntable adjusted to this setting, you can create a nice effect — one similar to a very slow reversed chirp scratch that occurs when you stop a record as it is playing a heavy drum sound or constant tone.

To make this modification, look on the turntable's circuit board for the pot numbered VR201 (shown in Fig. 3). It should be located to the right of the blue pitch pot described earlier, with the brake label on the circuit board next to it.

Turning the pot to the right increases the braking abruptness. Don't turn it too far, however, as it is fairly sensitive. Start with a quarter turn, then replace the platter and plug in your turntable to test the setting. Note that stopping a platter with a record on it takes slightly more force than stopping an empty one, so test this setting with a record and slip mat on the platter.

MILLER TIME

With the modifications outlined in this month's column, you can tweak your Technics SL-1200MK2 to suit your specific scratch style. Have fun experimenting with the various settings, and remember to adjust each one in small increments and test as you go along. Happy tweaking!

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Tips and Tricks - Turntablist Techniques Part 5

Hi all, this is part 5 of Turtablist Techniques Articles sets. Enjoy:)


Hands on deck, fingers on the fader.

There's a lot more to scratching than just manipulating a vinyl record. To become a good turntablist, it's equally important to learn how to “play” the mixer. Most scratching techniques involve both hands, with one hand moving the vinyl while the other controls faders or switches on the mixer. Once you master the ability to manipulate the fader and tweak vinyl simultaneously, you'll be well on your way to becoming an expert turntablist.

FADE IN

Before learning any specific techniques, you need to understand the variety of faders you'll find on currently available mixers. Though you can't reasonably blame your equipment if you're unable to perform a certain scratch, some advanced techniques are next to impossible to do on generic mixers. Older mixers, or those designed specifically for club DJs, typically do not have friction-reduced faders, so they're not the best choice if you want to do fast scratching.

In addition to friction-reduced faders, the current crop of battle mixers marketed toward turntablists (such as those available from Gemini, Numark, Rane, Stanton, and Vestax) typically feature such scratch-friendly attributes as the following:

*

Variable crossfader and main fader cut-in — the point and rapidity with which the fader reaches full volume for a selected sound source. This feature is essential for performing crab-style scratch techniques.
*

Short-throw crossfaders (45 mm of travel is typical) for speedy cutting and scratching.
*

Hamster switches that reverse the direction of either the crossfader or the main fader. Normally, moving the crossfader to the left brings up the level of the left turntable. When you activate a crossfader hamster switch, this motion brings up the level of the right turntable instead. Activate a main fader's hamster switch, and the sound turns off when the fader is all the way up, and turns on when the fader is all the way down.

To varying degrees, all of these features are important and can make it much easier to perform many popular scratch techniques.

The fader-based techniques outlined in this month's column are fairly basic, and you should be able to perform them on almost any DJ mixer. As your skills advance and you begin experimenting with more-complex scratch techniques, you'll have a greater desire and need for some of the advanced fader features listed previously.

FADER MANIPULATION VERSUS MIXER LOCATION

When learning any scratch technique that involves both mixer and turntable, you must be aware of the mixer's location. Turntablist-style DJs usually place the mixer between the two turntables. This is the most effective placement, but it also means that you need to practice mixer-manipulation techniques with both hands. When your left hand manipulates vinyl, your right hand works the fader. When your right hand does the vinyl manipulation, your left hand controls the fader.

Initially, using both hands might feel awkward, and you may be tempted to locate the mixer on the left or right side of both turntables. However, doing this will limit your creative options. It is much better to work on perfecting an ambidextrous scratch technique — and the earlier you begin practicing, the better.

FORWARD SCRATCH

The forward scratch is the most basic of all fader-based scratch styles. A good way to start learning the forward scratch is by performing a baby scratch — a back-and-forth regular-speed scratch with the fader fully open (see last month's column for more details). As you scratch your selected sample, begin opening and closing the turntable's main fader in time with the record's forward and backward movement. The goal is to coordinate the sounds and movements so that the fader is open (playing the record) only during the forward part of the vinyl movement.

Here's a breakdown of this technique: Cue up a sample, then open the main fader. Let the sample play forward at regular speed. When the sample has played, turn the fader off and bring the record back to the sample's start. Open the fader and play the sample forward again. Repeat this process multiple times — you are performing a forward scratch, which sounds particularly good when you're scratching a word or phrase.

Here's an example of what you should hear when performing both a baby scratch and a forward scratch of the famous James Brown “Hit me!” sample (see Fig. 1): A baby scratch of the sample sounds like “hit-tih-hit-tih-hit-tih-hit me.” A forward scratch of the same sample sounds like “hit-___-hit-___-hit-___-hit me,” where the underscore represents silence (this occurs when the fader is closed).

BACKWARD SCRATCH

A backward scratch uses the same concept as the forward scratch, except that the fader is open only when you pull the record back. When you're pulling back, you should try to move the record at roughly the same speed as if it were playing forward.

Using the previous example, the backward scratch sounds like “tih-___-tih-___-tih-___-hit me.” Again the underscore represents silence (when the fader is closed).

You can do forward and backward scratches using either the main fader or the crossfader, but you may find it easier to use the main fader while you're learning these techniques. Once you have perfected the sound of the scratch using the main fader, practice with the crossfader, with the goal of making the scratch sound the same on either fader.

CHOP AND REVERSE CHOP

Chops are forward scratches pushed at varying tempos (usually faster than normal speed) to create a rhythmic pattern. For example, with the “Hit me” sample, a chop might sound more like “hi-h-h-hi-hi-hit me.”

Pushing the selected sample forward at a variety of speeds allows you to create melodies to accompany the scratch beat. Mastering the basic concept of the chop benefits any scratch performance. With this fairly simple technique, you can create a variety of interesting sounds.

Focus on varying the speed at which you push the record, and the length of the sample section you play. You can achieve further variations by experimenting with different samples, such as drums, vocals, or horns.

As a final variation, try opening the fader during the vinyl pullback. This action will result in a reverse chop, an interesting alternative that will provide you with a different set of sounds and melodies.

STAB AND REVERSE STAB

One final variation of basic fader technique is the stab, an even faster version of the chop. This technique focuses on the speed at which you repeatedly play the forward part of the sample. The stab — a very short and fast scratch, almost like a double-time chop — works best if the sample you are scratching begins immediately and at a fairly loud volume (instead of fading up); drum and snare samples are ideal.

Stabs are typically, and most easily, performed using the main fader. Regular crossfader stabs are not impossible, but they're easier to do if you set up your crossfader hamster-style. You can perform this scratch fastest and most easily when you move the hand that's on the vinyl and the hand that's on the fader in the same direction. When you use the master fader or a hamster-style setting on the crossfader, the forward motion of the fader is in sync with the forward motion of your hand on the vinyl as it plays the selected sample.

As you may have already guessed, the reverse stab uses the same technique as the stab, only you perform it as you pull back the record. One easy way to do a reverse stab is to place your hand on the platter exactly opposite where you would put it for most scratches. In this position, forward hand motion actually pushes the record backward.

SOME VINYL THOUGHTS

By experimenting with the crossfader and main fader, you'll discover the variety of noises and effects you can create through the combination of vinyl and mixer manipulation.

Don't discard or forget last month's faderless techniques — you can combine them with the basic fader techniques outlined above for a more varied and creative performance. By experimenting with different combinations of scratch techniques, not only will you make your performances sound fresher and more varied, you'll also open up your creative potential and further hone your skills.

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Tips and Tricks - Turtablist Techniques Part 4

Hi all, this is the Turntablist Techniques compilation Part 4. I hope you guys can gain lots of knowledge from this set of Articles, Enjoy:)


Maybe you have the right DJ equipment. Maybe you even have your turntables and mixer dialed in for optimal performance. That's great, but no matter how good your equipment setup is, you might as well play Mantovani records on it if you don't have the skills to use it.

In this column, I will turn my attention to some basic scratch techniques. Learning these methods may not be as impressive as mastering today's advanced techniques, but it will provide you with skills that lay the foundation for more complicated moves. After all, you have to learn how to crawl before you can run.

PRACTICE MAKES PERFECT

Before explaining any specific scratch techniques, I'd like to say a little about practice. Practice — and lots of it — is absolutely essential if you want to become a skilled turntablist. Without practice, chances are that even though you may be able to perform basic techniques, you won't perform them very well.

When you're learning to scratch, you should always record and listen to your practice sessions. Listening to yourself with a critical ear is one of the best things you can do to improve your skills. Try to picture what you were doing when you created a particular sound or scratch, and then imagine what you can do to improve it. By analyzing your performance you will better understand your weak areas, and that will in turn help you improve.

One thing that often frustrates budding turntablists is that the pros make it look extremely simple. The uninitiated see someone scratching a record and say, “It's just wiggling the record back and forth!” If you have already tried scratching a record yourself, you've probably discovered that it's not all that easy. Scratching requires a lot of skill and experience, and learning to scratch can be as complicated as learning to play the guitar or piano. Just as with those instruments, you need to develop a basic understanding of musical structure before you can scratch.

THE RHYTHM METHOD

The most valuable skill a DJ can develop is a sense of rhythm. All scratch techniques require the ability to flow with the rhythm of the beat. Whether you are performing basic baby scratches or advanced crab-style scratches, if you lack rhythm it will be glaringly and gratingly obvious in your sound's flow. Listen to the structure of songs and try to understand the elements that make up the rhythm.

For turntablists, the most important rhythmic elements to grasp are beats and bars. In their simplest form, hip-hop songs are typically constructed of repeating bars, each containing four beats. Most basic hip-hop beats consist of some variation of “kick-snare-kick-snare.” If you were to number each kick and snare as elements of a bar, you would typically get 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 4, and so on — the odd numbers being kick or bass drum sounds, and the even numbers being snare drum sounds. Each group of four beats is a distinct rhythmic element, referred to as a bar or measure.

Although this is an oversimplified way of looking at music, the beginning DJ needs at least a rudimentary comprehension of rhythmic structure. Understanding fundamental song divisions is essential because the timing involved in almost any scratch technique works in unison with the flow of the beats and bars of the music you're using.

BASIC FADERLESS TECHNIQUES

We can make two simple divisions when categorizing scratches: those that involve a combination of vinyl and fader manipulation, and those that require only vinyl manipulation (aka faderless scratches). Although not all of them are simple, faderless scratches are somewhat less complex and are therefore a good place to start. They allow you to concentrate on perfecting only the vinyl-manipulation aspect of scratching. For that reason, in this month's column we will look at two basic faderless techniques: the baby scratch and the scribble.

BABY SCRATCH

The most basic technique (and the grandfather of all scratches) is known as the baby scratch. Invented by Grand Wizard Theodore in the late ’70s, the baby scratch involves simply moving the record back and forth rhythmically. Perfecting this scratch is vital because it forms the basis of all other scratch techniques.

A baby scratch is a slow, steady scratch, usually consisting of one back-and-forth cycle per beat. To perform it, locate the start of the sound you want to scratch and hold the record so the needle is positioned just before the point where the sound begins. Play a basic beat on the other turntable and start to push forward on the scratch sample at the start of each beat. Pull back at the same speed at which you pushed forward, and be ready to push forward again at the start of the next beat. Leave the fader open. Continue this rhythmic motion in time with the beat, and you're doing a baby scratch!

Concentrate on “reading” the record so you know where your selected sample starts and ends. (See “Turntablist Techniques” in the March 2001 issue of Remix for tips on how to read a record.) Try to make your hand motions consistent, moving the record the same amount forward and backward each time. Push the record at roughly the same speed that it would normally play. You can introduce variations by changing the sample length; however, the baby scratch is almost always performed at or near the speed at which the record would normally spin.

SCRIBBLE

A scribble is basically a very fast baby scratch, consisting of the same forward-and-backward motion; the main difference is that you do it at a faster tempo. The name comes from the rapid hand movement this technique requires, similar to scribbling with a pen on paper.

The range and types of sounds you can achieve are greater with a scribble than with a baby scratch, because there are typically more variations in the speed at which you can manipulate the record. With the scribble technique, the sound created by the back-and-forth motion tends to blend, creating a fluid scratch effect. You can also vary the tone and tempo of this scratch effect to create different rhythmic accompaniments to the beat.

VARIATIONS

I have described fairly specific ways of performing each scratch, but the real beauty of these techniques is that you can vary them and throw in new ideas to come up with your own style. You should concentrate on learning each technique first, but then try experimenting with combinations of techniques (called patterns). For example, flow from a baby scratch for one bar to a fast scribble for the next bar. Follow this with a 1-beat slower scribble, a 1-beat baby scratch, and a 2-beat fast scribble. The combinations are as endless and varied as your imagination.

Even though these techniques are basic, you can use them to develop your own personal style right away. As you become familiar with additional scratch techniques, remember to work on the transition from one technique to another. A good turntablist learns every individual scratch technique; a great turntablist knows how to combine all techniques into a masterful and varied showcase of skill and creativity. Now go practice!

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Tips and Tricks - Turntablist Techniques Part 3

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:

*

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.
*

Locked grooves: samples, drumbeats, or tones pressed into a single rotational groove that loops continuously until you lift the needle out of the groove.
*

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.
*

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.

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Tips and Tricks - Turntablist Part 2

Hi all, this is the second part of Articles on how to be a "Turntablist", also from Remix Mag, Enjoy:)


In this issue, we'll explore the quirks and queries surrounding equipment setup for optimal turntablist-style scratching.

CABLES

One important but often overlooked part of hooking up your equipment is the quality of, and care for, the cables that connect everything. DJs may spend hundreds or even thousands of dollars purchasing top-of-the-line audio equipment, only to hook it all up with dime-store cables. Remember, your sound is only as good as the weakest link. Buying inferior cables may save you a few dollars, but it can prevent your high-quality equipment from performing at its best. Don't cut corners in this area.

Invest in at least one set of high-grade RCA cables and keep them in good shape. Coil them when they're not in use, and avoid crushing or kinking them. If your turntables have hardwired RCA cables, keep them and the thin ground cable well maintained and damage-free. This is especially important if you use flight cases — they're notorious for chopping off the cables when an inattentive DJ closes the lid without first tucking everything safely into the case.

MAINTENANCE

Keep your equipment clean and free of dust. Use some old bedsheets or T-shirts as dust covers for your mixer and turntable, and follow a regular cleaning plan. Invest in a can of compressed air for blowing the dust out of any moving parts. Take particular care of the faders on your mixer — dust and dirt will quickly degrade a fader's performance.

A small investment in the care and cleaning of your equipment and cables will pay off in increased life expectancy for your DJ setup.

TURNTABLE SETUP

To achieve a skip-free scratch environment, you need to set up your turntable for optimal performance. This involves concentrating on four main areas: general turntable location and setup, tonearm care and configuration, platter and slipmat setup, and headshell and cartridge setup.
General Turntable Location and Setup

Place your turntables on a level, solid surface. If a turntable has adjustable feet, make sure you have all four dialed in so that the unit is wobble-free. If you use a flight case, consider leaving the turntable in the bottom half of the case — this will both protect it and make it easy to position. DJs often unscrew the hinges of a turntable's plastic dust cover so that it can be removed quickly and easily.
Tonearm Care and Configuration

Make sure the tonearm suspension mechanism isn't loose. Any wobble is a surefire skip inducer and, more important, indicates a problem with the tonearm. These mechanisms are famously hard to adjust. If you are not confident that you know how to tighten it down without breaking a component or crushing the bearings, consider taking your turntable to an authorized dealer for servicing. The cost of doing this is far lower than having to replace parts should you break something.

It is important to fine-tune your tonearm's user-adjustable settings. Not all tonearms have the following settings, but if yours does, here are some recommendations for a turntablist DJ's setup:

* Tonearm height ring: DJs debate the proper setting for this device. I find that the tonearm works best for my scratch technique when I adjust the ring to its highest setting. (Note that the thickness of your slipmats affects this setting.)
* Antiskate control: Adjust it to the maximum setting. This reduces the likelihood that the needle will jump forward during heavy scratching.
* Balance weight installation and adjustment: For additional tracking weight, some turntablists install the balance weight in a reversed position. Doing this will give it more weight but will wear out records and needles more quickly. Follow the recommendations of the cartridge or needle manufacturer, and if things skip too much, practice scratching with a lighter hand instead of with a heavier tracking weight.

Platter and Slipmat Setup

Get rid of the rubber mat that came with your turntable and replace it with a slipmat (typically a circle of thick, feltlike material). To increase the slip effect, some DJs polish the platter surface or place waxed paper or thin plastic disks between the slipmat and the platter.

The goal is to create a friction-reduced vinyl-to-platter relationship that enables the DJ to both hold the record stationary and spin it back and forth without affecting the turntable platter's rotational velocity. This is particularly important for belt-drive turntables, as the constant strain of the DJ's holding down the record can wear out the motor or stretch the belt.
Headshell and Cartridge Setup

Start off by following the manufacturer's setup recommendations, and then make adjustments from there. Often you need to screw in a small, flat headshell weight between the cartridge and the headshell to achieve the correct tracking weight for your cartridge.

The specifics vary for each cartridge, but basically you should track at the lightest weight possible without causing skipping. The heavier the weight you exert, the quicker your vinyl will wear out.

Many turntablists “toe in” their cartridges by mounting them in the headshell with the front end turned slightly toward the record's center (no more than 10 degrees), so that the needle skips less. The more you toe in, however, the faster the needle will burn your records — leading to the crackly sound you hear on frequently scratched areas.

MIXER MAINTENANCE

Most mixers require a break-in period, during which the faders may not feel loose enough. You may even hear a little static when you're scratching. The fader will eventually loosen up, resulting in better performance. The current crop of turntablist mixers employ various contactless fader technologies that should reduce problems such as static and bleeding.

Ideally you'll want to position your mixer with the surface at the same height as your turntables. Although most new mixers are specifically designed at this height, older rack-mountable mixers may not be. In that case, leave your turntables in the bottom half of a flight case and rest the flanges on the side of the case to create a level surface between the turntables and mixer.

Rigorous scratching may cause your mixer to move around during a session. If this happens, put some double-sided tape on the mixer's feet to hold it in place.

PUTTING IT ALL TOGETHER

To optimize the sound quality and prolong the life of your equipment, you must hook up everything correctly. Read the manual for each piece of gear to be sure you understand the essential hookups.

For turntables, it is vitally important to hook up the ground cable to your mixer's ground post to eliminate hum. Also, make sure to hook the turntable's RCA jacks to the mixer's phono input rather than to the line-level input — the signal strengths are different.

EQUIPMENT PLACEMENT

Most turntablists prefer to turn their turntables 90 degrees counterclockwise from the normal standard position. This moves the tonearm to the back, out of the way of speedy hands. It also positions the turntable platters as close together as possible.

In mixer placement, you commonly see the mixer positioned between the two turntables. Some DJs, however, prefer to place the turntables together and the mixer to their left or right. This layout may be tempting, but I recommend you first become comfortable with having the mixer in the center. Such placement requires a more ambidextrous scratch technique — each hand will have to do both fader work and vinyl manipulation, depending on which turntable you are scratching. In the long run, you'll benefit from this setup: you'll develop more skills, achieve greater flexibility, and enhance your creative potential.

I hope you're now better equipped with the knowledge you'll need to maintain and configure your equipment for optimal turntablist performance. But keep in mind that these recommendations are far from written in stone. Experiment with various options, using the ones I've suggested as a starting point. Invest some time in playing around with your setup — you'll become more familiar with your equipment and find a configuration that's perfect for you.

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Tips and Tricks - Turntablist Part 1

Hi all, this is the first of article sets i found on Remix Mag for you who want to be what is known as "Turntablist", Enjoy:)


So you want to be a turntablist. Do you have what it takes? Do you know what it takes? Actually, all it takes are three simple things: practice, creativity, and the right equipment.

Practice, and lots of it, is crucial to your success as a turntablist. Luckily, practice comes free and you have complete control over it. If you are disciplined, you can learn any scratch technique with enough practice. Although creativity is usually something that people are born with (or without), you can cultivate it through dedication and practice. If you are creative enough, you may even invent a few scratch techniques of your own. On the other hand, you can buy equipment - and having the right gear is essential to becoming a successful turntablist.

Even though it's not altogether impossible to perform most of the current turntablist techniques with any old turntable and mixer, you're unlikely to truly master them if you're working with a junky, outdated ten-year-old mixer and your dad's decrepit belt-drive turntable. If you really want to succeed, you'll need equipment that's designed with the hip-hop DJ and turntablist in mind. Unfortunately, the entrance fee into the game can be steep.

The major pieces of hardware a turntablist requires can be broken down into four main categories: turntables, mixers, cartridges, and vinyl. To help you make a solid purchasing decision that will serve your needs for some time, let me give you an overview of each piece of the puzzle.

TURNTABLES After 20 years, the Technics SL-1200MkII remains the turntable of choice for hip-hop DJs. Despite competing manufacturers' many attempts to make comparable turntables that cost less or deliver better features, turntablists continue to favor the tried-and-true SL-1200MkII. In recent years, Vestax, a big player in the mixer scene, has begun to make inroads into the turntable market. Vestax turntables such as the PDX-d3S MKII and PDX-2000 are the first products that can truly compete with the Technics favorite. (See the Vestax PDX-d3S MKII review in the Spring 2000 issue of Remix for more details.)

You'll encounter a host of confusing specifications when shopping for a turntable, but only a few details are relevant to your needs. The most important feature is a direct-drive motor. The easiest way to cut corners with budget turntables is to use a belt-drive motor - and for turntablist-style scratching, it won't suffice. The strain on the motor, as well as the inconsistent playback speed, is reason enough to avoid belt drives. Equally important, however, is the pickup time, or torque, which is significantly worse with belt drives than with direct drives. Turntablists need to have the turntable reach the desired rotational speed as quickly as possible. Because you'll frequently stop and start the rotation of a vinyl record (whether by holding it on a slip mat or actually halting it with the stop button), a turntable with a low-torque belt-drive motor presents an obvious hindrance. The Technics SL-1200MkII takes only 0.7 second to go from a standstill to 33 11/43 rpm; you should use this spec as a benchmark for judging a turntable's usefulness.

Tonearm design is another important factor in determining the appropriateness of a turntable for scratch applications. The Technics SL-1200MkII features an S arm. This curvy, S-shaped tonearm rotates on a gimbal suspension mechanism that ensures precise tracking and robust performance. Historically, this has been the tonearm design of choice for DJ turntables. Unfortunately, budget turntables frequently use a cheaper suspension mechanism that causes skip-inducing side-to-side wobble when you apply heavy scratching techniques.

Recently, both Vestax and Stanton released turntables that use a system featuring a shorter, straight arm and a different suspension mechanism. This system eliminates the wobble common with the S tonearm, reducing the likelihood of skipping.

Having used both straight-arm and S-arm turntables, I must concede that the straight arm really works (at least the Vestax version does). It definitely keeps the needle locked to the groove, even in heavy, abusive scratch situations. Does this mean you should buy a turntable with a straight arm? Not necessarily. Despite the advantages of the straight-arm system, my favorite turntable is still the Technics SL-1200MkII, an all-around road warrior - solidly made, well tested, and more than capable of meeting any scratch DJ's needs. Note, however, that both the Technics device and the Vestax PDX-d3S are expensive, with street prices around $480 and $580, respectively. The Stanton STR8-80 - a cheaper direct-drive turntable that includes a straight-arm tonearm and a 520SK cartridge - goes for about $300 (street).

MIXERS In recent years, DJ-mixer manufacturers have finally begun paying attention to the needs of the growing number of turntablist-style DJs. Manufacturers have released dozens of models with features aimed squarely at the turntablist market. Vestax is the current leader of the mixer market, with its flagship 07 Pro and the older but still excellent 05 Pro. Other mixer makers have emerged with similar battle-DJ products. Rane - which reigns in the club-mixer market - makes the high-quality TTM52i and TTM54i models. Needle and cartridge giant Stanton produces the SK-2F, which features the Focus Fader, a no-contact, feather-light fader designed by Arizona's DJ Focus. Other more budget-conscious manufacturers include Numark, Gemini, and American DJ.

Expect to spend at least $500 for a decent scratch-worthy mixer - you could easily spend a lot more. Look for a mixer that features user-adjustable crossfader cut-in (essential for crab-style scratches), hamster switches, and user-replaceable, low-resistance crossfaders. Most of the current hip-hop DJ mixers come in a compact case (7 to 10 inches wide) that allows the turntables to sit closer together. Other desirable features include double-panel faceplates, which provide a smooth surface that won't catch your fingers, and contactless faders, which reduce or eliminate the static and signal bleeding that occur after repeated use and abuse of a turntable.

For roughly $550 (street), the Rane TTM52i is a solid choice with many great features at a reasonable cost. The Rolls-Royce of turntablist mixers is the Vestax 07 Pro, codesigned by the Invisibl Skratch Piklz and available for about $1,000 (street).

CARTRIDGES Manufacturers offer numerous cartridge choices, and turntablists hotly debate the attributes of their individual preferences for scratching. Many turntablists prefer the recently rereleased Shure M447. Another popular choice is the Stanton 520SK, codesigned by DMC World Champion DJ Craze. For an inexpensive but solid choice, check out the new Stanton 505, an update of the classic 500 that many DJs have traditionally used. Ortofon, a stalwart of the club DJ scene, recently released a hip-hop DJ cartridge called the Ortofon Concorde Scratch that employs its famous all-in-one head-shell-and-cartridge mechanism.

When buying a cartridge, look for one specifically designed for scratch deejaying and battle mixing. The features of a cartridge designed for sonic perfection are very different from those designed for robust, nonskipping scratch mixing. For years I used the Stanton 500AL, which remains a good budget choice at around $30 (street). Currently I use the Shure M447 (about $75 street); it's renowned for its tracking prowess, long life, and reduced record burn when set up properly.

VINYL To get started on the road to becoming a top-notch turntablist, you definitely need to invest in some vinyl. Your choices here are almost endless. You can cut up your precious 12-inch collection like the old-school DJs used to do, or you can invest in one or two copies of some popular battle albums released over the past few years.

Battle albums are a good choice, as they provide all the necessary elements, such as instrumental drum tracks to scratch over and sample collages to scratch with. Often the beats and samples found on battle break albums are lifted from well-known tracks popular with scratch DJs. These records allow you to save your pristine vinyl collection for listening, while giving you plenty of beats to juggle and cool vocal samples to rip up.

Some of the more popular battle break albums include the Beat Junkies' Super Duck Breaks, the Scratch Hamster's Hamster Breaks, the Invisibl Skratch Piklz's Needle Thrashers series, QBert's Bionic Booger Breaks, and DJ Flare's Hee-Haw Breaks. Many scratch DJs own multiple copies of these albums.

IMPORTANT TIPS It is essential to make the right decisions early in your turntablist career or hobby. Good mixers and turntables don't come cheap, but buying the wrong ones for the sake of saving a few hundred dollars will only lead to disappointment and may actually hinder the development of your skills.

A cost-saving tip: buy a really good turntable up front and use this unit for practicing your scratches while you save up for a second turntable. Partner the good turntable with a cheaper model or a tape deck that can play some grooves and breaks. This will allow you to gradually build a system with longer life than one of the low-budget "DJ starter kits" frequently advertised in hip-hop magazines and online stores.

Another detail worth noting about high-quality turntables such as the Technics SL-1200MkII is that they hold their value very well. Because these models are highly sought after in the secondhand market, you can get back most of the money you invested should you decide to sell your turntable at a later date.

The following manufacturers' Web sites should help familiarize you with the equipment that's available to the budding turntablist.

Gemini: www.geminidj.com Numark: www.numark.com Ortofon: www.ortofon.com Rane: www.rane.com Shure: www.shure.com Stanton: www.stantonmagnetics.com Technics: www.panasonic.com/consumer_electronics/technics_audio Vestax: www.vestaxdj.com

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