Scratching , sometimes referred to as scrubbing , is a DJ technique and turntablist moves vinyl records back and forth on the turntable to produce percussion or rhythmic sound. Crossfaders on a DJ mixer can be used to fade between two recordings simultaneously.
While scratching is most associated with hip hop music, where it appeared in the mid-1970s, from the 1990s it has been used in several styles of rap rock, rap metal and nu metal. In hip hop culture, scratching is one measure of a DJ's skill. DJs compete in scratching competitions at the DMC World DJ Championship and IDA (International DJ Association, formerly known as ITF (International Turntablist Federation).) In a scratching competition, DJs can use only a scratch-oriented tooth (turntable, DJ mixer, digital vinyl system or disc black only) In recorded hip hop songs, scratched "hooks" often use parts of other songs.
Video Scratching
History
Precursors
The basic form of turntable manipulation associated with scratches was developed in the late 1940s radio DJs (hosted music programs) or radio program producers who performed their own technical operations as audio console operators. It is known as back-cueing, and is used to find the beginning of the beginning of a song (ie, the sign point) on the vinyl recording path. This is done to allow the operator to back up the disk (rotating the record or turntable itself counter counterclockwise) to allow turntables to be switched on, and up to full speed without destroying the first few music bars. with "wow" the wrong game, unnatural low speed. This allows the broadcaster to set his time or comment and start a turntable just before he really wants recorded music to start.
Back cueing is a basic skill that all radio production staff need to learn, and the dynamics are unique to professional turntable brands used in certain radio stations. Older, bigger and heavier turntables require 180 degrees of rotation to the rear to allow running to full speed; some newer 1950s models use aluminum dishes and fabric-backed rubber mats that require a third of rotation or less rotation to reach full speed when the song begins. All this is done to present the music show in the air with the least deadness ("dead air") between the music, the broadcasters and the advertisements that are recorded. The reason is that any "dead" on a radio station is likely to encourage listeners to switch stations, so broadcasters and program directors instruct DJs and broadcasters to provide continuous streams of music from non-stop to broadcasters to pre-commercial compromise, to "jingle "(the radio station theme song), and then immediately return to more music.
Back-cueing is a key function in delivering this unlimited stream of music. The radio personnel demanded strong equipment and manufacturers developed special tonearm, styli, cartridges, and light turntables to meet these demands.
Turntablism
Modern scratch techniques are made possible by the discovery of direct-drive turntables, leading to the emergence of turntablism. Early turntable belt-drives are not suitable for scratching, as they have slow start-up times, and they are vulnerable to wear-and-tear and rupture, because the belt will break from backspinning or scratches. The first direct-drive turntable was created by Shuichi Obata, an engineer at Matsushita (now Panasonic), based in Osaka, Japan. This removes the belt, and instead uses the motor to directly move the plate on which the vinyl record is leaning. In 1969, Matsushita released it as SP-10, the first direct-drive turntable on the market, and the first in the influential Technics turntable series.
In the 1970s, hip hop musicians and club DJs started using this special turntable equipment to move the tapes back and forth, creating percussion and effect- "scratching" -to entertain the audience of their dance floor. While the 1940s 1960s radio DJs had used back-cueing while listening to sound through their headphones, without audience hearing, by scratching, DJ deliberately allowed the audience to hear the sound being made by manipulating the notes on the turntable, by directing the output from turntable to sound reinforcement system so that the audience can hear the sound. Scratching was developed by an early hip hop DJ from New York City like Grand Wizard Theodore, which depicts scratching as, " no but the back-mark you hear in your ear before you push it [sound recording] into the crowd. "He developed this technique while experimenting with Technics SL-1200, a turntable direct-drive released by Matsushita in 1972, when he discovered that the motor would continue to rotate in the correct RPM even if the DJ shook his tape back and forth on the plate. Africa Bambaataa made similar discoveries with the SL-1200 in the 1970s. Technics SL-1200 then became the most widely used turntable for the next few decades.
Jamaican-born DJ Kool Herc, who immigrated to New York City, influenced the early development of dissolution. Kool Herc developed the break-beat DJing, where the pause of funk songs - being the most danceable part, often featuring percussion - was isolated and repeated for the purpose of dance parties throughout the night. He was influenced by Jamaican music, and developed his turntable technique using Technics SL-1100, released in 1971, due to his strong motor, durability, and loyalty.
Although previous artists such as writer and poet William S. Burroughs have experimented with the idea of ​​manipulating reel-to-reel recordings manually to make sounds, such as with his 1950s recording, Sound Piece), vinyl scratching as a springboard element pioneered the idea making sounds as an integral part and rhythm of music rather than an uncontrollable sound. Scratching is associated with "scrubbing" (in terms of editing and audio production) when rolls of open reel-to-reel tape decks (usually 1/4 inch magnetic audio tape) are gently rotated backwards and forwards as playback heads are being played. alive and strengthened, to isolate a particular spot on the recording where editing "cuts" should be made. In 2010, both scratched and scrubbing can be done on digital audio workstations (DAWs) equipped for this technique.
Christian Marclay was one of the earliest musicians to scratch outside hip hop. In the mid-1970s, Marclay used phonographs and turntables as musical instruments to create a collage of sounds. He developed his turntables independently of hip hop DJs. Although he is little known to mainstream audiences, Marclay has been described as "the most influential turntable beyond hip hop" and "the unconscious inventor of turntablism."
In 1981, Grandmaster Flash released the song "The Adventures of Grandmaster Flash on the Wheels of Steel" which is famous for the use of many DJ cutting techniques. It was the first commercial recording to be produced entirely using turntables. In 1982, Malcolm McLaren & amp; The world's leading Supreme Team released a single "Buffalo Gals", juxtaposing extensive rolls with calls from square dances, and, in 1983, EP, D'ya Like Scratchin '? , which is completely focused on scratches. Another 1983 release that prominently featured scratches was Herbie Hancock's award-winning "Rockit" that won a Grammy Award. The song was also performed live at the 1984 Grammy Awards, and in the Scratch documentary , the show was cited by many DJs of the 1980s as their first exposure to scratching. The Electro Sounds Electro compilation series started in 1983 is also well known for early examples of scratches. Also an important part is "For A Few Dollars More" by Bill Laswell-Michael Beinhorn Material band, released on 12 "single in Japan and contains scratches performed by Grand Mixer DXT, another pioneer for scratching.
Maps Scratching
Basic techniques
Vinyl record
Most scratches are generated by turning the phonograph on the rotating table of the drive instantly by hand with the stylus ("needle") in the recording path. It produces a distinctive sound that becomes one of the most well known hip hop music features. Over time with excessive scratches, the stylus will cause what is called a "track record" to a phonograph record.
The basic equipment settings for scratching include two turntables and a DJ mixer, which is a small mixer that has crossfader and gesture keys to allow the DJ to turn on new music in headphones without audience hearing. When scratching, this crossfader is used in conjunction with hand scratches that manipulate the recording disc. The hand that manipulates the crossfader is used to cut in and out of the sound recording.
Digital vinyl system
Using a digital vinyl system (DVS) consists of playing vinyl discs on a turntable whose contents are timecode signals instead of real music recordings.
- The turntable audio output is connected to the audio input of the computer's audio interface.
- The audio interface digitizes the timecode signal from the turntable and transfers it to the computer's DJ software.
- The DJ software uses this data (for example, about how fast the rotating plate is) to determine the playback status, speed, initial sound of hardware turntables, etc., and duplicate this effect on a digital audio file or computer tracking the DJ used.
- By manipulating turntable plays, speed controls, and other elements, the DJ thus controls how the computer plays digital audio and therefore can generate "scratches" and other turntablism effects on existing songs as digital audio files or computer tracks.
There is no DVS standard, so any form of DJ software has its own settings. Some DJ software such as Tractor Scratch Pro or Serato Scratch Live only support audio interfaces sold with their software, requiring multiple interfaces for one computer to run multiple programs.
Beberapa is a full-fledged digital vinyl terminator:
- Traktor Scratch Pro
- Salib DVS
- Virtual DJ Pro
- Live Serato Scratch
- M-Audio Torq
- Dekadansi
- Xwax
non-vinyl scratching
While some turntablists consider the only true scratching medium to be a vinyl disk, there are other ways to scratch, such as:
- Special DJ-CD players with jogging wheels, allowing DJs to manipulate CDs as if they were phonographs, had become widely available in the 2000s.
- Vinyl emulation software allows a DJ to manipulate the playback of digital music files on a computer through a DJ control surface (usually a MIDI or HID controller). DJs can scratch, beatmatch, and perform other turntablist operations that can not be done with conventional keyboard and mouse. DJ software performs computer scratch operations including Tractor Pro, Mixxx, Serato Scratch Live & amp; Itch, Virtual DJ, M-Audio Torq, DJay, Deckadance, Cross.
- DJs also use magnetic tapes, such as cassettes or rolls to roll both mixes and scratches. DJing's tape is rare, but Ruthless Ramsey in the US, Tj Scratchavite in Italy and Mr. Tape in Latvia use the exclusive tape format to perform.
​​Sound
The often scratched sounds include but are not limited to drum beats, horn pricks, examples of spoken words, and vocals/lyrics of other songs. Any voice recorded on vinyl can be used, and a CD player that provides a turntable-like interface allows the DJ to scratch not only material that was never released on vinyl, but also field footage and samples from burned television and movies to CD-R.. Some DJs and anonymous collectors release 12-inch singles called combat records that include trademarks, novels or scratches that are hard to find "groceries" (material). The best known samples used for scratching are the "Ahh" and "Fresh" samples, which are from the song "Change the Beat" by Fab 5 Freddy.
There are many scratch techniques, which differ in how the note movements are combined with opening and closing crossfaders (or other faders or switches, such as the kill switch, where "open" means that the signal is audible, and "closed" meaning that the signal is not audible. this is not unique; the following discussion, however, is consistent with the terminology used by DJ QBert on DVD's Do It Yourself Scratching.
Advanced techniques
- Baby scratch - The simplest form of scratches, this is done only by scratching the hands, moving the tape forward and backward in continuous movement while the crossfader is in the open position.
- Front and back strokes - Front scratches, also referred to as scrubbing, are baby strokes where the crossfader is closed during the retreat of the recording. If the recording is released instead of being pushed forward, it is also called "early release". Cutting the forward part of the recording motion rather than the back provides "rear scratches".
- Teardrops - Teardrops are scratches where the tape is moved in a staggered way, dividing the forward and backward movement into two or more movements. This allows making sounds similar to "flare scratches" without using a crossfader and allows for more complex rhythmic patterns. The term can also refer to a simpler and slower version of chirp.
- Scribble Scratches - Strokes are to push notes back and forth. Crossfader is not used.
- The edge of chirping - Scratching chirp involves closing the crossfader right after turning the sound, stopping the recording at the same point, then pushing it back while opening the fader to make a "chirping" sound. When done using a drum recording, it can create the illusion of double-scratching speed, because the attack is created by cutting the crossfader in reverse motion.
- Hydrophonic scratches - An infant scratch with a "tear-streak" sound produced by the thumb that runs the opposite direction like the radius used for scratching. Rubbing this thumb adds a vibrating or echo effect to the forward movement on the turntable.
- Scratching the transformer - with the crossfader closed, the record is moved by hand scratched while periodically "tapping" the crossfader open and immediately closing it again.
- Flare scratch - Starts with the open crossfader, and then the record is moved while closing the fader for a while or several times to bypass the sound. This produces a surprising sound that can create a single "flare" sound like a very fast "speech" or "cry" series. How many times the fader is closed ("click") during recording movement is usually used as a prefix to differentiate variations. Flare allows the DJ to scratch continuously with less hand fatigue than the result of a transformer. Flares can be combined with crabs for a series of very fast scratches.
- Crab stroke - Consists of moving notes while quickly pressing the open crossfader with each crossfader finger. In this way, DJs can perform transformations or flares faster than they can by manipulating the crossfader with the whole hand. This produces a fading/enhanced sound transformation.
- Scroll scrolling - Crab stings using only index finger and middle finger.
- Orbit scratch - Describes each scratch, most often a flare, which is repeated during the forward and backward movements of the recording. "Orbit" is also used as an abbreviation for two-click flares.
- Initial Tweak - Performed when the motor is not running. Recording plates are manually arranged, then "tweak" faster and slower to make scratches. This initial form is best done with a long and continuous sound.
- Euro scratch - Variations of "flare scratch" in which two faders are used together with one hand to cut sounds faster. This can also be done simply by using the fader and phono line buttons to bypass the sound.
Subculture
While scratching is becoming more and more popular in pop music, especially with the successful crossover of pop-hip hop tracks in 2010, sophisticated scrolling techniques and other turntablism techniques are still dominated underground styles developed by the DJ subculture. The Invisibl Skratch Piklz from San Francisco focuses on scratches. In 1994, the group was formed by DJ Q-Bert, Disk & amp; Shortcut and then Mix Master Mike. In July 2000, the Yerba Buena Center for Art in San Francisco held Skratchcon2000, the first DJ Skratch forum to provide "education and development of music literacy". In 2001, Thud Rumble became an independent company working with DJ artists to produce and distribute early footage.
In 2004, Scratch Magazine , one of the first publications on the hip hop DJ and record producer, released its debut edition, following in the footsteps of the less-known Tablist magazine. Pedestrian is a British art organization running the Urban Music Mentor workshop led by DJ. At this workshop, DJs teach young people how to make a tap, use turntables to create a mix, act as MCs at events, and do club sets.
Use external hip hop
Scratching has been incorporated into a number of other musical genres, including pop, rock, jazz, some subgenres of heavy metal (especially nu metal and some contemporary classical and avant-garde classical performances.) For the use of recording, samplers are often used instead of physically scratching vinyl recordings.
DJ Product  © 1969, formerly of rap rock band Hed PE, recalls that punk rock band Vandals was the first rock band he remembered seeing using turntable scratching. The product  © 1969 also remembers the band's early rap metal Proper Grounds, signed to Maverick Records Madonna, as one of the first rock bands to use scratching in their music.
Guitarist Tom Morello, known for his work with Rage Against the Machine and Audioslave, has done a guitar solo that mimics a scratch using a kill switch on his guitar. Perhaps the most famous example is "Bulls on Parade", where he creates a rhythmic sound like a scratch by rubbing a string over the pick-up when using a pickup pickup switch as a crossfader.
Since the 1990s, scratching has been used in various popular music genres such as nu metal, exemplified by Linkin Park, Slipknot and Limp Bizkit. It has also been used by artists in pop music (eg Nelly Furtado) and alternative rock (eg Incubus). Scratching is also popular in various styles of electronic music, such as hard-groove techno.
See also
- Violin ribbons
- Vinyl emulation software
- VirtualDJ
- The Last Channel
- Serato Scratch Live
- List of turntablists
Source
- Allmusic's Grand Wizard Theodore biography (also in Artist Direct)
- DJ Grandmaster Flash is quoted in Toop, David (1991). Rap Attack 2 , 65. New York: Serpent's Tail. ISBNÃ, 1-85242-243-2. â € <â € <
References
Source of the article : Wikipedia
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