FREE ESSAY ON SCRATCH

SCRATCH

NEEDLE AND TURNTABLE SET-UP
Finding the right set-up for your needles and turntables will help you immensely with
stopping
records skipping. Generally anti skating on your turntable is set to zero, the height is
at roughly 5
and the weight on the tone arm is turned around (so that the numbers are at the back, it
will be a
little awkward to get back onto the tone arm) and all the way to the front (as close to
the needle
as possible). 
There are a few exceptions to this rule, notably the Shure M447 needles. These need as
little
weight as you can put on them. Another way to get better performance is to angle the
needle on
the headshell so that it angles towards the outer edge of the record (in other words,
turn it very
slightly anti-clockwise. The norm is about 30?). 
This is a very personal thing and varies greatly with different equipment, experiment to
get the
best performance.
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*BABY SCRATCH
The first scratch to learn is the baby scratch. 
This is the easiest scratch to learn, but also the scratch that you will use the most as
it is the
basis for practically all scratches. What this scratch entails is placing your record
hand on the
record (throughout this tutorial this is what I will be calling the hand that you of
course, use on the
record. Typically, although not always, this is the left hand if you are right handed,
and the right if
you are left handed) and moving the record back and forth in a rhythm to the music so
that it
creates a zigga-zigga sound. 
This may not seem like the most exciting scratch, but in a combination with other
scratches, or as
part of a bigger routine it has a nice effect.
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*SCRIBBLE This is a similar scratch to the baby scratch but is performed much
differently
and can take quite a while to get used to the technique. 
It is basically a really short fast baby scratch that is performed by placing your hand
on the
record and tensing your forearm until you get a shiver in it and the short fast sound of
a scribble.
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*TEAR
The tear, again, is a scratch using just the record, and no crossfader. 
What you have basically is a baby scratch with pauses. As you push the record forward,
pause
for a short moment in the middle and then continue. This creates 2 parts to the forward
stage of a
baby scratch; this doesn't need to be done just in the forward motion to be a tear.
Experiment with
different combinations of direction and also the amount of pauses.
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*FORWARD
This is the first scratch using the crossfader that will be described here, and is a good
way of
getting the hand to eye co-ordination required to master the art. Begin by cueing a
sample to the
start and with the cross fader closed so that the sound from the record deck you are
scratching
with cannot be heard, typically if you have your right hand on the crossfader and you are
not
scratching hamster style (if you don't know what this is then you are more than likely
not using
this style. It will be explained further down) then this will mean the crossfader being
pressed
against the right hand side of the mixer. As you let the sample play, bring the sound in
by
opening the crossfader (bringing the crossfader knob far enough in the opposite direction
so that
the sound from the record playing can be heard at it's full volume) and as the sample
comes to
the end, close the crossfader and bring the sample back to the start so that it is ready
to go
again. This is a forward, so called because you only hear the forward motion of the
sample. This
scratch can also be performed backwards and naturally is called a backward.
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*STAB
The stab is basically a forward but instead of letting the sample play at normal speed,
you push it
forward quickly to get a more abrupt and harsh sound. Of course you can vary the speed to
get
different sounds, and also this can be done backwards.
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*TRANSFORM
This is quite an easy scratch to learn, but a difficult one to master - what you need to
do is
basically the same as the forward, but instead of just letting the sample play and
cutting it out at
the end, you cut the sound in and out as it plays for a staccato effect. Changing the
tempo and
the amount of time you cut the sound in and out will vary the sound but to be a transform
it must
always end with the crossfader closed. Again, this can be performed backwards.
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*CHIRP
This is one of the hardest scratches to learn, as the action used is very different to
most
scratches. You start with the fader open, and as the forward part is ending, you cut the
sound
out. Then, when you are pulling the sound backwards, cut the sound in towards the end.
You then
start again with the fader open, giving a chirping sound. This will not sound like a
chirp that you
hear all the turntablists doing though unless it is done at the right speed and as
cleanly and
smoothly as possible. The sound you will normally hear is the result of fast chirps.
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*TONES
A useful, but often over-used technique is called tones. What you will need for this is a
record
with a constant, long tone in it, such as a bass sample, or test tone similar to those
you hear late
at night on television. What you do then is to use the pitch control and the speed
buttons and
alter the pitch of the record as it is playing so that you make tunes out of the sample.
The way
DJ 8-Ball describes it, is to think of the middle of the pitch being D, now +3 might be
an E and -3
might be a C. Now what you need to do is experiment with this to get a recognisable tune
(of
course you can make any tune you want, but this is pretty easy and to really impress
people you
need a recognisable tune). If you would like a quick speed change, for instance, a kind
of warbled
sound you can do this in two ways. Firstly, you can place the hand on the rim of the
platter and
move it left and right quickly while pressing lightly on the platter. You can also get
this sound by
quickly changing the speed of the record from 33 to 45. This is best done on the Technics
decks
where you can keep one button pressed and tap the other to get this effect. Another
technique
that many DJs like to use is holding the spindle to slightly slow down the record. The
spindle can
also be used while the motor is off on the deck, allowing the DJ to change the pitch of
the record
very accurately.
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*HYDROPLANE
This is a different technique, as when you begin to do it, you will definitely jump the
needle. As
the record is playing, you need to place a finger on the record, facing the opposite
direction that
the record is playing (against the grain kind of) so that it bounces and vibrates and
produces just
enough feedback on the needle that you get a distorted, bassy sound. You need to practice
this
quite a while because otherwise you will jump the record each time you try it. If you
need to see
someone very good doing it, watch Mix Master Mike. He hydroplanes quite a lot and is
very
aggressive at the same time, pulling the record with one hand and hydroplaning with the
other, to
make a higher pitched sound.
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*TWEAK
Another scratch that Mix Master Mike does to perfection is the tweak scratch. This is
performed
by turning the motor off on your record deck (just stopping it with the start/stop button
will
suffice, there is no need to actually turn it off) and pushing the record back and forth,
taking your
hand off the record occasionally to let it slow down a little so that you get a Wah-Wah
sound like
a guitar. You can also combine this with other scratches using the fader, such as
transforming at
the same time.
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*FLARE
This is probably the most used weapon in a turntablist's arsenal. Not one of the oldest
scratches,
this can be a very difficult scratch to master, due to the high speed it is commonly
performed at.
It is basically transforming in reverse; you start with the fader open and as the record
plays
forward, you click the fader closed and open again. The variations on this scratch
generally
revolve around the speed, and the amount of clicks performed before the sample ends. You
can
also vary it by the speed that you move the record.
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*ORBIT
These are simply a forward flare and a backward flare, performed straight after each
other and
using the same amount of clicks so that you get a continuous sound.
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*CRAB
This can be very difficult to learn, but is one of the few scratches that most people
will suddenly
click on and be able to do it as it is based on learning a movement, that until learned
you won't be
able to perform the scratch. 
There is no practice makes perfect, you will suddenly learn it and wonder why it took you
so long.
You start with the thumb pressed lightly against the fader, keeping it closed. Position
your fingers
so that they aren't touching the fader, but are slightly forward of it so that your
little finger (or
pinky) is closest to it. The technique is best described by placing your hand flat on the
table and
drumming your fingers, starting with your little finger. They must be done individually
and should
get 4 taps from beginning to end. Now transfer this action to the cross fader, tap the
crossfader
with each finger individually until you have some idea of the motion and action involved.
What
you need to do is to get the tension used to push the crossfader closed just right, so
that each
time you tap it with a finger, it will click in and click back out again by the pressure
of your
thumb. What you basically get is a quick 4 click transform (or a flare if you are
scratching
hamster style, but this is quite a bit more complicated to explain so is best left to
someone to
show you how it is done) that looks like the motion of a crab walking. 
This can also be done with only 3 fingers (which a lot of DJs find much easier) or with ,
which is
commonly called a 'twiddle'. The twiddle can also be used to perform flares and lots of
other
scratches.
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*FLIRPS
A new scratch has been doing the rounds recently with many of the up 'n' coming battle
DJs
doing it. Basically what you have is a chirp-flare combo (hence the name). You start with
the
fader open, like a chirp and as the forward part is ending, you cut the sound out. Then,
when you
are pulling the sound backwards, cut the sound in and then quickly out and in again
before the end
of the sample so that when you push the sample forward again the fader is open. This
gives a
half chirp 2 click flare sound that is very different than most of the sound nowadays.
Quite easy
to learn if you can flare and chirp accurately but a useful part of the arsenal.
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*ECHOES
This is another relatively easy technique but one that requires use of the upfaders
(which may
give some people scratching normal style a little problem as it basically means
scratching
hamster but on the upfaders). 
You begin by cutting the sample in and with the upfader at full volume, cut the upfader
out
completely at the end of the sample and quickly bring it back to the beginning of the
sample.
Next bring the upfader to slightly below full volume and at the same time let the sample
play
(rather like a forward). repeat this a few times, gradually placing the upfader at a
quieter and
quieter position so that it fades out like an echo. 
Another way to do this is to gradually cut a little part of the sample off at the start
so that it has a
more realistic sound to it. A similar effect can also be done by using a long sample and
a
transform scratch. While transforming, move the record hand to the upfader and gradually
fade
out the sound. If the sample is long enough it will produce the same sort of effect.
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*DRUMMING
A very useful and practically compulsory technique if you want to have a crew or enter
team
battles is drumming. You will need to find a record that has single breaks on it where
there is a
kick and a snare or bass kick combinations. What you need to do next is to mark where
each of
these are on your record. This does not have to be done, but a lot of DJs find it useful.

Generally people use round stickers placed on the run out groove of the record (the part
of the
record in the middle with no music on) so that when the sticker is at 12 o'clock on the
record (right
at the top) the sample starts playing. Place one sticker for each different drum sample
you are
going to use so that you can easily see where each kick or snare is. Now using these
samples,
try to make a beat with it using all the techniques above. 
The main techniques to use though are stabs and forwards. E.g. do a forward using a bass
sample, the do the same with the next sample (a snare in this example) and then repeat.
This
would give you a very simple Bass Snare Bass Snare Bass Snare beat. You can then change
the
order you play the beats in, repeating certain samples a few times to give more complex
combinations. 
You can also play some samples backwards, using baby scratches, chirps and flares to
make
more and more complex patterns.
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*BANANA
A very uncommon scratch invented by the Invisbl Skratch Piklz. This is similar to the
tweak
scratch but VERY easy to skip the record with due to it's unorthodox nature. 
Place a record onto the turntable and grab the edge of the record on one side (not either
edge but
actually either side, between your fingers) and bend it upwards slightly. Now move the
record
back and forth. The advantage of this scratch is that you can get very weird sounds with
it, but
the main reason is as a body trick.
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*HAMSTER
This is a style of scratching that was invented by The Bullet Proof Scratch Hamsters (now
known
as the Space Travellers) that involves having the record decks wired the wrong way around
- so
that the left hand record deck is selected or cut by pushing the fader in the direction
that would
normally cut in the opposite record deck (basically pushing it away from the record deck
instead
of towards). 
This involves connecting the left deck to the right phono input on your mixer and the
right deck to
the left phono input, thus swapping them around. Most scratch mixers nowadays come with
a
switch that does this for you so that you don't have to mess around with the wires
although some
don't (notably the world championship mixer, the Technics). 
Nowadays there are also small devices called 'Hamster Boxes' or something similar that
will allow
you to plug your decks in to a small box and the box into the mixer. This can then be
switched at
will, allowing you to add a hamster switch to a mixer that does not normally have one.
The reason
for doing this is basically one of personal choice. Some DJs scratch like this because
they find it
easier to do flares, and they prefer the sound that you get from hamstered crabs. If you
try this
and find it easier, then use it. 
Remember though that the techniques described here are for normal style and will need to
be
changed a little to be of use.
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*MARKING
A useful tip for beginners is to mark your records. The reason for doing this is so that
you know
where the beginning of a sample is, or just as a general reference point in case the
label is plain.
There are a number of ways to do this but the most common way is to place a small round
sticker
on either the label the record or the part next to the label where there is no sound
recorded on the
record you are scratching with. The place to position the sticker is so that when the
sample begins
to play, the sticker reaches 12 o'clock (imagine a clock). Another common version though
is to
mark the record so that the sticker lines up with where the needle touches the record. 
Some people also place the sticker on the edge of the record, since this can give
greater
accuracy when backspinning or finding the start of a short sample.
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*TAPE DROPS Something that you will see world class battle DJs doing is using tape
drops.
This can be quite a difficult idea to get to grips with at first but needs to be thought
of ONLY in
the arena of battling where every second counts. 
The basic premise is to be able to mark the record so that you know EXACTLY where to
place the
needle without the need for headphones. What you are basically doing is placing some tape
or
stickers (something similar to masking tape is preferred as it doesn't interfere with
your needles
as much as a sticker) on the actual record so that the edge of the needle hits the tape
and is
forced into the groove with the sample you want. Like I said, it is quite difficult to
grasp the
concept of this. 
You need to place tape at an angle on the record directed from the outside groove toward
the
inside groove so that as the record moves forward the needle hits the edge of the tape
and drags
across the record until it sits in the groove that you want. 
One of the best ways to get the position of the tape is to place it lightly where you
think it is
supposed to be (it is quite important that you get the position around the record as
accurate as
possible, less important to get the position across the record). Then place the needle
just before
the tape (somewhere in the middle where it will definitely hit the tape is easiest to
begin with; it
does harm the record though and isn't exactly good for your needle) and slowly let the
record
move forward until the needle hits the tape. Keep it moving until it reaches the end of
the tape
and sits in a groove. Is this where the sample starts? No? You should be able to slide
the tape a
little till you think it is closer to where it should be. Once you have done this repeat
the process
until you are satisfied with where it is. 
Since this is a little long winded I'll also give you the quicker more difficult version.
Make the
weight on the tone arm as light as possible but heavy enough for the stylus to still
touch the
record. Find the start of the sample and push a bit of tape against it till it sits
properly. All done, it
can take quite a few goes at the beginning to get the tape positioned properly but all
this will stop
you looking like an idiot at battles, frantically searching for a sample. 
Like I said, this is basically for battling DJs. It is bad for the record and even worse
for the
needle, but if you are using it in a battle it is a small price to pay to buy a couple of
new records
compared to the time it takes to find a sample with headphones.
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*BODY TRICKS
This is sort of the black sheep of the family as far as many people are concerned. 
Back in the day when DJs were basic and battles were often judged on crowd response, the
way
to win over the crowd was to use a gadget or prop to scratch with (a football or
something on the
record) OR to do a body trick. The general premise for a body trick is to do something
that you
would normally do one way in a different way. So if you normally scratch with your eyes
open,
closing them to scratch could be called a body trick. More commonly though they are
things like
scratching behind your back, using your mouth on the record or fader and even (in the
case of
DJ David) doing turtles (handspins) on the turntable. 
One of the DJs who use body tricks in their routines is Roc Raida and the X-Ecutioners as
a
whole. Body tricks can be very good or very bad. Craze executes one of the best body
tricks in
the 1999 DMC world finals where he rolls across the record to move it. The main thing
with body
tricks is to keep the sound quality high. There's no use spinning around doing beat
juggles if they
sound sloppy, do the same thing and have them sounding clean and on beat and this shows
that
your skill level is high enough to be able to do techniques in even the worst conditions.
Also look
out for team body tricks, such as 3 person juggles where a crew will execute a juggle on
the same
2 turntables whilst swapping positions so that they all juggle in time and cleanly. 
You will either like body tricks or not, it is a very personal thing and some events will
not judge
body tricks because they feel it cheapens the art form (ITF for example). But where do
you draw
the line at what is a body trick though? Placing the pinky on the record and the thumb on
the
upfader to create a stab? Is using your stomach to push the fader while you juggle a new
technique to speed up juggling, or is it a body trick? 
My advice is if it fits with your routine use it. If it doesn't then leave it out.
*** Top
*LINE SWITCHES AND TRICKLERS
If you don't know what a line switch is, take a look at your mixer. The line switch will
normally be
above the upfaders and will be labelled something like 'phono / line'. It is used to
select which
input you want to mix with, line or phono. 
There is another use for it though, you will notice that when you switch it, the sound
from the
turntable will cut out, this can then be used as a very fast cut in time fader. It can be
quite
difficult to learn to use and to be honest there is no need to use it as all the
techniques that use is
basically can be done with the fader instead. There is a modification that can be done to
this
switch but it is advised that you do not use it. 
On a large number of mixers, these switches can be taken out and can be modified so that
for
each switch, it turns the sound off and on then off again. Thus giving you a VERY quick
click. If
you use this to do orbits you will be able to do very quick regular continuous orbits
with little
trouble. 
Beware though because