The Modern Approach to Turntablism
The Modern Approach to Turntablism
Written by David Charles Kramer aka dj Buddy Holly
I. Introduction
Turntablism is the art of playing the turntable as a musical instrument. This art form has been in development since the 1920s when Darius Milhaud first experimented with varying phonograph speeds. Throughout many years, turntable music has become a major musical art form, and performance practices such as scratching and beat juggling have now become the most popular methods of turntablist performance. These modern methods and approaches are a combination of musical experimentations as well as improvements in technology. This phenomenon began in 1877 with the invention of the phonograph. In the early days, this machine was used simply to reproduce music. During the late 1930's through the 1940's, early turntablists such as John Cage continued using the phonograph as an instrument. With the beginnings of hip-hop music in the 1970s, the art began to change drastically. DJs such as Kool Herc, Africa Bambaataa, and Grandmaster Flash began beat juggling and scratching, making the DJ an essential part of hip-hop music.
Eventually DJ battles started to become an important part of DJ culture. With organizations such as DMC (Disco Mix Club) and ITF (International Turntablist Federation), turntablists began competing with each other using different beat juggling and scratching techniques. With the turntablist now as a stand-alone musician, different methods and performance practices started developing at a more accelerated rate. Beat juggling became more complex and musical, while scratching techniques such as orbits, flares, hydroplanes, crabs, and tears were defined. Even DJs that primarily mixed music such as House and Drum 'n Bass began to incorporate these styles into their sets.
From the 1980s through today, scratching can be heard in popular music such as rock, hip-hop, jazz, and dance music. Turntablism has even been incorporated into orchestras that play classical music. Turntablism and DJs have become an integral part of modern day popular culture despite the great debate surrounding the significance of the turntable as a musical instrument. Technology has improved drastically and turntablism now exists on many levels. Originating with vinyl records, digital turntables have evolved. These digital turntables employ the use of CDs, which allow the DJ to perform scratches and beat juggling methods with the same precision as vinyl. With computer programs such as Serato Scratch Live and Final Scratch, turntablists can now use audio files on a computer, connect them to a DJ mixer, and control the manipulation of the sound files with phonograph turntables or CD turntables. With this highly advanced technology, DJs are now able to create original samples and beats, and then can manipulate their sound through the use of phonograph turntables or digital turntables. DJs are oftentimes songwriters, music producers, and remixers. They are considered by many to be musical artists and may require years of practice to develop and perfect their technique. Turntablism is also incorporated into educational programs at institutions such as the Berklee College of Music. Michigan State has also recently added scratching synthesis courses into its studies.
The following essay discusses the approach to advanced turntablism techniques, analyzes modern technology in relationship to DJ performance practices, and reviews the pioneers and innovators of scratching and beat juggling on phonograph and digital turntables.
II. The History of Modern Turntablism
Although the origins of turntablism began as early as 1922 with composers such as Darius Milhaud, Edgard Varèse, and John Cage, modern methods of turntablism began to take place in the 1970s within the realm of hip-hop music. We do have turntable effects that were very apparent in songs such as Cage's Imaginary Landscape No. 1 (1939 ) and Credence Clearwater's Walk on the Water (1968), but during the late 1970's DJs began to perform beat juggling with vinyl records. DJ Kool Herc is credited for pioneering this method of turntablism and did so through juggling break beats on two turntables with the audio signals being fed into a DJ mixer. The breakbeat is a type of beat used in hip-hop and usually has the characteristics of a 4/4 time signature. In order to extend this beat to great lengths, Kool Herc would have identical beats on both turntables and would trade off playing the beats from one turntable to the other repeating the pattern. This method became a widespread method of DJing and was performed amongst party DJs and DJs who were spinning beats behind MCs.
The invention of scratching on turntables would also play an important role with the development of turntablism. Grand Wizard Theodore and Grand Master Flash discovered the method of scratching and by the 1980s, this technique would become a staple in hip-hop music. Grand Wizard Theodore discovered scratching accidentally by moving the record back and forth under the stylus of the turntable. Grand Master Flash, a mentor of Grand Wizard Theodore, brought this method of turntablism to the public's eye through his live performances as a DJ. Grand Mixer DXT brought scratching to a commercial level with his performance on Herbie Hancock's song Rockit (1983).
As turntablist techniques of scratching and beat juggling became apparent in the production of songs in the 1980s, DJ battles began to become popular as well with companies such as DMC. DJs would compose sets of beat juggling and scratching and would compete against one another. Earlier sets consisted of beat juggling with a lot of body tricks performed by the DJ. This method, although interesting visually, was not as musical as the techniques that developed over the next few years. As scratching and beat juggling became more technical, DJs were required to use these techniques in a very musical fashion and were able to create new drum patterns and scratch solos. Beat juggling, although originally created by juggling identical beats could now be performed by juggling different beats together. Some DJs would trade off on turntables each 1/8 notes and 1/8 note triplets in some cases. As these methods progressed, virtuoso DJs such as Mix Master Mike and DJ Q-Bert emerged as well as the formation of DJ bands such as the Beat Junkies and Invisibl Skratch Piklz. Even DJs such as DJ Dan and Donald Glaude, who primarily mix house music beats together at raves and clubs, began to incorporate scratching into their live sets. DMC, ITF, Guitar Center, and other companies continue to hold DJ competitions today while DJ scratching and beat juggling is featured in hip-hop, rock, dance, jazz, and even orchestral music. Turntablism has also reached great heights on an educational level with schools opening up for the sole reason of teaching DJing such as the Scratch DJ Academy of New York.
III. Turtablism Techniques
Scratching
Moving a record or audio source back and forth while using the crossfader or volume fader of a DJ mixer to add variation to the rhythm creates the sound of scratching on a turntable. Since its discovery, the art of scratching has become much more technical. The first scratch to be created was the baby scratch, which is simply moving the record or sound source back and forth with the crossfader in the open position. When the crossfader is in the open position the sound of the turntable is heard. When the crossfader is closed, the sound is muted. The chirp scratch is performed like the baby scratch except the DJ cuts the reverse sound with the crossfader. Other forms such as the forward scratch are heard when a sample is either pushed forward while the crossfader is open, and when the sound is reversed the crossfader is then closed. Leaving the fader open on the reverse cut instead of the forward is called the backward scratch. Variations of the forward scratch consist of chops and stabs but are performed much faster than the basic forward scratch. Another form is the tear scratch, which is created by moving the record in a staggered fashion. When a DJ moves the record, pauses, and then moves the record again, rhythm can be created without the use of a crossfader. Transformer scratches are created by continuously tapping the crossfader while a sample is playing. Another form of scratching is called hydroplaning, where a fast vibrato effect is created by pushing or pulling a record while the other hand has one finger on the surface of the turntable to add tension while the platter moves. More complicated forms exist with crab scratching, flares, and orbits. Using three fingers on the crossfader and alternately clicking the fader with each finger very quickly creates crab scratching. Some DJs use four fingers on the cross fader to get this effect. Moving the record or sound source forward and backward while clicking the fader halfway through the sample while forward and repeating the pattern going backwards is called the flare. An orbit, or two-click flare, is created in the same fashion except with two clicks in the middle of the sample going both directions. The scribble is created by moving the record very quickly with the hand while using only a small section of the sample to make a very high pitch sound. The needle drop scratch requires picking up and dropping the needle on the sample to emulate the crossfader effect while scratching the audio on the record or platter. These different forms have variations and can be combined together to produce new rhythms. Different forms of scratching are constantly being discovered and are usually seen in mainstream turntablism once they are performed by a well-known DJ or seen in a widely publicized DJ battle.
Beat Juggling
Beat juggling first started by using two turntables to extend a break beat indefinitely. Like scratching, this technique became more complex as various beat juggling patterns developed. DJs started alternating the beat between two turntables trading off every beat, 1/8 note, 1/8 note triplet, or sometimes every 1/16 note. Body tricks during beat juggling, such as scratching behind the DJ's back, used to be a highlight frequently seen in DJ battles during the 80s. The more modern approach relies on the construction of new beats through juggling identical or entirely different beats. A DJ might use kick and snare on the left turntable and use the right turntable for a hi-hat and vocal sample. The patterns constantly change depending on the audio chosen and the artistic choices made by the turntablist. Scratching is constantly used in combination with beat juggling to add musicality and various rhythm structures to the beat being juggled. With all the improvements and developments made, the turntablist creates entirely new beats through these complex patterns. Also due to its complexity, DJ contests often give beat juggling its own category for the turntablists who are competing.
Melodic and Drum Scratching
Turntablists can also use tones set at a constant pitch and use the speed control of the turntable to create a melody. Modifying a high pitch or bass tone can have scratches or transforming on the crossfader occurring, but its primary variation is performed through the speed control. This is done using high pitch tones as well as bass tones and it is common in DJ battles to see the artist do this on one turntable while using the other turntable to manually scratch a drumbeat. These techniques can be performed separately as well. When a DJ manually scratches a drum pattern, they will most likely take a kick, snare, and hi-hat and use one turntable to scratch and vary the patterns of the beat.
IV. Turntable Technology
Direct-Drive Turntables
Direct-drive turntables are the most popular type of turntable used today by DJs who spin vinyl records. These turntables operate with a motor underneath the platter with the motor and the platter directly connected. The SP-10 was the first direct-drive turntable to ever be produced. This occurred in 1969 and was done by the Technics division of Matsushita. These turntables have a very high torque due to the motor being directly connected to the platter and this makes the record less susceptible to skipping when methods of scratching and beat juggling occur. In modern direct-drive turntables, a material is placed between the motor and platter to reduce vibrations. These turntables primarily play 12" and 7" vinyl records and operate at 33 RPM and 45 RPM. Like other turntables that use traditional records, they operate using a needle that picks up sound vibrations by reading the grooves of a record. Some direct-drive turntables operate without a motor and use a platter that is driven completely by a magnetic field. The most widely used direct-drive turntable is the Technics 1200 and the Technics 1210. These turntables are the most common and are likely to be found at clubs, DJ battles, and raves. Companies such as Vestax, Numark, Gemini, and Stanton make other direct-drive systems, but these turntables are not as widely used as the Technics turntables.
Belt-drive turntables
Belt-drive turntables are quite popular and are often used by beginner turntablists and DJs who primarily mix music together. These turntables have many disadvantages compared to direct-drive systems and are built in a different fashion. In a belt-drive turntable, the motor is located to the side of the platter rather than underneath and is connected to the platter by an elastomeric belt. The downside to these turntables is that they are more likely to skip while scratching or beat juggling, and the belt is more likely to wear out over time causing unwanted variations in the speed of the phonograph record that is playing. These turntables are less expensive than direct-drive turntables, making them more common for beginner DJs, amateur DJs, and DJs who mix music together. Like the direct-drive versions, these turntables also primarily use 12" and 7" phonograph records and operate at 33 RPM and 45 RPM. The torque is much lower than direct-drive systems, making them unsuitable for most turntablists. The primary advantage of belt-drive turntables is that they are much less expensive and often come in cost effective packaging geared for people who are just learning to DJ.
Digital Turntables
With the release of the Pioneer CDJ-1000 in 2001, digital turntables have become quite popular among turntablists. With the use of CDs rather than vinyl, DJs are able to perform scratching and beat juggling tricks with the same accuracy and consistency. These turntables provide the DJ with the option to manipulate original music as well without the cost of pressing up vinyl records. Another advantage is that the audio being manipulated will never skip, which is common among phonograph turntables. Turntables such as the Pioneer CDJ-800 provide flawless performance. Less expensive models such as CDJ-100, 200, and 400 are not as well equipped for turntablist use. Technics created a competitor to the Pioneer digital turntable series with the Technics SL-DZ1200. Unlike the Pioneer versions, which use a stationary platter to control the audio, the SL-DZ1200 uses a platter that spins in a similar way to a conventional turntable. Numark also made its own digital turntable systems with the CDX series, which is almost identical to a standard phonograph turntable and is controlled by a moving vinyl record without a stylus. There are also turntables that are now hybrids and can play both records and CDs such as the Gemini CDT-05. Also, companies such as Denon are producing digital turntables that are primarily geared towards the beginner DJ and lack the sophisticated control of the Pioneer CD-J series or the Numark CDX.
Turntable Software Systems
With the development of Final Scratch in 1998 and Serato Scratch Live, turntablists began to perform scratching, beat juggling, and mixing techniques by controlling audio files in a computer. With this method, a DJ will connect a DJ mixer to the software system via USB, which is then connected to a computer that holds the audio files being played or manipulated. The control surface is the turntables that are plugged into the DJ mixer. This technology works with both analog and digital turntables. Audio files such as MP3, WAV and Apple AAC are used, and vinyl records or CDs with a time-coded audio signal allow the computer to recognize the actions that the DJ is taking to control the music.
V. Turntablist Pioneers
Some DJs have helped to push the boundaries of turntablism to the extreme. There are many great turntablists out there and it is impossible to name them all. As mentioned earlier, credit is given to pioneers such as DJ Kool Herc, Grandmaster Flash, Afrika Bambaataa, and Grand Wizard Theodore for their efforts in creating what is known today as modern turntablism. Turntablism may not be accepted today as a musical art form without turntable bands like the X-men. Other artists such as DJ Flare, DJ Q-Bert, Mix Master Mike, and DJ Disk have created modern scratches such as orbits, crabs, and flares and without their help, scratching may have taken longer to develop into its complex form. Other turntable artists have brought turntablism to other genres of music. DJ Dan and Donald Glaude perform scratches in their house music sets. DJ Swamp, former US DMC champion, became a turntablist for the alternative rock artist known as Beck. DJ Radar made history with his Concerto for Turntable performed with the NYU Symphony Orchestra in 2005. Other DJs, like DJ Shadow, took things to the next level by producing original music and performing it live using turntablism.
VI. Conclusion
The role of turntablism in the music community has been in debate for quite some time. The art form has come a long way since the first turntable experiments performed by composers such as Darius Milhaud, Edgard Varèse, and John Cage. DJs were not seen as musical artists before the modern era. With strong roots in old school hip-hop, modern turntablism has taken a turn for the better and now is considered by many to be a major musical art form. With the creation of beat juggling and scratching, performance practice with phonograph and digital turntables has grown to be quite complex. This concept has taken the use of collecting records to new heights and it has been discovered that the mediums of vinyl, CDs, and audio files can be used in a new way. Early and modern turntablism can be considered a type of musical genre. Phonograph turntables can create various tone colors and rhythms due to the nature of the instrument. Modern turntablism, although grown out of hip-hop, has evolved into various music genres including dance, classical, and even rock music. CDs such as Return of the DJ Volumes 1 through 5, features music composed by multi-tracking scratching and beat juggling. This is an example of turntablism that is recorded in a highly produced fashion. Other albums such as DJ Q-Bert's Wave Twisters (1998) use this concept. In 2004 Mix Master Mike created Bangzilla, which also explores this similar concept. Turntable music, although featured in various styles of music, has grown into its own musical genre. Some DJs have even topped the music charts. Uncle Cracker, who performs scratching for the famous rock star Kid Rock, recorded his own albums such as Follow Me (2002) and Double Wide (2000). DJ Shadow, as mentioned earlier, creates original beats and compositions and then performs them on turntables that are both analog and digital systems. DJ Muggs has had an enormous amount of success in producing and scratching for Cypress Hill. With today's technology, the DJ has no limits. He is not confined to being simply a scratch DJ or a mix DJ. The standard is set much higher and it not uncommon for a turntable artist to be a songwriter or music producer. Modern systems such as Serato Final Scratch as well as digital turntables allow original music to be performed, which emphasizes the fact that the turntable can be seen as a music synthesizer. With innovations by major artists such as the Invisibl Skratch Piklz, scratching has become highly technical. Turntable bands, like The Beat Junkies, have helped to develop turntable music as well. DJ battles have helped to increase the skill level of DJs with beat juggling and scratching techniques like orbits, flares, crabs, and chirps. The turntable today can be seen as a modern day synthesizer.
The role of turntablism in the classroom is essential. Stephen Webber has achieved great success in implementing these types of studies at the Berklee College of Music. His books Turntable Technique , Turntable Basics , The Essential DJ guide , DJ Skills , and Ultimate DJ have helped to educate turntablists and brought the concept of using the turntable as an instrument to mainstream literature. Other books such as Charles Graudin's How to be a DJ have taught the concepts of mix DJing. Digital turntablism is taught in books such as Ben James' Digital DJ and there is even book titled DJing for Dummies for the extreme beginner. With the education of turntablism existing in literature, teaching of the art form at colleges, and DJ schools such as the Scratch DJ Academy of New York, there is a bright future ahead for turntablism.
Where is turntablism going in the future? We can see that turntable technology has evolved greatly since its creation by Edison. The future now lies in the hands of the turntablist. At the turn of the millennium, DJ popularity seemed to be at its peak. Featured in commercials for companies like McDonalds, the future of the DJ seemed to be bright. Perhaps this phenomenon has reached somewhat of a plateau over the last few years. More conventional musicians, such as guitar players and singers, are turning to turntables to add new elements into their sets. Over the next century, we will hopefully see new types of hybrid artists incorporating these scratching styles into their music. For a long time, the DJ has been seen as a background instrument in a lot of musical groups. With the complex skills that these musicians possess, the DJ has a great chance to come to the forefront of music. Part of the beauty of the turntablist scene is that it exists on an underground level. Fear of turntablism over-commercializing itself could make the genre take a turn for the worse, creating an effect similar to what happened with Nirvana and grunge rock. The beauty of this art form is that the artists who create the music do so because it is their passion. New techniques are always being created and the wonderful world of scratching and beat juggling is constantly expanding and becoming a stronger force in the music industry. The DJ has evolved from the early days of musical experiments to the turntablist being a highly evolved musician with the ability to possess extreme technical skills. DJs hold promise for future musical innovation as more musicians desire to become proficient in creating turntable music.
Written by David Charles Kramer aka dj Buddy Holly
I. Introduction
Turntablism is the art of playing the turntable as a musical instrument. This art form has been in development since the 1920s when Darius Milhaud first experimented with varying phonograph speeds. Throughout many years, turntable music has become a major musical art form, and performance practices such as scratching and beat juggling have now become the most popular methods of turntablist performance. These modern methods and approaches are a combination of musical experimentations as well as improvements in technology. This phenomenon began in 1877 with the invention of the phonograph. In the early days, this machine was used simply to reproduce music. During the late 1930's through the 1940's, early turntablists such as John Cage continued using the phonograph as an instrument. With the beginnings of hip-hop music in the 1970s, the art began to change drastically. DJs such as Kool Herc, Africa Bambaataa, and Grandmaster Flash began beat juggling and scratching, making the DJ an essential part of hip-hop music.
Eventually DJ battles started to become an important part of DJ culture. With organizations such as DMC (Disco Mix Club) and ITF (International Turntablist Federation), turntablists began competing with each other using different beat juggling and scratching techniques. With the turntablist now as a stand-alone musician, different methods and performance practices started developing at a more accelerated rate. Beat juggling became more complex and musical, while scratching techniques such as orbits, flares, hydroplanes, crabs, and tears were defined. Even DJs that primarily mixed music such as House and Drum 'n Bass began to incorporate these styles into their sets.
From the 1980s through today, scratching can be heard in popular music such as rock, hip-hop, jazz, and dance music. Turntablism has even been incorporated into orchestras that play classical music. Turntablism and DJs have become an integral part of modern day popular culture despite the great debate surrounding the significance of the turntable as a musical instrument. Technology has improved drastically and turntablism now exists on many levels. Originating with vinyl records, digital turntables have evolved. These digital turntables employ the use of CDs, which allow the DJ to perform scratches and beat juggling methods with the same precision as vinyl. With computer programs such as Serato Scratch Live and Final Scratch, turntablists can now use audio files on a computer, connect them to a DJ mixer, and control the manipulation of the sound files with phonograph turntables or CD turntables. With this highly advanced technology, DJs are now able to create original samples and beats, and then can manipulate their sound through the use of phonograph turntables or digital turntables. DJs are oftentimes songwriters, music producers, and remixers. They are considered by many to be musical artists and may require years of practice to develop and perfect their technique. Turntablism is also incorporated into educational programs at institutions such as the Berklee College of Music. Michigan State has also recently added scratching synthesis courses into its studies.
The following essay discusses the approach to advanced turntablism techniques, analyzes modern technology in relationship to DJ performance practices, and reviews the pioneers and innovators of scratching and beat juggling on phonograph and digital turntables.
II. The History of Modern Turntablism
Although the origins of turntablism began as early as 1922 with composers such as Darius Milhaud, Edgard Varèse, and John Cage, modern methods of turntablism began to take place in the 1970s within the realm of hip-hop music. We do have turntable effects that were very apparent in songs such as Cage's Imaginary Landscape No. 1 (1939 ) and Credence Clearwater's Walk on the Water (1968), but during the late 1970's DJs began to perform beat juggling with vinyl records. DJ Kool Herc is credited for pioneering this method of turntablism and did so through juggling break beats on two turntables with the audio signals being fed into a DJ mixer. The breakbeat is a type of beat used in hip-hop and usually has the characteristics of a 4/4 time signature. In order to extend this beat to great lengths, Kool Herc would have identical beats on both turntables and would trade off playing the beats from one turntable to the other repeating the pattern. This method became a widespread method of DJing and was performed amongst party DJs and DJs who were spinning beats behind MCs.
The invention of scratching on turntables would also play an important role with the development of turntablism. Grand Wizard Theodore and Grand Master Flash discovered the method of scratching and by the 1980s, this technique would become a staple in hip-hop music. Grand Wizard Theodore discovered scratching accidentally by moving the record back and forth under the stylus of the turntable. Grand Master Flash, a mentor of Grand Wizard Theodore, brought this method of turntablism to the public's eye through his live performances as a DJ. Grand Mixer DXT brought scratching to a commercial level with his performance on Herbie Hancock's song Rockit (1983).
As turntablist techniques of scratching and beat juggling became apparent in the production of songs in the 1980s, DJ battles began to become popular as well with companies such as DMC. DJs would compose sets of beat juggling and scratching and would compete against one another. Earlier sets consisted of beat juggling with a lot of body tricks performed by the DJ. This method, although interesting visually, was not as musical as the techniques that developed over the next few years. As scratching and beat juggling became more technical, DJs were required to use these techniques in a very musical fashion and were able to create new drum patterns and scratch solos. Beat juggling, although originally created by juggling identical beats could now be performed by juggling different beats together. Some DJs would trade off on turntables each 1/8 notes and 1/8 note triplets in some cases. As these methods progressed, virtuoso DJs such as Mix Master Mike and DJ Q-Bert emerged as well as the formation of DJ bands such as the Beat Junkies and Invisibl Skratch Piklz. Even DJs such as DJ Dan and Donald Glaude, who primarily mix house music beats together at raves and clubs, began to incorporate scratching into their live sets. DMC, ITF, Guitar Center, and other companies continue to hold DJ competitions today while DJ scratching and beat juggling is featured in hip-hop, rock, dance, jazz, and even orchestral music. Turntablism has also reached great heights on an educational level with schools opening up for the sole reason of teaching DJing such as the Scratch DJ Academy of New York.
III. Turtablism Techniques
Scratching
Moving a record or audio source back and forth while using the crossfader or volume fader of a DJ mixer to add variation to the rhythm creates the sound of scratching on a turntable. Since its discovery, the art of scratching has become much more technical. The first scratch to be created was the baby scratch, which is simply moving the record or sound source back and forth with the crossfader in the open position. When the crossfader is in the open position the sound of the turntable is heard. When the crossfader is closed, the sound is muted. The chirp scratch is performed like the baby scratch except the DJ cuts the reverse sound with the crossfader. Other forms such as the forward scratch are heard when a sample is either pushed forward while the crossfader is open, and when the sound is reversed the crossfader is then closed. Leaving the fader open on the reverse cut instead of the forward is called the backward scratch. Variations of the forward scratch consist of chops and stabs but are performed much faster than the basic forward scratch. Another form is the tear scratch, which is created by moving the record in a staggered fashion. When a DJ moves the record, pauses, and then moves the record again, rhythm can be created without the use of a crossfader. Transformer scratches are created by continuously tapping the crossfader while a sample is playing. Another form of scratching is called hydroplaning, where a fast vibrato effect is created by pushing or pulling a record while the other hand has one finger on the surface of the turntable to add tension while the platter moves. More complicated forms exist with crab scratching, flares, and orbits. Using three fingers on the crossfader and alternately clicking the fader with each finger very quickly creates crab scratching. Some DJs use four fingers on the cross fader to get this effect. Moving the record or sound source forward and backward while clicking the fader halfway through the sample while forward and repeating the pattern going backwards is called the flare. An orbit, or two-click flare, is created in the same fashion except with two clicks in the middle of the sample going both directions. The scribble is created by moving the record very quickly with the hand while using only a small section of the sample to make a very high pitch sound. The needle drop scratch requires picking up and dropping the needle on the sample to emulate the crossfader effect while scratching the audio on the record or platter. These different forms have variations and can be combined together to produce new rhythms. Different forms of scratching are constantly being discovered and are usually seen in mainstream turntablism once they are performed by a well-known DJ or seen in a widely publicized DJ battle.
Beat Juggling
Beat juggling first started by using two turntables to extend a break beat indefinitely. Like scratching, this technique became more complex as various beat juggling patterns developed. DJs started alternating the beat between two turntables trading off every beat, 1/8 note, 1/8 note triplet, or sometimes every 1/16 note. Body tricks during beat juggling, such as scratching behind the DJ's back, used to be a highlight frequently seen in DJ battles during the 80s. The more modern approach relies on the construction of new beats through juggling identical or entirely different beats. A DJ might use kick and snare on the left turntable and use the right turntable for a hi-hat and vocal sample. The patterns constantly change depending on the audio chosen and the artistic choices made by the turntablist. Scratching is constantly used in combination with beat juggling to add musicality and various rhythm structures to the beat being juggled. With all the improvements and developments made, the turntablist creates entirely new beats through these complex patterns. Also due to its complexity, DJ contests often give beat juggling its own category for the turntablists who are competing.
Melodic and Drum Scratching
Turntablists can also use tones set at a constant pitch and use the speed control of the turntable to create a melody. Modifying a high pitch or bass tone can have scratches or transforming on the crossfader occurring, but its primary variation is performed through the speed control. This is done using high pitch tones as well as bass tones and it is common in DJ battles to see the artist do this on one turntable while using the other turntable to manually scratch a drumbeat. These techniques can be performed separately as well. When a DJ manually scratches a drum pattern, they will most likely take a kick, snare, and hi-hat and use one turntable to scratch and vary the patterns of the beat.
IV. Turntable Technology
Direct-Drive Turntables
Direct-drive turntables are the most popular type of turntable used today by DJs who spin vinyl records. These turntables operate with a motor underneath the platter with the motor and the platter directly connected. The SP-10 was the first direct-drive turntable to ever be produced. This occurred in 1969 and was done by the Technics division of Matsushita. These turntables have a very high torque due to the motor being directly connected to the platter and this makes the record less susceptible to skipping when methods of scratching and beat juggling occur. In modern direct-drive turntables, a material is placed between the motor and platter to reduce vibrations. These turntables primarily play 12" and 7" vinyl records and operate at 33 RPM and 45 RPM. Like other turntables that use traditional records, they operate using a needle that picks up sound vibrations by reading the grooves of a record. Some direct-drive turntables operate without a motor and use a platter that is driven completely by a magnetic field. The most widely used direct-drive turntable is the Technics 1200 and the Technics 1210. These turntables are the most common and are likely to be found at clubs, DJ battles, and raves. Companies such as Vestax, Numark, Gemini, and Stanton make other direct-drive systems, but these turntables are not as widely used as the Technics turntables.
Belt-drive turntables
Belt-drive turntables are quite popular and are often used by beginner turntablists and DJs who primarily mix music together. These turntables have many disadvantages compared to direct-drive systems and are built in a different fashion. In a belt-drive turntable, the motor is located to the side of the platter rather than underneath and is connected to the platter by an elastomeric belt. The downside to these turntables is that they are more likely to skip while scratching or beat juggling, and the belt is more likely to wear out over time causing unwanted variations in the speed of the phonograph record that is playing. These turntables are less expensive than direct-drive turntables, making them more common for beginner DJs, amateur DJs, and DJs who mix music together. Like the direct-drive versions, these turntables also primarily use 12" and 7" phonograph records and operate at 33 RPM and 45 RPM. The torque is much lower than direct-drive systems, making them unsuitable for most turntablists. The primary advantage of belt-drive turntables is that they are much less expensive and often come in cost effective packaging geared for people who are just learning to DJ.
Digital Turntables
With the release of the Pioneer CDJ-1000 in 2001, digital turntables have become quite popular among turntablists. With the use of CDs rather than vinyl, DJs are able to perform scratching and beat juggling tricks with the same accuracy and consistency. These turntables provide the DJ with the option to manipulate original music as well without the cost of pressing up vinyl records. Another advantage is that the audio being manipulated will never skip, which is common among phonograph turntables. Turntables such as the Pioneer CDJ-800 provide flawless performance. Less expensive models such as CDJ-100, 200, and 400 are not as well equipped for turntablist use. Technics created a competitor to the Pioneer digital turntable series with the Technics SL-DZ1200. Unlike the Pioneer versions, which use a stationary platter to control the audio, the SL-DZ1200 uses a platter that spins in a similar way to a conventional turntable. Numark also made its own digital turntable systems with the CDX series, which is almost identical to a standard phonograph turntable and is controlled by a moving vinyl record without a stylus. There are also turntables that are now hybrids and can play both records and CDs such as the Gemini CDT-05. Also, companies such as Denon are producing digital turntables that are primarily geared towards the beginner DJ and lack the sophisticated control of the Pioneer CD-J series or the Numark CDX.
Turntable Software Systems
With the development of Final Scratch in 1998 and Serato Scratch Live, turntablists began to perform scratching, beat juggling, and mixing techniques by controlling audio files in a computer. With this method, a DJ will connect a DJ mixer to the software system via USB, which is then connected to a computer that holds the audio files being played or manipulated. The control surface is the turntables that are plugged into the DJ mixer. This technology works with both analog and digital turntables. Audio files such as MP3, WAV and Apple AAC are used, and vinyl records or CDs with a time-coded audio signal allow the computer to recognize the actions that the DJ is taking to control the music.
V. Turntablist Pioneers
Some DJs have helped to push the boundaries of turntablism to the extreme. There are many great turntablists out there and it is impossible to name them all. As mentioned earlier, credit is given to pioneers such as DJ Kool Herc, Grandmaster Flash, Afrika Bambaataa, and Grand Wizard Theodore for their efforts in creating what is known today as modern turntablism. Turntablism may not be accepted today as a musical art form without turntable bands like the X-men. Other artists such as DJ Flare, DJ Q-Bert, Mix Master Mike, and DJ Disk have created modern scratches such as orbits, crabs, and flares and without their help, scratching may have taken longer to develop into its complex form. Other turntable artists have brought turntablism to other genres of music. DJ Dan and Donald Glaude perform scratches in their house music sets. DJ Swamp, former US DMC champion, became a turntablist for the alternative rock artist known as Beck. DJ Radar made history with his Concerto for Turntable performed with the NYU Symphony Orchestra in 2005. Other DJs, like DJ Shadow, took things to the next level by producing original music and performing it live using turntablism.
VI. Conclusion
The role of turntablism in the music community has been in debate for quite some time. The art form has come a long way since the first turntable experiments performed by composers such as Darius Milhaud, Edgard Varèse, and John Cage. DJs were not seen as musical artists before the modern era. With strong roots in old school hip-hop, modern turntablism has taken a turn for the better and now is considered by many to be a major musical art form. With the creation of beat juggling and scratching, performance practice with phonograph and digital turntables has grown to be quite complex. This concept has taken the use of collecting records to new heights and it has been discovered that the mediums of vinyl, CDs, and audio files can be used in a new way. Early and modern turntablism can be considered a type of musical genre. Phonograph turntables can create various tone colors and rhythms due to the nature of the instrument. Modern turntablism, although grown out of hip-hop, has evolved into various music genres including dance, classical, and even rock music. CDs such as Return of the DJ Volumes 1 through 5, features music composed by multi-tracking scratching and beat juggling. This is an example of turntablism that is recorded in a highly produced fashion. Other albums such as DJ Q-Bert's Wave Twisters (1998) use this concept. In 2004 Mix Master Mike created Bangzilla, which also explores this similar concept. Turntable music, although featured in various styles of music, has grown into its own musical genre. Some DJs have even topped the music charts. Uncle Cracker, who performs scratching for the famous rock star Kid Rock, recorded his own albums such as Follow Me (2002) and Double Wide (2000). DJ Shadow, as mentioned earlier, creates original beats and compositions and then performs them on turntables that are both analog and digital systems. DJ Muggs has had an enormous amount of success in producing and scratching for Cypress Hill. With today's technology, the DJ has no limits. He is not confined to being simply a scratch DJ or a mix DJ. The standard is set much higher and it not uncommon for a turntable artist to be a songwriter or music producer. Modern systems such as Serato Final Scratch as well as digital turntables allow original music to be performed, which emphasizes the fact that the turntable can be seen as a music synthesizer. With innovations by major artists such as the Invisibl Skratch Piklz, scratching has become highly technical. Turntable bands, like The Beat Junkies, have helped to develop turntable music as well. DJ battles have helped to increase the skill level of DJs with beat juggling and scratching techniques like orbits, flares, crabs, and chirps. The turntable today can be seen as a modern day synthesizer.
The role of turntablism in the classroom is essential. Stephen Webber has achieved great success in implementing these types of studies at the Berklee College of Music. His books Turntable Technique , Turntable Basics , The Essential DJ guide , DJ Skills , and Ultimate DJ have helped to educate turntablists and brought the concept of using the turntable as an instrument to mainstream literature. Other books such as Charles Graudin's How to be a DJ have taught the concepts of mix DJing. Digital turntablism is taught in books such as Ben James' Digital DJ and there is even book titled DJing for Dummies for the extreme beginner. With the education of turntablism existing in literature, teaching of the art form at colleges, and DJ schools such as the Scratch DJ Academy of New York, there is a bright future ahead for turntablism.
Where is turntablism going in the future? We can see that turntable technology has evolved greatly since its creation by Edison. The future now lies in the hands of the turntablist. At the turn of the millennium, DJ popularity seemed to be at its peak. Featured in commercials for companies like McDonalds, the future of the DJ seemed to be bright. Perhaps this phenomenon has reached somewhat of a plateau over the last few years. More conventional musicians, such as guitar players and singers, are turning to turntables to add new elements into their sets. Over the next century, we will hopefully see new types of hybrid artists incorporating these scratching styles into their music. For a long time, the DJ has been seen as a background instrument in a lot of musical groups. With the complex skills that these musicians possess, the DJ has a great chance to come to the forefront of music. Part of the beauty of the turntablist scene is that it exists on an underground level. Fear of turntablism over-commercializing itself could make the genre take a turn for the worse, creating an effect similar to what happened with Nirvana and grunge rock. The beauty of this art form is that the artists who create the music do so because it is their passion. New techniques are always being created and the wonderful world of scratching and beat juggling is constantly expanding and becoming a stronger force in the music industry. The DJ has evolved from the early days of musical experiments to the turntablist being a highly evolved musician with the ability to possess extreme technical skills. DJs hold promise for future musical innovation as more musicians desire to become proficient in creating turntable music.
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