Scratching Terminology

As I mentioned earlier, there are a few terms that are often misunderstood or interchanged. In this section I will try to explain them in a way that they make most sense.

Scratching

Moving a record back and forth under the stylus of a turntable. This can be done at various speeds. These movements can, but need not to be, combined with opening and closing a fader on your mixer to manipulate the volume of the outgoing sound. Since the combinations of these actions are infinite, possibilities are endless. Things like hand speed, movement and direction of movement (vinyl control), and the sound on the record itself also play a major role as to how the resulting scratch will sound.

Click

A short silence during a scratch, induced by a fader from the mixer, is commonly referred to as a ‘click’. The click (or multiple clicks) can be achieved by closing and opening the fader, often in a rapid motion.

Check the x-fader technique section for details on how to ‘click’ fast.

It is important to know that a ’silence’ in a scratch is not necessarily created by fader-clicks. When the record changes direction there is a brief moment when no sound is fed thru the needle. This brief moment of silence is commonly referred to as a ‘ghost’ or ‘phantom’ click.

Another silence that can be utilized during scratching is the natural silence on the record just before (or after) a sample.

Cut

If one uses clicks to ‘cut’ the scratching motion into pieces, one would end up with several cuts from a scratch. Thus a cut is a piece from a scratch.

Often people use the phrase ‘give me some cuts’ or ‘cut up that record’. This is the same as saying ‘do some scratching’.

All that Scratching is making me itch

‘Scratching… what is it?’. This is a sentence that can be found on a lot of battle breaks. It’s a reference to the fact that most people who have never really tried to scratch might think that it is no more than ‘zigga-zigga’ on a turntable. However, all of those who have ever attempted to achieve the sounds created by the turntablist know that it is an artform indeed. It takes hours of practice, dedication and skill to be a turntablist.

Since the first scratch-movements of Grandwizard Theodore numerous techniques have been ‘invented’ by scratch-DJ’s. The essential techniques are explained in the Basic techniques section. The incorporation of the Turntablist Transcription Methodology in this site is useful for as well basic and advanced scratches. I have found that a lot of terms, definitions and explanations of techniques are often mixed up or misunderstood among turntablists. The TTM gives us a visual representation of the techniques so consensus can be reached.

I have to stress here that it takes lots and lots of practice (and the right gear) before you will master every single scratch-technique. Don’t be discouraged if you can’t get your scratches to sound the way you want them to. Stick with it, you didn’t learn to walk in one day (or a week for that matter) either.

Delayed 2-click Flare or Boomerang

I will be adding the basics of scratching soon, as previously available on skratchamental.com. In the meanwhile here is a vid I did a while back on the delayed 2-click flare.

What’s in a name

Some people refer to this scratch as the boomerang scratch. I have read numerous discussions on this and have really come to the conclusion that they are exactly the same. I would place it in the same box together with the ‘flare or orbit’ discussion haha, it’s endless. In the end it’s the scratch that matters, so here you go:

And here is the TTM for the delayed 2-click flare:

Delayed 2-click Flare

Delayed 2-click Flare

Turntablist Transcription Methodology

This section deals with turntablism notation. The Turntablist Transcription Methodology (TTM) is one of a few scratch-notation systems that have been invented. I have found that the TTM is best suitable as a visual aid when talking (or writing) about turntablism. I will not dwell upon it too much as it can get too complex. For a thorough explanation of the TTM visit http://www.ttmethod.com/

The basics of TTM

Figure 4 shows how time-signature can be read from the TTM staff. The staff used here consists of 4 beats, this time signature is typically used in hip-hop.

TTM Time Signature

FIgure 4 - TTM Time Signature

You can write down your scratch movements by drawing lines in the staff. A forward movement of the record is indicated by a line with an upward slope, a backward movement is indicated by a downward slope. Figure 5 shows two scratches which are done with a forward movement.

Figure 5 - TTM forward movement and different speeds

Figure 5 - TTM forward movement and different speeds

The sound being used can be written in the ’sample line’. A 45 degrees slope of the drawn line indicates normal speed of the record and normal pitch of the sample being played. A less steep slope indicates slower movement and lower pitch (example in fig.5). Naturally a steeper slope stands for higher speed of the movement and higher pitch of the sound (example in fig.6).

Figure 6 -  TTM holding and backward movement

Figure 6 - TTM holding and backward movement

As illustrated in figure 6, a horizontal line stands for no record movement, in effect you hold the record. Figure 6 also shows a backwards movement, indicated by the downward slope.

As scratching doesn’t consist of record movement alone, you need a way to write down fader movement as well. Basically where the line is visible a sound can be heard, all the missing parts are nothing but silence (fig.7). These short silences, or clicks, are created by using a fader on the mixer.

FIgure 7 - TTM Click Notation

Figure 7 - TTM Click Notation

Figure 7 shows how small dots are used to indicate clicks. The 1st and the 2nd beat would sound exactly the same as the 3rd and the 4th one.

One aspect of scratching that is easier to grasp with visual aids is the concept of the ‘ghost’ click. This click occurs when the record changes direction. Figure 8 points out where this click can be found.

Figure 8 - TTM Ghost Click

Figure 8 - TTM Ghost Click

Transcribe your scratches and more

Above is a short introduction to Turntablist Transcription Methodology. If this has gotten you curious for more visit http://www.ttmethod.com/ and check out the rest of the terminology as well.

If you’re interested in transcribing your own scratches and cuts, it is worth taking a look at Johhny1Move’s Turntable Transciption Method String Language (TTSL). Through a nifty flash app you can create your own scratch notation. Here is an example I made, this is a combo of a crescent flare and a 3-click orbit:

Crescent Flare 3-Clicker Combo

Crescent Flare 3-Clicker Combo

Here’s a peak at the app:

Turntable Transcription String Language Flash Application

Turntable Transcription String Language Flash Application

If you want to contribute to the database or create some transcriptions of your own, get in touch with Johnny1Move. Alternatively hit me up at machiel (AT) skratchamental.com.

Site additions

I have converted more content and rewritten some parts of the old site. An interesting bit that is always useful (especially when preparing a battle-set) is on the usage of stickers on your vinyl.

Also have a look on how Kentaro uses his stickers below…

Turntablism Gear Tips 'n' Tricks

Here you will find some topics related to your gear that can be of interest. Some are especially useful for turntablists, others for DJ’s in general.

Marking samples

In order to be precise during scratching it’s good to have a point of reference on your record so you know exactly where a certain sound starts. Let’s say you’ve got a sound on your record (e.g. ‘fressshh’). Just before this sample starts you stop the record. Now you can place a sticker somewhere on the label of the record, this will be your reference point (it’s smart to always place it in the same spot so you get used to it. You could place it at 12 o’clock, 9 o’clock or facing the tip of the needle). Alternatively you can also draw a line on the label of the record.

Let’s say you placed the sticker at 9 o’clock. Now if you start to scratch, you always know where the sound starts, even when your fader is turned off.

Groove-finding

Have you ever noticed that turntablists hardly ever use headphones? Still they manage to find the right samples and make the beats crossover fluently. Some guys really posess the skill to needle-drop accurately but for those of you that don’t, here’s the lowdown on ‘groove-finding’.

My method works like this: stop your record about a second or so before the sample you want. Now try to place a sticker just next to your needle (this would be under your stylus) on the right side (the second between the sample and the sticker prevents the sticker from bumping into the needle during scratching. This can happen when the sticker is too thick or if it’s not placed perfectly). When the sticker is in place you have to try if it’s in the right place: place your needle just in front of the sticker and let the record play slowly so the sticker will make your needle ‘glide’ into the right groove. Let the record play for about a second and there should start your sound!

For this technique it’s best to use a circular shaped sticker so your needle can glide without to much abuse. When you’re sure the sticker is in the right place you can easily cut away the parts that you don’t need from the sticker.

If the needle doesn’t glide to the right groove you’ll have to repeat the process until you get it right. It might take a while before you get the hang of it.

Sample looping

During battles you might want to repeat a single fragment of a record over and over. You can achieve this by letting your needle ‘bounce’ back a groove.

Basically this works the same as groove-finding except you place the sticker on the left side of the stylus. Let’s say you have got a sample on your record like ‘…DJ, you suck…’ and you want to repeat this over and over. The aim would be to let the needle bounce back to the point where ‘DJ’ can be heard.
Stop the record about a second before ‘DJ’ starts. Place the sticker under the stylus on the left side. Done. For this method it’s also best to use circular stickers so the needle can glide back a groove with ease.

Vinyl Troubleshooting

Most problems involving records are due to bent/warped records. A bent scratch-record is useless. To my knowledge the bending occurs mostly due to:

  • the usage of shrink-wrapping
  • prolonged exposure to a hot sun or some other heat source

So is it possible to get a record straight again? Some solutions I have encountered are:

  • playing the bent record and heating it up with a hairdryer. Let it cool down, preferably while being pressed by something heavy.
  • placing a bent record inside a thick folded towel. Iron the towel so the record can heat up. When it’s heated put it on your turntable and let it play. When it’s cooled down it will be less bent.
  • placing a bent record between two glass plates (or 2 other ’straight’ surfaces) and let something heavy rest on top of that. Wait a few hours (?) and your record will be straight.

I have been using the hairdryer method and I place a heavy object on top of the record while it cools down. Results are pretty good. The records hardly ever come out totally straight, but they do take much better scratch-abuse than before the ’straighting’ proces.

Vinyl or the LP

In order to produce any sound on your turntable you need records! Some dudes who have got a lot of time on their hands use ‘cratedigging’ to get that different sound or just that sample that they were looking for. Luckily for the most of us somebody came up with the idea to put a lot of cool parts (samples) from loads of different records together on one record: the Battle Break was born. Battle breaks are made especially made for turntablists to make scratching, juggling and turntablism in general a little more pleasant.

To be able to ‘make’ music you have to know where a specific sound is located on your record. When using multiple sounds, most sounds won’t be close together, or even on the same record. In this case you will have to move the needle from groove to groove, or change records. In the Tips ‘n’ Tricks section you will find some tips on how you can do this quicker in a variety of ways. Some other things you can do with your records will also be discussed there.

Turntable Troubleshooting

There are several problems you can run into that relate to your turntables. Here I will discuss the most common ones that you might encounter as a (starting) turntablist.

Needle keeps skipping

A few reasons that could cause your needles to skip:

  • Using needles that are not sufficiently ‘broken in’
  • Applying too much tracking force
  • The spindle hole in your record is too big
  • Your record is warped

Most of these ‘problems’ are easily solved. Here’s how you do it:

Breaking in needles

A good thing to know about needles is that skip resistance improves with use. When your cartridges are brand-new out of the box they will skip noticeably more than a set of old ones. This is because your old needles are ‘broken in’.
So how do you ‘break in’ a needle? You do this by using it. You can speed up this process by letting your needles rest in a groove from your records each day for a few hours. After about two weeks your needles should be ready for heavy duty scratching.

Too much tracking force

As I already mentioned when I discussed the Balance weight, too much weight is never good. Not only does it wear out your records and stylus faster, it can also be the reason why your needle won’t stay in the groove. If you’re not sure how much tracking force you applied, calibrate your tone-arm and put it within factory recommend limits. A rule of thumb is that a tracking force of about 3-3,5 grams should be enough.

A big spindle hole

It could well be that your problem is due to a spindle hole that’s too big. This causes your record to move in all directions when you scratch. If this hole is too big (it’s ok if your record fits snug around your spindle) use some tape to make it smaller.

Warped records

It’s always a bugger when you got a warped record. Read more about warped records and ways to make them usable again over here.

Fast backspin problems

Every time you try a fast backspin either your needle skips or your platter comes to a complete stop. Of course this is not what you want. Make sure you adjusted your gear the right way and you are using a good slipmat.

Record doesn’t slip

Your slipmats should allow you to hold the record idle without slowing the platter down. If this does happen, or your record just doesn’t slip good enough, something’s wrong.

Bad mats

Look at what kind of mats you are using in the first place. Get your hands on some genuinely good DJ mats, most Technics ones are alright. In addition, use some extra material to increase slip-action. If you feel creative, you can make yourself some butter rugs as well :) .

Warped record

Warped records have the annoying side-effect that one side will slip way too much and the other side will hardly slip at all. Read more about warped records and ways to make them usable again over here.

Basic Techniques on handling the Turntable

It is important to remember that even the best adjustment tips will not make a difference if you do not have a good ‘feel’ for the record. Every needle will skip eventually if you are banging away on the vinyl. I normally use two or three fingers to control the vinyl: ring, middle and index finger. Experiment with different variations. You’ll notice that with some variations you are able to control the vinyl more precise whereas other variations allow you to be faster. The hand that controls the vinyl is referred to as theĀ vinylhand.

In the end it doesn’t really matter how you do it but keep in mind that you are trying to move your record back and forth under your needle. Do not press down on the record more than necessary as this will cause your needle to skip more easily.

Fast backspin

In the beginning you might experience difficulties pulling you record back to the beginning of a beat (when beat-juggling), when this has to be done quickly. I used to grip the record in the middle near the spindle and pull it back to the beginning of a beat. This can only be done at a moderate speed

A better technique is to rapidly pull back on the record causing it to spin back even when you’re not touching it anymore (back-spin). When the beginning of the beat comes into place you quickly take hold of the record again, this allows you to control when the beat starts again in a tight way. Because these are 2 fast movements you can juggle faster if you practic