All of us have personal preferences for DJs who can mix music tracks, but not there is much discussion about the best DJ’s that can scratch.
After all, the ability to master electronics is one of the most challenging.
So, after listening to this word the first question arise in anyone mind is
What is DJ Scratching?
DJ Scratching is a DJ and turntable technique used to shift a vinyl record back and forth on a plug for percussive or rhythmic feels.
A crossfader on a DJ mixer can be used to fade between two records simultaneously.
You can just as well use it to hyp with the crowd. It’s also a great way to show the crowd what you’re made from and show them what it’s made of.
A fundamental difference in the touchiness of played control is one thing that separates turntable DJs and digital DJs.
A record offers a DJ an amazing chance to create an innovative manipulation of the sound it creates–a technique which has become known as “scratching.”
It has become fairly popular to call any manipulation of the play head “scratching” to the delight of turntablists throughout the world.
Who Started DJ Scratching?
DJ Scratching is started by George Spivey, also known as Jam Master DJ Scratch. He was born on 21st June 1968 in Brooklyn(New York) in the United States.
After DJ K LA Boss left EPMD, Jam Master Jay introduced DJ Scratch in the Run’s House Tour. The two DJ Scratch named as their official DJ, impressed by his abilities.
While scratching is mostly linked to hip hop music, which appeared in the mid-70, in certain Rap, Rap metal furthermore Nu metal styles since the 1990s.
Scratching is a measure of a DJ’s abilities in hip-hop cultivation. The IDA (International DJ Association is formerly known as the ITF), and the DJs are participating in skateboarding events at the DMC World DJ Championship.
DJs can only use scratch oriented equipment (turntables, DJ blending systems, digital vinyl systems, or vinyl records) at scratching competitions. Scratched hooks often use parts of other songs in captured hip hop songs.
Grand Wizzard Theodore is the first Dj who scratches the records. He’s an English HipHop DJ. He’s universally recognized as a scratching founder.
With his knowledge of needle drops and other methods he invented or mastered, he earned a reputation.
The invention of direct-drive turntables, contributing to the advent of turntablism, made modern scratch techniques possible.
Early turntables on belt-drive were unsuited to scratch because they had a slow boot time and were prone to wear and break because the belt would break from backspinning or scratcher.
Shuichi Obata, an engineer from Matsushita (now Panasonic), based in Osaka, Japan, invented the first direct turntable to eliminate belt-driven loaders and used an engine to scratch them.
How to Scratch a Record?
Dust on the floor is necessary to scratch the record. The texture of the vinyl is rather light. Bare records are also stacked, which will damage them, as dust gets among them, and scratch them if the records move.
Never record anything but a turntable on a table or, in truth, something. But It will hurt vinyl to some degree even if they play vinyl and your needle/style.
Specific needles are not so harmful when scratching as others. You can make it pretty costly.
How to be a DJ Scratcher for beginners
Firstly, we have to see which equipment is needed for scratching
1. For most DJs, this means that you need to have a couple of turntables with a direct drive, a mixer, and vinyl records to play and scratch.
However, virtual controllers and CDJs have become more widespread, and many of their functionality makes it possible to hit, beat flywheel, flip or very slow or fast playing tracks, as well as other features that make them ideal for turntables.
2. This is easy if you already have a DJ system. If you want to know how to scratch, then there are only two different things you need. There’s a decent crossfader mixer that you’ll need.
3. There’s a fade point on it if you use a club-oriented blender, where you fade one deck in the other.
4. You should be able to download all the samples you need if you are using CDJ or digital apps.
5. If you have most modern mixers. It contains knob changing crossfader. If you do, you should be able to scratch the ideal curve.
The curve can be adjusted to open the fader entirely with a millimeter of movement.
6. It requires some decent sounds from scratch. You can have a scratch record, which is full of samples when you scratch with vinyl.
Types of DJ Scratch and How to Perform
1. The Baby Scratch
A baby scratch is the easiest to know. This is the basis of all the scratches. The baby scratching mastery will build a solid foundation for other scratches that come up with the chirp in the future.
The principles will be identical whether you use the CD, the controller, or the vinyl. If you use vinyl, the center of vinyl is marked with a marker.
The marker is an indicator of the beginning of the sound. The tonearm or anything else in the turntable can be placed on this line.
You put your hand under your fingertips to avoid the sound. Move ahead and pull back in rhythmic and fluid movements from there.
Do it just before the song’s first blowdown, then beat it up and down.
Do on time with the beat of another song before you let the track go, and you just broaden your DJing palette and have a more interesting mix with very little extra effort.
2. The Scribble Scratch
This scribble involves putting on and removing the crossfader. Scratch as quickly as possible a very small amount of the record.
Lift your arm high and pull down a spasm-like action to quickly move the record. Take part in the next DJ event with your expertise. The scribble scratch is indeed a tweaked baby scratch.
3. The Tear Scratch
The tear scratch is a thin scratch with a pause. During the forward step and your jog wheel head.
Backward motions, dividing a phased movement. Two or more elements of the tone. “Tear” defines the scratch feature very accurately; move or pull the sound to two or more sections when the pan under your finger is moving.
The tear is a more complex variant of the baby scratch; the fader is often active, but the motion of the record is changed to make a short stop on both forward and reverse motions, in which the record is really brief.
Three special sounds/notes are made. A baby scratches go back and forth, a tear may go back, back or maybe back, back, forward, back, back, backward, forward.
4. The Drag Scratch
Open the fader at the beginning of sound to be cued. Switch the sound away from 9 to 12. from position 9.
First, do it again and add some music without a beat. This may seem very easy, but you will need to progress to more complicated scratches.
Drag is a scratch that slowly moves the record, so the sample is played in a low pitch.
Drags can be utilized to modify any range of scratches, such as “shift drag,” but usually means drag release or split scratch whenever a drag is defined by itself.
The line appears to be step by step at TTM to show the low pitch.
5. Orbit Scratch
The orbit is scratch repeated both forwards and then reverse; it is mostly added to the scratch because there is an open fader shifting direction so that turning back and repeating clicks reverse is a “full-sounding” scratch.
6. Cut and Stab Scratch
The cut scratch is called release, chop, or stem, and it includes both hands, sometimes even’ sampling,’ when done on the basic level.
This releases the record (the scratching hand allows control of the motor) while the fader is open to allow the speakers to sound, and the fader is shut down while the record is reset at the beginning of the recording.
When this scratch is to be done immediately, the scratching hand should simply push the sound to accelerate (especially for quite sloppy slips).
The terms chop or stab usually mean much quicker sound signals than just a simple cut.
7. The Transform Scratch
The transformation is primarily done using the sound-speed-out fader (for example, in eighth notes).
The transformation is done very quickly. The recording process can vary, but the sound has to be stuttered/cut, and when the needle changes its direction, the fader never is opened.
The baby scratch is the easiest way to do this, and the fader is twofold in each direction. The scratch got its name because the listener listened and observed that the transforming cartoon looked like the robots turning into robot states from their vehicles.
DJ Jazzy Jeff and DJ Cash Money were the first to create this. The crossfader is important for transformation.
When it has become a hero of the die-cast action, not a cheap plastic wüs of the game, when you have been around long enough to remember Optimus Prime, you can understand how the transform got its name, as it has been, in the Hasbro cartoons.
You can repeat this sound by clicking the opening and closed fader to bring in and out the sound when moving your dish, and by combining your babies with them, you can achieve an enormously varied range of sounds.
8. Scare Flare Scratch
A flare is like a transformer, but when the open fader happens. The closed fader or click enters the directional change. This part can involve multiple clicks and a 2-click, 3-click Flare, etc. The scratch is named by DJ Flare, his inventor.
9. The Spinback Scratch
Spinbacks are not recording exclusively. Nevertheless, the CDs are equally omnipresent and yet unique, and many apps have a quick, button-enabled spinback impact.
But there’s everything I don’t know about a spinback manually. Speed and style are controlled, and it also looks cool, which is important too!
At the end of the song, put your finger on the plate on which you want to turn and flip it as rapidly and smoothly as possible or-and it is my favorite-wind the trail rhythmically backward, first and then slowly follow the pace inverted until the tension disappears.
10. The Laser Scratch
A laser, also spelling laser, is made to scratch the record together with the control of the recording hand, creando (with most of the samples) a sound effect that is characteristic not unlike a laser in an old video game, such as space invaders, and hence the name.
The laser is difficult to record in TTM as it was originally released, so the TTM format was improved to include the ability to record the laser move with easy fader DJ Skar.
It is marked on the blender line with a triangle and brackets pointing upwards to show how long laser measurements are to be done.
The laser is usually performed through several reverse and forward hits and can be done with both hands to make a quicker blast.
11. Vibrato Scratch
It is the effect of wobbling around the main pitch, that Vibrato is the term taken from other, more conventional musical instruments.
On the turntable, the record control can be used, or the pitch control can be used when the engine is on. The pitch control can be’ steep’ or slow so that some turntables can not be worked easily.
12. Tap Scratch
The term ‘ tap ‘ means the tapping sound of the fader when it is closed, so a click is a stage where the fader is shut down really fast.
The number of clicks found in a scratch can be indicated: for example, a double click Flare has two closings for the fader in a forward motion.