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AuthorTopic:  N00BIE F.A.Q
Dr. Hell No

Total Posts: 10302
Member Since: 2004
Location: I get my kush from california
posted Wednesday, January 25, 2006 10:53:57 AM    Click Here to See the Profile for Dr. Hell No
Props to www.djforums.net for providing a lot of this info And NTREEG for finding it, again. This isnt the final word or the end-all dj guide, and it was written a long time ago, but still have some great info. If your new to dj'ing, read this::::: :


Turntable FAQ
One of the most important purchases in your DJ career will be the turntables you opt to use. With so many options on the market, it can be a tough choice. This FAQ is designed to help. If you have any additions, suggestions, or corrections please PM me, and I will add them to the list.

Q) What are the best turntables

A) There is no real answer to this. The most widely used are the Technics SL1200s because of their durability, reliability, and accuracy. Other people will say the Vestax PDX2000, or the Numark TTXs because of their added features. The best answer is which fits you better. Take time to use each, and judge from that.

Q) What are the pros and cons of those tables?

A) Technics SL1200s: Pros: high reliability, strong motor, smooth, accurate pitch, the first DJ turntables, and they hold their value.
Cons: Haven't changed much since their introduction. Lack features of many new tables on the market, not cheap.

Vestax PDX2000: Pros: High torque motor, adjustable start/stop, 50% ultra pitch, skip resistant straight tonearm.
Cons: Ugly, plastic housing; Straight arm wears records more, and doesn't sound as good as S arms, light platter.

Numark TTX: Pros: Highest torque on the market, BPM counter, Pitch readout, adjustable pitch, interchangable tonearms (S or Straight), can swap pitch fader and display for "battle style", cool look.
Cons: Numark reliability is questionable at best, tone arm contacts wear, reducing sound quality, complicated, expensive to repair.

Q) I've heard about Technics 1200MK2 and M3D, what's the difference?

A) The M3D was a new model of the 1200 with a few minor changes. These are:

1. The "click" in the pitch slider was removed, so the slider smoothly glides over the 0 pitch marker.
2. A Quartz Lock button was added. Pressing this button will return the pitch to 0, regardless of the sliders location
3. The power switch is recessed to prevent acidentally turning the tables off.
4. A space to hold an extra cartridge was added behind the tonearm.

Mechanically, the tables are the same.

Q) What about the new MK5 and MK5G models that just came out?

A) These are the newest offerings from Technics. The MK5 is virtually identical to the M3D with the exception of an LED target light, and a "redesigned" tonearm.

The MK5G has more changes, including:

1. A glossy black finish
2. The ability to switch between +-8% pitch range to +-16% pitch range.
3. Blue leds, however, the strobe LED is still red.
4. Redesigned tonearm
5. Easily adjusted start/stop

Q) I've also heard of a Technic 1210, what are they?

A) The 1210 is the European version of the 1200. The only differences are the color, and the default voltage. There is a switch under the platter to set the voltage, so they can work with US outlets.

Q) I'm on a tight budget, what are some other turntables?

A) Some of Numark's lower end tables use the same motor as the TTX, also the Stanton STR8 series of tables are great for beginners.

Q) How do I set up and maintain my new turntables?

Go here for a great guide: http://www.djforums.com/tutorials/turntable_maintenance.php


In this edition of the Beginner’s Guide to DJing, we will be talking about things you need to know when you decide its time to buy your decks (slang for turntables). There are several features that are a must, and several features that depend on what your style of mixing asks for.

Belt driven v. Direct drive… what’s the difference?

There are two basic designs for the operation of the platter; belt driven and direct drive.

Belt driven turntables have the actual motor that spins the platter (the part you put the record on) offset from the center of the platter, and a belt (often nothing more than a big rubber band) is looped around a shaft extending from the motor, and connects to the bottom of the platter.

Direct drive is a bit different setup. The motor is under the platter (usually the spindle, the “needle” on the center of the platter, is part of the motor), and directly rotates the spindle and platter. Some tables (like the Technic SL1200s, and Numark TTX1) have a hefty magnet under the platter, and another on the motor. This is designed to increase torque, and response when the motor starts spinning. Others (like the Stanton STR8 Series) rely on the weight of the platter resting on the spindle to turn the platter. Effective, but it makes the platter easy to stop.

What does this all mean to a DJ? Well, as a DJ, you’re going to want the most accurate equipment you can buy. Belt driven table will not give you this accuracy, no matter how good the manufacturer boasts about it, and how much it costs. These decks are wonderful for a listening station, but please do not purchase a belt driven table, even if you are just starting out.

So, why do some tables cost so much?

Ahh... good question. When you’re digging around on www.pssl.com, or any of the other millions of DJ reseller sites out there, you will find a plethora of brands, models, makes, and variants. This can be very overwhelming for the first time buyer. Some cost $99, some cost up to $799. What’s the deal!?

Generally speaking, you get what you pay for. I am not going to try to push any specific brand or model in this tutorial, but I will give some facts that will be helpful in your purchases. The cheaper decks usually are belt driven, which we have decided we want to try to stay away from. These are the decks that are usually around 100-200 bucks a pop. Next on the price list, you have your mid-level decks. These usually are direct drive, but have a lower power motor (we will get into power specifics a bit later). These run around 200-300 per deck. Last, you have your higher end models. They consist of higher torque motors, more features, and are generally the better decks to purchase. These decks run in price from around 300 dollars and up. Remember though, you don’t necessarily need to buy the most expensive deck on the market.

What about torque and a turntable?

Different turntables have different motors, and different torque outputs. The general idea in a turntable for a DJ is the more torque the better. If you plan on doing any scratching or fancy turntablism, high torque is a must. If you are interested in any deck in specific, go hit their website. Most of them list all the technical info regarding their products. On a side note, you may also hear the terms “wow” and “flutter” fly around from time to time. Wow and flutter is “Instantaneous variations in the rotational speed of the turntable platter.” In easier to understand terms, the higher the wow and flutter, the less accurate your turntable is going to be.

What does that big fader on the side of the turntable do?

That is the pitch control. All it really does is speed up and slow down the motor, thus speeding up and slowing down your record. This is used to match your records to the same speed so you can mix. Some turntables have different speeds available. Most all have the standard +/- 8%, and some have an optional +/- 16%.

So why do some turntables come with a straight arm, and some a curved one?

These different tonearms are designed for different applications.

The curved arm (or S-arm) is set up so the grooves in the record will “pull” the needle across the surface of the record, twords the center of the record. This is the more traditional style, so to say. S shaped arms wear records the least, and have the best sound quality.

The straight arm is used in scratching applications. The nature of the straight arm helps reduce skipping when scratching, but the tradeoff is increased record wear, and lower sound quality.

There are the basics of what you need to know for a turntable. Take all these specs and features into account when you’re making your decision on what to get. A substandard setup can make you think you are not performing at the level you want, and thus you may quit all together.

Stuff :

Here are a few simple guidelines for anay upcoming DJ to spin by...

1.Ignore the trends. Play what makes you TRULY happy. If you are not enjoying the music, your audience won't either!
2.NEVER trust a club owner or promoter.
3.NEVER play for beer and other buzzes when others are going to profit from your efforts.This excludes charity events and house parties for your freinds.
4.Buy the best equipment available to you. The rest is crap.(trust me on this, I have thrown away more equipment than I own right now!)
5.ALL dance music is based on 32 beat segments. If you can count to 32, you can mix.
6.record EVERYTHING! even when you are just goofing off on the decks, that is when your best ideas will be born.
7.After you have produced a mix tape that rocks all of your friends worlds, give copies out to clubs and rave promoters and other kids. That is the ONLY way you are going to recoup the thousands of dollars you will have to invest in records,equipment and noise pollution tickets!
8.IGNORE THE TRENDS. BE YOURSELF, even if you spin polka, be yourself and never let people pressure you into playing music you don't like.
9. Play something! If you can play an instrument,even if is banging two sticks together in time, you will be a lot further along than most of the DJ's I know.
10.Find a mentor. Learn from HIS/HER mistakes so you won't make the same ones! And more importantly, let them guide you onto the musical path that is right for you.
You never know, you could be a misguided guitar player or pianist. No one is an island unto themselves, don't fool yourself by thinking otherwise.
11. Dance, until you can't. If you aren't dancing, you don't feel the music. If you don't feel it, don't spin!
12.If you are going to play two records simultaniuosly, listen to the mix in your headphones for AT LEAST 16 beats before you pan that crossfader over! There a lot of highly paid DJ's in Shreveport who haven't figured that out yet! TRAINWRECKS WILL KILL YOUR VIBE! Avoid them at all costs!
13.Buy all of the records you can, they are woth their weight in gold.
14.TAKE CARE OF THEM! GRUV-Glide is best and it is available at http://www.pssl.com
16.People that are not dancing need to be drinking.If you ever get to play a club, your performance will ultimately be judged by the amount of liqour sold that night.
21.Clean you equipment regularly, A clean fader is a happy one.
22.The Technics SL 1200 mkII & mkIII are the ONLY turntables to buy! Anything else is a waste of money!
23. Stay away from Gemini and other cheap brands, they are crap.
24.Sony and AKG studio headphones are the way to go, you will have them forever and they sound better than any of the club systems you will be tortured with.
25.The best entry-level DJ cartidge in the world is available at Radio Shack for $35
RS-500 DJ
it is actually a Stanton Cart. and it will do you just fine until you can justify the expense of Ortofons.
26.NEVER pay more than $250 for a used 1200.
A 20 year old 1200 is every bit as good as a brand new one. REALLY.
27. Replace your tonearms every ten years. The contacts in the unit have a tendacy to oxidize and the repair is well worth the cost!
28.Fix your own gear. If you do not know how, ask someone that can help you! If you break it, it is usually a good idea to fix it yourself.
29.Protect your ears, loud music is cool and all, but it's much cooler if you can hear it!
keep your booth monitors turned down at a discrete level. Your ears will thank you for it later! There is no cure for "Club's Disease"!
30.Yes, you will get the attention of girls.
31.Make the girls happy, you will never go wrong doing that!
32.If a woofer makes ANY sound besides a "woof" or a "boom", turn it down!(Don Teach never told me that when I was buying all of those replacement baskets)
33.Peavey sucks.
34.JBL rules.
35.Never take advise from older DJ's, you'll never know what kind of bullshit we are throwing at you...
36.Never let this shit go to your head. But never let people try to belittle you either.
Psychological warfare is a lot of fun, but it doesn't sell records for very long...
37.If you are insistant upon learning to scratch, do it at home, not the club. After you can do a couple of tricks do them at the club.
38.I never had them available to me, but there are MANY good learning guides and videos available today, Ignore those too. Be yourself.
39.if you really suck,or aren't interested in on the job training, go to http://www.pssl.com and order one or two. Who knows, they might actually teach you something.
40. You are only as good as the occupacy of your dancefloor, watch it closely.
If it is empty, try playing something else.
41.A 32 ounce Crown & Coke will ruin most DJ mixers.Numarks are survivors.
42.It may also seriously impare your ability to mix well.
43.Be freindly, spinning for 8 hours at a stretch can be an incredibly stressful endeavor. And people who approach you during that time will pick up on the bad vibes eminating from you and take them back to room. If someone keeps bugging you to play something stupid,it is usually better to ignore them by looking incredibly busy than turning around and getting pissed off at them. Remember, these people are usually drunk and they think that it is your job to appease them by playing whatever songs will pave the yellow brick road of their wildest disco fantasies. It is, but you are the engineer, they are meerly travellers. Make it look easy!
NO SHIT! They don't have to, they are good enough to let the songs do all of the talking for them.
45.There is not a single square foot of retail floorspace in shreveport dedicated to selling NEW dance music. Go to Dallas. http://www.cdnow.com http://www.groovetech.com http://pssl.com http://www.satelliterecords.com
they will do for now....
46.After you are sick of buying other peoples' music,save all of that money, buy a Kurzweil and make your own.
47.call your mother. she is worried about you. (She had better be anyway.)
48."Pro" Dj C.D. players usually die a miserable death (usually when you are in public, mixing). If you insist upon playing those abominations of media, get a Pioneer or NEW Denon player. The rest are crap. So are the older Denons.
49.If you let someone else pay your dues for you, they WILL come back to collect them from you. Don't sell out.
50.The most successful DJ's/producers in the world are in their late 40's and early 50's.
Don't be in a hurry. You will have to pay the same dues. Unless you sell out.


Flip Tha Funky Fader’s (A.K.A. “d3vi0uz”) In-Depth Beatmatching (and other odds n’ ends) Tutorial...Your guide to getting somewhat good...


What is beatmatching? Well, have you always wondered what the DJ was doing behind all that fancy (not to mention expensive...) equipment? Have you ever heard a DJ mix before? Have you ever wondered how the DJ made one song go to the next without noticing much of the transition?

Beatmatching is the core fundamental of DJ'ing. Whether the DJ spins techno, trance, drum and bass, hip hop, or any other electronica dance music genre, beatmatching is what ties everything together. So what is beatmatching you ask? Beatmatching is simply taking two songs and matching their Beats Per Minute (a.k.a. BPM...more on BPM later) so both songs can harmonize together. When a DJ is doing his/her thing, he/she is beatmatching the two songs so they can flow together in harmony...This is called mixing, and the finished product of beatmatching or mixing, is called a "mix" or "set".

What's so special about beatmatching? Beatmatching is used to make transitions from song to song much smoother than just playing one song over the next and fading the volumes. If all a DJ did was just play one song after the other, then might as well just bring a radio and hook it up to some speakers.

Why would a DJ want to beatmatch? A DJ beat matches songs in order to make a mix. That mix is what gets the people going and gets them pumped up. Just playing one song after the other is not enough. Actual beatmatching helps keep a constant flow of energy and as a result, makes the crowd happy. Things wouldn't sound as nice if DJs didn't beatmatch, songs would collide with each other and create a disastrous overwhelming sound that will turn people away.

Mixing is used as a medium of transportation for delivering energy and excitement by the DJ to the crowd. Without beatmatching, DJ's would just be jukeboxes playing one song after the other and that is what someone like you (an aspiring superstar DJ) does not want to become. (okay, I’ll end the philosophical junk and get on with the tutorial for you eager people...sheeesh...)

Getting Acquainted:

In order to learn how to beatmatch, you must understand what exactly are beats and BPM's. If you have played the drums, or have taken lessons on musical theory and the like, beatmatching will be a lot easier if not basic to you. For those of you who are less musically inclined, it might take a little longer for you to get the hang of beats and musical structure.

Beats per minute, or better known and often referred to as BPM, are how people rate the speed of a song. It literally means how many beats occur within a minute time period in a song. For those of you who know a thing or two about music, BPM will dictate the speed or tempo of a song. The more BPMs in a song, the faster, and the less BPM's in a song, the slower it is. For instance, a 135 BPM breakbeats track (song) is way faster than a 102 BPM hip hop track.

To beatmatch, you will need to know what beats are. The best way I can explain to you what a "beat" is, is that a beat is a "marking place" in the song. A musical beat is NOT a sound, nor silence. It is simply a place on musician's sheet notes that tells him/her when to play his/her instrument and when to stop. The musician could play a few notes for eight beats, and then rest for two. In other words, there is sound for eight beats, and no sound for 2 beats. Notice how a beat is not necessarily sound nor silence, it is just an "instruction" for when that instrument plays. Please do not confuse beats with actual percussion hits. When I started out, I misconstrued musical beats as actual drum hits because I used my "street knowledge" and thought that a musical beat was pertaining to the actual beats, as in the actual music and sounds I was hearing come out of the speakers. If you make the same mistake I made, you will end up with a wrong calculation when you count BPM's. Boy was I way off when I started out...

Counting Beats:

Counting beats is fairly simple once you figure out what beats are and how to train your mind to broaden its short attention span. You may take that as a joke, but seriously, counting beats can be really confusing to those starting out because of all the overwhelming sounds and different elements of the song that are colliding in their ears.

Counting beats is crucial to beatmatching. DJs count beats in order to find a track's BPM (beats per minute). Keep in mind that BPMs are how fast or slow a song is. You will want to count beats so you can determine one track's BPM and see if it is "compatible" with the next track's BPM. By compatible, I mean that the BPMs will be in a reasonable range that you can make pitch adjustments to beatmatch them, usually a reasonable range is +/- 3% of pitch adjustment (any more than 3% of pitch adjustment can significantly alter the melody and the way the song sounds...think high pitched and squeaky voices...). Once you determine a track's BPM you can decide whether or not it works with the other track that you want to mix with. Once you make this decision, you can get on your way to mixing these songs.

Making The Calculation:

Now that you know what beats are and why counting beats is important, you can begin counting them. First, pick a record with a track that you not only like, but one that you think is fairly simple and not too "busy". Start the song and wait for the first beat. When this first beat hits, put your hand on the record and hold it there. Get acquainted with the one beat and move the record back and forth. In most cases, the first beat will be a kick drum (see bottom of page if you do not know what a kick drum is). Then, pull the record back so that the one beat plays again, and this time, when the beat hits, count aloud "one".

Depending on your musical genre, the second beat is usually a snare. Especially in genres such as hip hop, drum and bass, etc., the second and fourth beat will be a snare. For explanatory convenience, lets say that the second beat is a single snare. So far, the pattern has gone kick, snare. When you hear the kick hit you count "one" and when the snare hits you count "two".

This is when things get a little more tricky. When counting beats, you will notice that songs have a lot of "extra" sounds added in, and those extra sounds will most likely confuse you when you start off. In the previous two paragraphs, there was only one percussion hit per beat. We had a single kick drum for the "one" beat and a single snare for the "second" beat. Now it begins to spice up. On the "third" beat, you'll hear more than just one sound. When the pattern began it went: kick (one), snare (two), but now there will be more than just one sound. Keep in mind that musical beats are just marking places on sheet notes and that beats will be consistently and equally spaced out from each other throughout the song. Lets say the pattern goes like this: kick, snare, kick-kick. Notice how there is more than just one percussion hit, these two percussion hits will sound quicker and right after the other. Do not let this confuse you and think that the "kick-kick" results in two beats. This is how the beats should be counted so far: kick (one), snare (two), kick-kick (three). This is how to NOT count beats: kick (one), snare (two), kick (three), kick (four). So you can see that just because there are two kick hits that does not mean there are two beats.

NOTE: when I use a hyphen/dash ("-") such as in "kick-kick", I mean that the two percussion hits occur quickly right after the other. It's sort of like shooting a gun. When ever you see a cama (",") you shoot the gun every two (2) seconds, but when you see the hyphen/dash, you shoot every one (1) second. So it sounds like "bang, bang-bang".

Counting the "fourth" beat can be just as hard. In most cases, the fourth beat will just be a single percussion hit, but if there are more than one sound, you will be prepared to handle it correctly. First, lets say that the fourth beat is a single percussion hit, and because most genres are structured this way, lets say that it will be a snare. So this is how your pattern goes: kick (one), snare (two), kick-kick (three), snare (four). It's simple, right? Now lets make it a bit more harder. Instead of having just a single percussion hit, it will have two. Treat this the same way you did when counting the "third" beat earlier. So here is how the pattern goes: kick, snare, kick-kick, snare-snare. Remember that beats are consistently spaced equally apart from each other in a song. So, if we had the "third" beat fall after the second percussion hit, the "fourth" beat will have to occur after its second percussion hit.

This is what I mean: Kick (one), Snare (two), Kick-Kick (three), Snare-Snare (four)...Notice how each beat is equally spaced from one another? Good...

Congratulations, you just counted your first bar (4beats=1bar). So far you have only counted four beats, but you will have to continue counting in order to determine the track's Beats Per Minute. To do this, you have to keep counting, this is what it will look like: Kick(one), Snare(two), Kick-Kick(three), Snare-Snare(four) | Kick(five), Snare(six), Kick-Kick(seven), Snare-Snare(eight) | and so on and so on... You get the idea that you keep counting even though the pattern ends and repeats.
Now how long do you count for you ask? That's simple. We are counting beats to determine Beats Per Minute (BPM), so, yup you guessed it, you will be counting for a whole minute! But you're too lazy to count for a whole minute, right? Lucky for you, there’s math. Instead of counting for a whole minute, you can count for as long as any multiple of 60 (60 seconds=1minute). What I mean is that you can count for say 30 seconds (half a minute), and then double the amount of beats you got. So if you counted for 30 seconds and got 64 beats, multiply 64 by 2 and you get 128 BPM. You had to multiply by 2 because you only counted beats for half a minute. You can count for as long as you want, but make sure you multiply the number of beats you came up with by the correct factor. If you count for 10 seconds, be sure to multiply by 6, and if you count for 20 seconds, multiply by 3, and so on and so on.

NOTE: for all you English aficionados out there, I know that I shouldn’t type using the Arabic numbers, I should spell them out. I only used them to make explanations easier to understand, nothing more...

Carrying on...The longer you count beats, the more accurate you will be, so if you count for a full minute, and count correctly, you will have the most accurate BPM you can have. Although you want to be as accurate as possible, this is DJ'ing, not rocket science! Keep in mind that it is alright if you are off by one or two BPM when counting beats (you probably will be anyway). That’s fine though, the main goal here is to get an understanding of the tempo, how fast is one song and how fast the other is.

How To Train Your Mind and Ear:

One of the major problems that discourages a beginner is that their mind and ear are not adapted to hearing the music, and they become overwhelmed and confused. Yes, we have all listened to and enjoyed music, but when you were listening to and enjoying music; you didn't have to pay attention or try to do anything with it. When beatmatching, you'll have to get your brain used to "separating" the different instruments being played in the song. Good DJ's will be able to tell the difference from one song's kick drum from the other song's kick drum. Good DJ's will also notice the difference in sound when two songs are being played together at the same time, as opposed to having one song being played at once. They will be able to hear the exact change in sound of the instruments being played when the change occurs.

What Can I Do to Help Myself?

A good way to start training your mind and ear is to listen to more music, more often. Of course you have listened to music before, and you're probably rolling your eyes at me for suggesting this, but this actually does help. When you casually listen to music, you'll listen to a song, move your head, tap your foot, hum the melody, and probably think "Well this sounds pretty good." But what you are not doing is analyzing the music.

I like to call it "studying" the music. When listening to music, listen for all the different elements of the song. Mainly focus in on the different percussion instruments, particularly the kicks and the snares (if you don't know what these are and would like to find out, see the "Sounds" guide at the bottom of this tutorial). What you are doing is trying to figure out when the kick drums and snares occur. You're also training your mind to filter out and separate all the extra elements of the song such as the melody (unless you're into harmonic mixing, which is something far beyond advanced for you right now) so you can focus in on the percussions. By doing so, your mind will eventually be accustomed to hearing a song as a whole and in "pieces", or in other words, you'll be able to listen to a song and tell someone, "Oh yeah, the snare comes on the second beat, then three kick drums, and a hi-hat on the fourth."


Cueing is simply synching two tracks together so that their beats correspond with each other. Why is cueing important, and how is cueing going to help me mix?

Well look at it this way. Say you have two cars, and each car is traveling at the same speed. Let the two cars represent two tracks and the cars' speed represent the tracks' BPM. Since both cars are traveling at the same speed, then the tracks are playing at the same BPM. Since both cars are traveling at the same speed, then theoretically they will finish the race at the same time. But, in order for the two cars to finish the race at the same time, the two cars have to start at the same time. Cueing is similar to this concept. Even though both cars are traveling at the same speed, if one car is given a head start and starts ahead of the other car, then the two will obviously not finish the race at the same time. This is equivalent to having two tracks playing at the same BPM, but one track is not synched or "started" at the same time, thus their beats are not corresponding or playing together. One track's beat pattern will be ahead of the other, and will create an audible atrocity.

So without cueing two tracks of the same BPM, you will have two tracks with their beats playing on their own as opposed to having the beats of both tracks harmonize and play as a single unit. In other words, when you don't cue tracks you'll hear a whole bunch of unorganized noise that sounds like "boom-boom-boom-boom-boom" instead of hearing two tracks speaking in harmony as a one, "boom, boom, boom, boom".

How to Cue

Now that you know why cueing plays a vital role in mixing, you can begin to cue. To start off, take two copies of the same record. Again using two copies of the same record that you not only enjoy but that is not too complicated. (Note: I am explaining how to cue using two of the same record for the sole purpose that using two of the same track will already have the BPMs matched, thus making explanations more convenient.) Now place them on your turntables, and first, only play one record. Get acquainted with its beat pattern. Now you can cue your incoming record.

For convenience, let's have the live track playing on Turntable 1 through Channel 1 and the incoming track playing on Turntable 2 through Channel 2. Since we're just starting out here, lets have both channels on full volume so you can hear what is going on when you're cueing the incoming track. You may not always want to cue this way, but I will talk more about the different cueing methods later on.

Let the live track play and while it's playing, start the other record, and find the first "one" beat in the incoming track (you should be capable of distinguishing the "one" beat by now). When you find the incoming track's "one" beat, put your hand on the record to stop it. With the incoming record stopped at the "one" by your hand, release the record whenever you hear the same "one" beat from the live track. So when you hear the "one" beat from the live track (turntable 1), release the incoming record (turntable 2) so its "one" beat plays precisely at the same time as turntable 1. In other words, when you hear turntable 1's first kick, release the record on turntable 2 so its kick drum plays at the same time as turntable 1. Keep in mind that the goal here is to get the two tracks to "start" at the same time. Just remember my little story about the two cars...

If done properly, you should hear both turntables playing together as one. If the beats are off, and you're hearing a bunch of clutter and chaos, you either cued too early or too late. Bring the record back to the one and wait again to release at the proper time. To stay on beat with the live track, you can try nodding your head or tapping your foot. Keep trying until you can get the beats "locked" together and have them sound as smooth and natural as possible.Just to let you know, you can cue using different beats. In my explanation, I explained how to cue using the "one" beat. In almost all cases the "one" beat will be a kick. Sometimes you might want to use other beats such as the second beat. In most genres the second beat is a snare, and for some people (including myself), it is easier and more natural to cue using a snare drum instead of a kick drum. Figure out what works best for you and go with it.

Different Cueing Methods With Your Headphones

Here's a few basic ways to cue using your headphones. These aren't the only ways to cue, and you can develop your own little variation of them to suit your needs and style.

One ear cup method:

The one ear cup method is having the live track playing through your speakers while you have the incoming track playing in your headphones. It is called the one ear cup method because you are only wearing one ear cup. You wear one ear cup to hear the incoming track, and the free ear is open to hear the live track playing through the speakers. When I explained how to cue, we had both channels playing through the speakers live, but with the one ear cup method, one channel is in the speakers and the other channel is in the headphones. This allows you to listen to both the live track and incoming track simultaneously.

Split Cue:

Split cue is a headphone feature that makes beatmatching a lot easier and convenient. When using split cue, each channel is put into one ear cup. Channel 1 is in one ear cup, and Channel 2 is in the other. This allows the DJ to listen to both tracks at once and helps consolidate the two tracks. By doing so, the DJ can better distinguish which track is either faster or slower than the other, thus making beatmatching a lot easier. As opposed to the one ear cup method, both turntables can be heard through the headphones and when using split cue, you will most likely be wearing both ear cups.

Although this is a great feature, not all mixers have it, so do not rely on this method. It is a great way to learn but not something to use as a crutch. You don't want to run into a mixer without split cue and not be able to beatmatch...I suggest that if split cue helps, use it to learn, but once you learn to beatmatch, quickly switch to the one ear method. This will prepare you for big (and loud) PA systems and will assure you that you will not be out of luck when you come upon a mixer without split cue.

Live cueing/Cut:

There is no real name for this method. Many DJs will refer to this as a cut (particularly hiphop DJs) but call it what you want (I will talk about a different type of cut later on as well once I get to “transitions”). This method involves having the incoming channel's volume audible and using the cross fader to "cut" in the incoming track. When you are making a cut, you are basically scratching in your record to play live as opposed to cueing it in your headphones and then letting play live. You may want to do this for several reasons. The only draw back of this method is that if you mess up or didn’t get the two tracks properly beatmatched then the crowd will hear your error and you don’t have the luxury of listening first to see if you made a mistake like you would with a headphone method. Just experiment and have fun.


So now you’ve figured out how to count beats, beatmatch, and cue. Now is time to learn how to make a nice transition. What is a transition? Transitions are another element that is tied in with mixing. Simply put, a transition is going from one track to another track. You may think that this part of the tutorial seems a little stupid since you think transitioning sounds simple and is a minute detail, but it can mean the difference between a good mix and a great mix. You’ll see that transitions are more than what they seem.

Fader Placement:

First we need to establish fader placement. In other words, we need to figure out how you like to use the faders (cross and up-faders) to mix. There are different ways to use the faders to mix, here are the two most common ways of utilizing the faders to make quality transitions:


Also known as the “c.f.”(cross-fader), the x-fader can be the weapon of choice when it comes to mixing. Some people like to set their up-faders to full volume (or whatever desired level) and use the cross fader to make transitions. DJs will move the x-fader from one side over to the other in order to introduce the other track. This is the most basic way to transition.


Now this is where things start to get juicy. Using up-faders is always fun because you can control each channel freely and independently. When making transitions with the up-faders, you leave the x-fader in the center so that both tracks will be audible. But, when the x-fader is in the center, you only leave the live track’s up-fader at full volume while having the incoming track’s volume level completely off. When you want to transition, you don’t touch the x-fader. You simply raise the incoming track’s up-fader however you want (can be gradual or whatever). Then when you feel, you start to bring the live track’s up-fader down once the incoming track’s up-fader is coming up.

This method allows you to control each individual channel independently and freely. As opposed to the x-fader method, you can tweak one channel without affecting the other. This gives you more freedom and a bigger window of creativity, not to mention the control and possibilities.

Basic Transitions:


See, I told you I would get to the “other” kind of cuts. I’m not a liar…ehehe…

Anyway, in “transitioning terminology”, a cut is a quick transition. It’s probably called a cut because it ties in with the cueing type of cut, which you might want to use when you want to create a cut transition.

A cut is just taking two tracks, beatmatched or not, and cueing them, then switching over from the live track over to the next quickly. You could use this for several reasons such as getting rid of the live track quickly. Or you might need to save yourself from an improper beatmatch and go right into the next song. Just remember, when you do a cut, you’re not letting the two tracks play live together long. It’s just a quick, in-and-out deal, just think of a one-night-stand…


Blends are always nice. They let the mix ride out in a smooth gradual manner. When done correctly, you probably wouldn’t even notice one song has ended and another began. So what is a blend? A blend is taking two beatmatched tracks and letting them play live together longer than usual. You do this so that they are “blended” together and are playing together. A proper blend is not a quick transition. It’s a longer, gradual, and a smoother flow than a cut. As opposed to cuts being a one-night-stand, blends are a romantic evening, it allows the two tracks to “get-to-know” each other better. When done properly, the romantic evening will spark a magnificent sounding result of happiness…Alright, enough of that…

Note: do not confuse this blend with the other type of blend. The other type of blend I am referring to is sort of the remix kind where you take an instrumental from one song and an acapella from a different song and play them together to make a whole new song. It’s like a remix done on turntables with existing songs.

When it comes to DJ’ing, style is key. Without style you will sound like another John Doe in the crowd and no one will ever take interest in you. Style is what catches people’s attention and make them say, “Hmm. He’s different and interesting, maybe I should pay attention.” Style is what separates you from the rest of the world, it’s what makes you, you.

A lot of style can be tied in with transitions. If everyone did the same transitions, we would all sound the same and that is no fun. Some people have their own way of doing things. Some DJs like to use a lot of cuts, and others like to use a lot of blends. Some like to use the cross fader to transition while others prefer the up-faders. Find what you like to do and experiment. Get in-touch with your musical imagination and express yourself to produce a by-product of your equipment and your love of music.

Putting it All Together

Alright beginners, straighten up and look sharp. We’re going to have a review of what to do when you’re live in the mix so you don’t forget. Here we go…

Situation Briefing:

You are playing live at a house party, and it’s your first gig and you’re nervous. People are starting to arrive and you decide it’s go time. You’re trying to do your thing but cant concentrate, and then you suddenly remember good ol’ d3vi0uz’s tutorial. You wipe the sweat from your forehead and take a quick breath. Now the show begins…

What to Do, What to Do…:

As people fill the room you put on the first song. You think to yourself how easy that was since you didn’t have to any focusing. As the song plays, what do you do? Do you stand around and look good? No! While the song is playing, you should be counting beats to determine that song’s BPM. Do this as soon as possible so you’ll be ready to beatmatch whenever you want. So now you got the BPM of the current song, say its about 94 BPM. Now you rummage through your crate to look for the next song. Keep in mind you’ll have to beatmatch so you want to look for a song that is within reasonable pitch range. You find a track that sounds about the same speed as the current track and realize you’re just in time since the current track is about to end.

You place the record on the other turntable, and what do you do now? You start counting beats, duh! After counting ever so accurately, you find out that the song you chose was 95 BPM. You’re thinking, “alright, only 1 BPM difference.” So you find the “one” beat and get it ready to cue. Waiting for the right beat, you set your pitch adjustment in and around -1% to get it beatmatched at 94 BPMs. You hear the proper beat and then release the cued record. Now listen. You like what you’re hearing and the two tracks are beatmatched, now its time to transition.

There are a few ways you can transition here. You can either make it a quick cut, a nice smooth blend to let things mingle for a while, or decide on some other creative and unique way of introducing the track. Whatever fits your mood and the crowd (very important) and whatever you think is just right for the moment is what you should do here. This is your chance to decide, so I’ll just pretend you made up your mind as to what you want to do…

After you made a full transition, look up and glance at all the pretty party people’s faces and smile back, because you just made a mix and the crowd liked it.


Congratulations, you have just completed this tutorial and have expanded your DJing horizons a little more. Now go on young Jedi, take what Tha Funky Fader has taught you and use it wisely; the music world can be a rough place. But no matter how big you make it and how famous you become in the future, just remember who showed you the ropes way back when you were clueless...So farewell and ‘til next time

CDJ info :

A Beginner's Guide to DJing Part 3

CD Decks

In our last installment of the Beginner's Guide to DJing, we talked about the "standard" (for the past few decades) DJ tool, the turntable. As modern technology becomes more advanced, performing artists' options tend to increase. Not only do DJs benefit from technology, mainstream music, and "on the side" musicians benefit as well. In this edition of the guide, we are going to talk about the more recent addition to a DJ's arsenal, the CD (compact disc) player.

What is a CD?

If for some reason you've been cooped up in a cave for the past 20 years, a CD (short for Compact Disc), is a digital storage device. Thru the use of lasers, and "pits and grooves", a CD can store up to 700MB of data, or 80 minutes of high quality music, all in a package about 5" in diameter.

What all will a CD deck do for me?

Any DJ specific CD deck will have a number of features that will allow you to treat the CD (in some shape or form) like a record. Let's go over these features, in no particular order.

Pitch Control- Just like on a turntable, the pitch control allows you to crank up or slow down the speed of the music. CD players usually have a much greater range of adjustment when compared to turntables.

Jog Dial/Wheel- This feature can be the tricky part of getting the hang of a CD deck. You can't physically put your hands on the CD, or platter (because there usually isn't one), so this is the feature that the "early" CD decks implement. Find any older CD deck, and take a look at the jog dial. It's a big round dial, usually situated directly in the middle of the unit. As the music plays, you spin it clockwise to speed up, or counter-clockwise to slow down the music. This has the same effect as using your hand on a record to speed it up or slow it down. The pitch changes from using the Jog Dial are temporary, and the pitch will return to the setting of the pitch control when the wheel is stopped. So be sure to use the pitch control to finalize your adjustments.

Platters- Newer, more "high end" CD players now feature a physical platter on the deck itself. This platter is meant to give a more unique vinyl feel, one that was not as genuine on a deck equipped with a jog dial. Variations on the exact functions of the platters appear in brand to brand (for instance, the Denon S5000's platter rotates, like a turntable, while the Pioneer SDJ-1000's platter remains stationary). Just give the features a good read before you choose the one you are going to purchase.

Cue Point- Here is a feature you can't find on a conventional turntable. Cue points (also known on some brands as "hot cue") let you "save" a point, or multiple points, on any given CD into temporary memory on the deck itself, a compact flash card or removable media. Simply pick your cue point, hit play, and viola; your CD starts at the exact point you set in memory.

CD-Start- Yet another feature not available with most conventional turntables (there are remote start tables, and a modification is available for the Technic SL1200 tables). This feature is usually only available when you couple your CD deck to a mixer of the same brand. Either side of the cross fader on the mixer can be assigned to automatically start the CD deck. Have your CD cued up, hit the cross fader over, and the CD starts playing.

Standard CD features- Play, pause, stop, seek, and search. All these features you see on your car or home CD player show up on virtually any DJ specific CD deck.

How do I play CDs while I'm DJing?

Simple, just like you would a record on a turntable. Cue up your track, start it at the appropriate time, keep it beat-matched, and then mix however your style allows you.

Why do they all look different?

There are two basic "setups" when you're looking at CD decks.

Tabletop- Tabletop decks do just what their name says… they sit flat. The newer, "vinyl emulating" decks are mostly all tabletop, yet some of the older decks that employ a jog dial may be considered tabletop as well. These units are all in one, meaning the entire system consists of only one piece.

Rack mount- Rack mount simply means they are built with a rack in mind. This in no way means they have to be rack mounted. These units usually employ a jog dial, but a few of the newer models employ some vinyl emulation with the jog dial. These systems may be setup to use one or two CDs at the same time. Systems that allow usage of two CDs simply look identical on the left as the right. Rack mount units also come in one and two-piece setups. On one-piece models, everything is in one large unit. Two-piece models have the slots for the CDs on one piece, and the controls are on a separate piece, joined together by a data cable.

That gives a basic look at the CD decks out on the market. CD v. Vinyl has been a big debate between DJs. Both have their advantages and disadvantages when compared to one another. This debate will be addressed in an upcoming article; complete a nice breakdown of popular opinions by members of the forums.







There is no right and wrong way to scratch. It's alot of trial and error and just trying different things out. There are alot of different scratch DJs out there, but one that seems to stand out from the rest is DJ Craze. This man is completely insane. Ive seen him live a couple of times and he puts on a really good show. Listen to him talk about sctraching below.

Listen to DJ Craze talking about scratches (Audio Coutesy of Radio 1)
Beginning Scratching.
Anyone who has tried to scratch on belt drive decks or anything that isn't top end, is going to know that it really is important (not only for improving your learning curve, but also maintaining your sanity) to ensure that the equipment you're using is suitable.

The first thing you're going to need is a set of good, slippy slip mats. Either go into a specialist record shop, and ask their opinion (They should point you towards hip-hop mats (coz they are designed to aid the hip-hop artists do his 'thang' (or her))). As I said before in the equipment section, you can place a piece of wax paper underneath the slip mat to aid it in its slippiness, the paper creating less friction. Be careful though, as much as sticky mates can hinder the budding scratch artist, too slippy a mat can also really cause problems (Not too sure what, but that's what they say!!)

You're also going to have to make sure that things like needles, and the general well being of the vinyl you are using are up to scratch (forgive the pun). Make sure the needle is clean (without all the sunk that gathers around it) relatively new (an old one just won't do) and positioned correctly. A lot of people swear by angling the needle in by about 10 degrees, meaning it cuts into the records groove at an angle, therefore, giving it more bite, and less chance of slipping. I don't know how it's done, and I have absolutely no intention of learning. This set up, though giving more traction wears out the record like a knife through butter. (That's maybe a bit harsh, but it really does wear it down). This also means dealing with the counter balance on the deck. Don't opt directly for maximum weight though. Try and increase it gradually, although you might only end up a couple of milligrams off maximum, those milligrams can mean months of wear on your needle.

If the worst comes to the worst though, and the needle still flies when you're trying to scratch, even with the counter weight set to maximum, there are a few other options. The first is to put the counter weight on backwards. Allegedly, this can give a little more weight, because it's not tapered towards the front anymore. The second (if you have the right kind of deck) is to raise the height of the tone arm. This extra height creates more down-force. The last - and most 'dangerous' to your needle is to add weight to the cartridge, by means of a coin or blu-tack etc. Bad move, you can watch the needle wear down this way!! And watch your wallet empty, as you have to replace needles.

The other problem that you have to overcome before really mixing it up and becoming a pro at scratching is your hand technique. Remember that vinyl is really sensitive, and even with the extra pressure, the new needles and the slippy mats, if you've a hand like a baby elephant, then you're going to see that needle fly!!

Check out the vinyl you're using too. You may end up blaming bad scratches on weight and bad mats, when in fact it comes down to the size of the hole in your records. A wide hole is going to have a lot of perpendicular movement going on when you try to scratch, pulling the needle out of the groove. This can be fixed a couple of ways. The fist is to put tape through the hole (reducing the diameter of the hole). The second to find the sticky rings that you put round paper when placing it in a ring binder, to reinforce the existing holes. Put one of these either side, they are about the right width, but if they are still too slack, put a few more on, a little off center. If the hole is far too tight, then you start to worry. I've actually bought records that won't fit onto the plate. I know I'll incur the wrath of a thousand Dj's for saying this, but all I do is get a small piece of sandpaper, roll it up it a cylinder, put it through the hole in the record, then, holding the sandpaper, spin the record round the sandpaper. Do this a couple of times, and it will relax. A bit dangerous though, it has the possibility of cracking your records.

Scratching Styles
Here's where it all starts to go wrong!! If I have any names or descriptions completely screwed up, please tell me, I don't want to seem like an arse!!

The baby scratch is probably the easiest scratch there is. This is the one that I CAN do!! It has an easy pattern to remember and it provides a great starting point for the beginner. This is the one that anyone who comes to you're house, sees your decks, and says "Can I have a go" will do almost immediately. It's just a forwards movement followed immediately by a backwards movement. It is important that the placement within the bar of tune is correct. It's the convention to do the full forward and backward cycle in the matter of one beat. Just think of it as starting the record, as though you are going to drop in the tune in a mix, but then after half a beat, pull it back. The speed that you do both of these actions with can affect the sound produced, as does choosing whether to go backwards or forwards first. This involves no cross-fader action, apart from dropping it in, then taking it back out again.

The scribble scratch is all but identical to the baby scratch, except that there are far more scratches. The technique is to tense the forearm and wrist (you may have a better way, but this is what I do) (Yes, I know two scratches!!) And then "stab" back and forth. I put that in inverts coz I can't think of a better way to describe it, the one I read says it's like having a bad case of the shakes. The other way of doing it though (if they are limber enough) is just to use your fingers to move the record back and forth through the needle. It's basically the same; all you're trying to do is improve the speed that you can scratch at. Obviously, through doing this, you want to make the amount of vinyl passing under the needle as small as possible. Just find the beat or sample you are scratching through, and keep it on that, try not too spill too far before or after the sample.

The tear involves a bit more skill than the scratches covered so far. Essentially the movement is the same as a baby scratch but is now split into three. The forward stroke stays the same, but the backwards s split into two; the first half being fast and the second being half the pace. Try to practice just the backward stroke first, so that you can get used to changing the tempo. (Any drummers out there would recognise this as a variation on the triple)

Using the Fader

Before I get going on this part, find out on your x-fader where the cut in point is. This is the point where the channel first becomes audible. It will help to know where on the fader this is.

The chop (or stab) is a perfect introduction to the use of the cross fader. The scratch itself is the same as in the Baby Scratch, but the difference is in using the crossfader to cut off the back stroke halfway. The fader should start with the sound on (just past the cut in point) and the forward stroke completed as normal. The cut comes just before you start the back stroke where you should close the fader. The key to this scratch is the timing of the fader action. The overall sound created should be a short sudden scratch.

The forward scratch. Rather then go into a long-winded explanation, I'll give you an example. Kadoc's Nightrain starts off with a simple vocal saying "All aboard". Position the sample so that it is right behind the needle. On a particular point (normally at the start of a bar in this case) move the cross fader in and let the record run. As the sample stops, pull the cross fader back, wind the record back to the beginning of the sample, and let it run again. Then it's matter of repeating till your hearts content, playing about with the sample (I like using just the 'All' part a couple of times, then dropping in the whole sample. The trick here though is to make sure you get the sample wound back to the correct place, in time. Some Dj's use tape or a marker, to aid them visually in this, but I tend just to get used to how far it has to get pulled back (of course I use headphones as well, which a lot of scratch Dj's do without.)

The Chirp this is where hand-co-ordination really comes into play. Start with the fader open and make a forward stroke as normal but fade out as you get to the end. The reverse is carried out on the back stroke i.e. start fading the back stroke in. As the name suggests this should create short snappy chirp sounds.

*See how DJ Turntable pioneeer Grand Master Flash gets it done in this Scratch Video on DJvibe TV!

Watch DJ Grand Master Flash Scratch on DJV-TV

The transformer all explanations of this seem quite confusing to me. As far as I can gather, the essence of this is a use of high-speed cuts in and out with the crossfader. At the beginning of this scratch the fader should be in the closed position. When you are ready to begin you should slowly drag the record forwards and backwards under the needle. The fader should then be used to cut the sound in and then back out straight away. To create a desired stuttering effect, the fader needs to be moved in and out quickly, and quite a few times. One tip I read was to find the cut I point, and place your thumb at that point. Now every-time you want the scratch to cut in, you just tap the fader with a finger. The fader should hit your thumb, then bounce back into the closed position (with a little bend of the thumb that is) Now all you have to do is tap till your hearts content. There are special techniques to get this going faster, which I've put at the bottom.

Here's some background to that Transformer scratch though:-

1) The Transformer Scratch, a bit of history:

It's named after the sound made by the American TV Cartoon Transformers, which, when "transforming" between robot and automobile, made a sound like "chi-cho-chu-chi-chi-cha-chik" (I grew up with all the toys and watched it religiously. I can make the noises with my mouth, and I've heard a good transformer scratch that sounds incredibly accurate) incidentally, the chief robots got two more "chu"s because they were bigger. Thanks to Barret Lawson for that history.

Here's a couple that Dj Dave sent to me. I've not tried them, coz I don't scratch! But give 'em a shot and see what you think. Send him a mail if you want at awdw2 at aol.com to either congratulate, or flatulate (tee-hee) him.

The Trans-Backspin:- You do a backspin while doing a transform or flare. It's easier when you turn the turntable off first and when a mixer that has a transform button.

Fast Track:-It's where you touch the record very lightly so it makes a slow and wierd sound. But the trick is not to completly stop the record. Just make it sound slow. Now that you've got that, you have to do that very fast to make it sound very cool. It's almost like the sound when you hear a baby in a mothers belly.

And we have YET another entry on the "I have a mix" line. This one is from Dj Break It Down and is called


Place your right hand on your right turntable, place your left hand on the switch on top of your right channel. Do a baby scratch with your right hand and rapidly move the switch between line and phono. You will get a scratch effect that sounds sort of like if you used/have a transformer.

And here's ANOTHER one!! I'll just paste in the whole mail:-

When you were talking about stutter and orbital scratching, it made me think of a trick I discovered on an old gemini mixer of mine. It has an assignable crossfader. If you set both sides to the same channel (i.e. fade between channel 1 and channel 1) you can perform the stutter and orbital scratching a little faster.( you don't have to worry about the position of the fader). Plus since the channel is fading itself, it gives a little bit of a funkier sound. ( can't really describe it) Plus you don't have to worry about throwing the fader too far and cutting out the second channel.

Hope I described that well enough. (so do I!)

Again, I must point out that I don't know if any of these ARE invented by them, or how good they sound, I just know they asked me to stick 'em in for you all to read.

I'm going to do some blatant copying now. I really don't know enough about any of these scratches, and Dj-jd knows everything there is to know. If you want to know any more about scratching, I implore you, go to this guys site, it's fantastic!! (Just finish dealing with mine first!!!)

Back to top

Anyway, many thanks to Dj-jd for giving me permission to quote off his site.

"Flare Scratch - Invented by DJ flare, this scratch is much like the transform scratch in many ways. Only instead of starting with the sound that you are cutting up 'off', you start with the sound 'on'. Concentrate on cutting the sound into pieces by bouncing the fader off the cut out side of the fader slot to make the sound cut out and then come back in in a split second. Each time you bounce the fader off of the side of the fader slot it makes a distinct clicking noise. For this reason, flares are named according to clicks. A one click forward flare would be a forward scratch starting with the sound on as you click the fader against the side once in the middle of the forward stroke creating two distinct sounds in one stroke of your record hand. In the same manner, 2 clicks, 3 clicks, and even more clicks (if you're fast enough) can be performed to do different types of flares..

Orbit Scratch - An orbit is most generally any scratch move performed both backward and forward in sequence. Usually when someone is referring to an orbit, however, they are most likely talking about flare orbits. For example, A 1 click forward flare and a 1 click backward flare in quick succession (altogether creating 4 very quick distinct sounds) would be a 1 click orbit. A 2 click forward flare and a 2 click backward flare in quick succession (altogether creating 6 very distinct sounds) would be a 2 click orbit, etc...
Crab Scratch - To do a crab scratch you tap the fader knob with 3 or 4 different fingers in sequence starting with the pinkie or ring finger using the thumb as a spring to cut the fader back out after each tap (or in if you scratch hamster style). The result is much like a 3 or 4 tap transform (or a 3 or 4 click flare if you scratch hamster style) only much quicker than you could probably do with one finger. Many DJs find this move easier to perform hamster style since you are bouncing the fader off of the side of the fader slot, but the move can be performed both styles.

Twiddle Scratch - The Twiddle scratch is the precursor to the crab scratch. Quite basically, the twiddle is a crab scratch using two fingers instead of 3 or 4 to repeatedly "twiddle" the fader.

Tweak Scratch - The tweak scratch is a scratch perhaps made most famous by Invisbl Skratch Piklz member Mixmaster Mike. To perform a tweak scratch, you turn the motor off on your turntable and move the platter and record back and forth with your fingers in whatever pattern you desire. The fader may be used to do transform sounding tweaks, but the fader doesn't have to be used at all for this move if you choose not to use it. This scratch is best performed on long tone type samples, but can be applied to any sound. The result varies, but usually is a somewhat jerky sounding scratch. Because the turntable is turned off, each time your finger hits the record in a certain direction, it continues to go in that direction, but slows down as it does instead of returning to a constant speed after each time it is released as it does when the motor is on.

Bubble Scratch - Invented by DJ Noize, this technique is achieved by moving the record back and forth while at the same time turning the EQ knob back and forth from minimum to maximum to get a sort of wah-wah pedal sounding scratch effect. This move is easier to perform on a Technics SHDJ1200 than on a Vestax 05/06 Pro since the DJ1200's EQ adjustment is different.

Zig-Zag Scratch - What I call a zig zag is a move that I first saw QBert perform where you use one hand on the record, and one hand moving back and forth between the volume fader and the record to create a unique scratch effect. If you scratch with your right hand on the record the technique would go something like this:

1. right hand pulls back sound and lets go
2. left hand taps the record as it's coming back forward to make a quick pause in the forward movement of the sound to make two distinct forward sounds instead of one
3. left hand quickly moves and taps down the volume fader a small increment to make the volume a little lower (or higher since you could do the same thing in reverse).
4. repeat pattern
5. effect you get is a 1,2,3 1,2,3 1,2,3... scratch of the sound while the 1,2,3 fades out a little more each time the volume fader is tapped a little lower (the sound can be faded completely out or you can start fading the sound in and out).

Hydroplane - A hydroplane is performed while the record is spinning and you lightly apply pressure to the surface with one or more fingers without stopping the record. The idea is to create light friction between your fingers and the record and if you have the right touch, a bassy friction sound is the result.

Airplane - Although I haven't heard this term used very often, what I have heard referred to as an airplane is taking two identical beats and playing them simultaneously on both turntables with the crossfader in the middle position. Although you're trying to match them up exactly, the beats will always be a little bit off (but not enough off for too much of a noticeable delay) so the end product doesn't sound the same as just one of the channels playing the beat on it's own. The result is a flange/phase sounding effect. I have also heard this technique referred to as phasing.

Juggling - To beat juggle, you use two records with a beat on each turntable and mix them together with the crossfader to create new combinations of beats or to create new beats altogether in a "cut and paste" fashion.

Strobing - Strobing is a type of beat juggling made most famous by DJ Shortkut where you usually mix back and forth between two records with a beat on each while you also tap the records with you're hand to slow down the tempo on each and keep them in sync. An example might sound like kick, kick, snare, snare, kick, kick snare, snare, kick, kick, snare, snare...alternating between the same sounds on the two different records, but any combination is possible using 2 of the same records, or 2 completely different beats. By cutting back and forth you're usually separating kicks, snares, cymbal sounds, etc., to make new sounding or doubled sounding beats.

Looping - Alternating between two different copies of the same record, this technique is achieved by using the crossfader cutting in a phrase of music from one record, then cutting in the same phrase of music from the other record. At the same time, pull back each cut out record to the phrase's beginning point before it is cut back in again. By doing this you end up playing the same sound over and over again much like a sampler looping a beat (or any other sound for that matter).
Hamster Style - Normally a DJ set-up would be configured with the right turntable playing on the right channel of the mixer and the left turntable playing on the left channel of the mixer. With a hamster style set-up, however, the opposite is true. When using the crossfader, the right turntable plays through the left channel, and the left turntable plays through the right channel. Many DJs find it more comfortable to scratch hamster style since to do many moves it is easier to bounce the fader off of the side of the fader slot using your multiple fingers rather than your thumb. Personally I think that hamster style seems more conducive to flaring and doing continuous crabs. DJ members of the Bullet Proof Scratch Hamsters crew are most commonly recognised as the first DJs to practice/demonstrate this style thus giving it the nickname "hamster" style.

Hamster Switch - A switch on a mixer that reverses the crossfader without reversing the volume faders so that you can scratch hamster style without physically hooking up the turntables to different channels on the back of the mixer. "

Thanks once again to Dj-jd for the information. If everyone can be this co-operative, life would be a damn sight easier!!
If you have anyhting to add, please do so....



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Dr. Hell No

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posted Wednesday, January 25, 2006 11:53:35 AM    Click Here to See the Profile for Dr. Hell No

One of the most common questions we get on here is " How do I record my mixes to my computer ?"

1) If you have your stock/original soundcard that came with your computer, and you dont want to upgrade, your best option is to purchase one of these:

This will go from your Main Output (or recorindg output if avail.) from your DJ Mixer to your computers sound card where it says "LINE IN". Do not use "MIC IN" Or any type of microphone input, only the line input.

2) You will need some type of recording software. Some are expensive, some are not, some work better than others. Examples of recording programs: Sound Forge, Sony Acid, Cool Edit, Adobe Auditon, CakeWalk, N-Trak, Etc.....

3) You can upgrade to a better sound card for your computer that has RCA inputs already on it so you dont have to use an adaptor. This will give you much better sound and recording converters and more direct connectivity. M-Audio makes a soundcard called the "Audiophile 24/96", that has RCA inputs and it very good quality that can be had for $100.

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posted Wednesday, December 06, 2006 8:07:22 PM    Click Here to See the Profile for djpanic03




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posted Wednesday, January 31, 2007 1:31:08 PM    Click Here to See the Profile for Spizz   Click Here to Email Spizz
PEACE Dr. Hell No!

Word for this thread! Droppin the FAQ, highly relevant 23 pages to digest!

I got to do something about my Geminis and hop on some Technics for the 2Double7 EARLY!!!!

Maintain you...peace!

~*~DJ SpizzNice~*~

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posted Monday, February 05, 2007 12:45:20 PM    Click Here to See the Profile for sparklingtn

Hi Everyone,

I'm new on here, but am helping to spread the word about a new online magazine Shah Echelon. Please check em out and support!! They aim to educate and enhance hip hop culture and need your support!! They just launched on the 1st!! Currently they are seeking rappers,writers, models, all lovers of hip hop so reach out to them!!



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posted Saturday, June 02, 2007 3:53:06 AM    Click Here to See the Profile for djcoo
Wow I bet that was a lot of work to put together!! I just wanted to get on and say thanks. If any "noobies" are looking for a record pool they can check out Starfleet Music Pool http://www.starfleetmusicpool.com Agreat record pool based out of Charlotte NC servicing Dance and HipHop, I'm a member, I think we might even have a few spots open right now. But if not them, most any record pool is a great place to get a lot of new music for usually less than you'd pay to buy it at a record store. So just search online for record pool or record pools Peace -DJ COO

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Donnie Simpson

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posted Saturday, April 12, 2008 6:06:19 PM    Click Here to See the Profile for Donnie Simpson

why is your head so big Dr. Hell No ?

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chelsea grammer

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straight up e-thuggin

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911 was an inside job

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Arnim Zola

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what up newbs ?

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Samurai Am Legend

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911 was an inside job



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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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Honus Wagner tobacco card

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s0ul dragon

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ywtfttgoitstdemtsow !!!!!!!!!!!!!

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Yoda Iverson

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Fool Diss Closure

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good info. thanks.

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Fool Diss Closure

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F. L. A. K. (Admin)

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Yoda Iverson

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Sup honus, still lurking itt?

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posted Tuesday, October 23, 2012 11:43:17 AM    Click Here to See the Profile for Artform
Technics 1200!


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matt gaynherd

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Melanie [Buy track = Free DL] by cestladore

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Sometime I wish I was given the gift to be a Dj insted

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Norman Stansfield

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man this place died hard didnt it...

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posted Wednesday, December 04, 2019 5:57:18 PM    Click Here to See the Profile for DJIES
dat it did

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