introduction
understanding dance music
beatmatching
EQing
scratching
advanced tips
CDJs

link >
link >
link >
link >

introduction : examples :

Practical Scratching

Ensure your X-Fade curve is set to sharp if you have the option. Get your scratch sample in your vinyl hand and cued so the sample can be hear as soon as you move your hand forward. I am describing this as Channel 1 (left deck/CDJ) as the scratch vinyl with Channel 2 playing the record you are scratching over with my right hand on the fader.When the fader is closed it is pushed all the way over to the right to channel 2. This will be the set-up for every scratch.

A cycle of a scratch is defined as the sample starting at its cued position, being pushed forward and then dragged back to return it at the beginning.

If you have your hands the other way round you may need to alter the descriptions to fit. Scratch audio samples are in 8 bit mono to allow dial up users to get in on the scratching action. The majority are 30-50k as a guide.

Just as a final point although I scratch a bit, I'm no turntablist. The examples attached to each scratch are done to the best of my current ability! Incase you haven't seen the rest of the site, I'm using a Stanton SA5 and two Technics 1210s.

Finding Your Cut-in Point

This is the point where the crossfade goes from blocking all sound (closed) to where it will first allow sound to pass through and go live to the listener. In other words it is the point where the fader goes from being closed to being open.

To locate this, push the fader closed. Rub the sample back and forth on Channel 1 and very slowly open the fader by gradually pushing it towards the centre of the slider. As soon as you can hear the vinyl movement, that exact spot is your cut in point. This is very important. The nearer you can make the cut-in point to the end of the fader, the less fader movement you have to do to turn your scratching vinyl on and off.

Examples

Baby Scratch - left click to stream audio
Fader less scratch. This is the traditional wicca-wicca sound we all know and love. Open the fader past the cut-in point. In time with the music, push your hand backwards and forward.

Scribble - left click to stream audio
This is just a fast baby scratch. As you hold the same at its beginning, tense the forearm so it moves twice as fast as a baby scratch. Fader stays open at all times. Left click to hear a scribble over a beat.

Uzis
These are the same as scribbles but even faster. Here you really tense your forearm transferring very fast vibrations through onto the vinyl. The fader remains closed on an uzi and you tap the fader open and closed to create a very fast broken scribble that comes in as a rhythm with breaks in. Unfortunately current crap styli means it skips whenever I try this so for now at least, no audio of this.

Tears - left click to stream audio
Another open fader technique whereby the principal forward motion is one movement playing the sample. On the reverse movement (to return the vinyl to the originally cued up point) pull the sample back using two jerked stages, thus splitting it into two. One forward, two back. This audio is done using a series of tears repeating them one after the other in quick succession.

Forward Scratch
As you release the record to play it its normal speed you open the fader to allow it to be heard. As the sample reaches its end, you close the fader and while keeping it closed pull the vinyl back to complete the cycle. All you hear is the sample being played. You repeat as required. You will hear a forward scratch at the end of most of the clips contained here. See the stabs/chops.

Reverse Scratch/Drags - left click to stream audio
Start with the sample at the end and the fader closed. Open the fader as you pull the record back to the start. Close it when you get there. It doesn't matter what speed you pull it back. It could be dragged slowly to give a low sounding note. Pulling it back quickly will give a higher pitched scratch.

Stabs/Chops - left click to stream audio
This is the same as a forward scratch but you push the record forward to create a higher pitch sound and flick the fader open then closed so you only catch the tip of the sample. You pull it back to complete the cycle with the fader closed.

Transform - left click to stream audio
There is no specific method for transform scratching and no set limit on movement. The vinyl is pushed back and forth in several cycles at varying speeds. The rhythm is then created clicking the fader on and off. Alternatively if you have punch buttons or line switches, these will do the same as flicking the fader on and off. You can just tap the rhythm you want whilst shoving the record.

Chirps - left click to stream single chirp audio
Start with the fader open. Push forward with your vinyl hand. At the same time push the fader closed, so you should only catch the very beginning of the sample. This is why we use a sample with a definite start to it and doesn't fade in. Your hands should be moving in time and in equal measures. The fader is now closed and you are at the end of the sample. In one movement pull both hands back in towards each other. The vinyl returns to the original start point and the fader is back in the middle. Repeat, pushing both hands out, pull both hands back in, in equal measures.
The above streamed sample is a single chirp. I'm scratching with the vinyl as one cycle (one forward movement, one backward movement) per beat. Correct fader movement means you will hear the fader clicking closed on every beat. Its a baby scratch with a click added at the end of the sample.
You can change the speed of the scratch and the timing too which will give you a quicker sounding scratch such as this: Click to stream multiple chirps

Flares - left click to stream audio
This incorporates the first click into your repertoire. It is the same as a baby scratch. Start with the fader open as before. Just after the start of the sample is played, click the fader closed and open again in one quick move. Continue pushing through with the vinyl. This will give you the sample broken into two sections. Leaving the fader open, pull the sample back. As soon as you hear it, click the fader closed and open it again. Continue reversing the vinyl. You should now have a sample that is split in two on the way forward and two on the way back. One click at the mid point going forward, one click at the mid point on the way back. A method of getting the timing here correct cue the record and at a point you are comfortable with draw a line on the label of the tune in line with the stylus, or nine o'clock on the deck, six o'clock, 12 o'clock. WHen you have drawn your line (so you know exactly where the sample starts) let it play through and using the same reference point draw another line to mark the end. Now you can get posh if you want a place a little circle sticker from any stationary shop bang at the centre point (still on the label though!) in between the two lines you have drawn. You play the vinyl and each time the sticker gets to the reference point of your choosing click the fader on each time.

Orbits - left click to stream audio
This is similar to a flare but you have two clicks forward, reverse, two clicks on the way back. If you are using the same marked sample for the flares, put on two more stickers (different colour) one either side of the centre point. Again each time the sticker passes the reference point (I use nine o'clock because that's where i hold the vinyl).

You get a scratch that is broken into three equal sections on the way forward and three on the way back. They are called an orbit as you can continually link them and go round and round indefinitely. that depends on your co-ordination, practice and timing though! This one is a git. The timing you want is hand forward , click, click, pull, click click in equal timing measures.

Crab scratch - left click to stream audio
This is a ridiculously fast (multi click) scratch. Done well it inspires some comments like "nice action" and the like. Done badly it sounds bloody awful. So reap the benefits if you can do it. If you can't keep practicing until you can! (the stage I'm on!)
You may find that your X-fade (like my old Apex) is just too damn stiff. For this scratch you need an ultra-glidey-lo-resistance-super-duper Xfade such as the SA5. Those that when a breeze is caused by someone walking past is enough to knock the Xfade to the mid-mix point before you know where you are! Unfortunately my old mixer, quite frankly, just didn't cut the mustard. Its too big to get it in the neck of the jar. Yes, bizarre but true. The SA5 is a different kettle of fish altogether so I'm re-training as you read this!

So how do we all go about pulling off one of the fastest scratches known to man. Well its all to do with how many fingers you have really. The most you can do is a 3 click Crab, cutting a sample into four sections.

The thumb is held applying light pressure in the closed position. In sequence, (and with juuuuust enough force) your little finger knocks the Xfade over the cut-in point onto the thumb which knocks it back, closing it. The ring finger does exactly the same, then the middle finger then finally the index finger.

This is all done in a matter of very quick succession, and all in one movement. Just like the old horse racing noise you can make whilst tapping a table. Crap analogy I know but the best I could come up with. Its exactly the same principal but instead, you knock the Xfade backwards and forwards between your thumb and the four fingers in sequence. If done quickly enough the Xfade will start to look a bit blurry. Ensure you have no tension in your thumb. Wherever possible try not to strike the fader but as the weight of your fingers drop they should almost pass through it.

There is a balance between knocking to the thumb and back again to the fingers. It should be a reasonably gentle manoeuvre otherwise, if knocked too hard, the Xfade will not return in time to keep the scratch going. However, too much pressure applied by the thumb will mean the four fingers don't get the opportunity to get the Xfade past the cut in point. Practice is the key here and accuracy is all important. Sloppy crabs sound bad. Just check the streamable example!!!

I tend to find its easier if you slightly twist your hand slightly towards the right hand end of the Xfade. Instead of moving my hand, in the usual left to right/right to left manner I hold the Xfade in the start point as follows.

I move my thumb (right hand by the way!) so it is positioned on the bottom of the left side of the Xfade. With it slightly bent/curled means your little finger can sit at the top of the Xfade the right hand side of it. So you fingers should be now positioned on opposite corners of the Xfade. Not quite the corners more off centre but with a bias towards top and bottom.

When you snap your fingers, I tend to strike in a downward motion with the four fingers whilst at the same time straightening my thumb and sliding it fractionally up to the centre. Your index finger should finish in the bottom right on the Xfade knob, which you can use to push the fader in and play the sample.

Its only a very minimal movement but I find it makes the clicks more regular and thus, consistent. The diagram should clear up any confusion, but bear in mind this is as if the Xfade is sat exactly at the cut in point of the mixer. The arrows trying to show direction of finger and thumb movements Providing this info at every stage just looks like I'm trying to take the piss and besides which it makes it all far too complicated to read!

Stage 1	Stage 2	Stage 3	Stage 4

I've over shown the movement on the thumb. You may find that holding it near the base so it touches the crossfade guide rail. You may find resting your thumb on the top of the fader with your thumb tip helps get the "Bounce" you require to close the fader. Everyone does it slightly differently but the theory is the same.

Some Djs choose to drop a click and use three fingers rather than all four. Left click to Stream audio
I have started slowly and sped up as I've gone, to try and illustrate how the sample gets broken into sections. When the pace picks up that's the sound you want. Three really close together sounds.

It is usually the pinky finger that gets the boot, so the scratch starts with the ring finger, then middle, then index. It's a bit easier to control as you've got a bit less going on. Don't get me wrong, its still f-ing difficult. Only just becomes slightly less difficult than impossible.

This tends to work better for longer samples as they can still be cut up and sound reasonable. Long words don't sound so good as there are too many different sounds within them. When its chopped into 14000 segments it all sounds a bit random. Recommendation is to use sounds like yeeeeeaaaaaah or ooooooooooh or aaaaaaaah but not "I can't believe the dj is cutting this into 14000 bits. He's really rather good you know".

Twiddle - left click to stream audio

This is the same as a crab but instead of using four fingers you use your middle finger to start by knocking the fader over the cut in point, onto your thumb which returns it to the closed position. You follow in a swift movement with your index finger to create the second noise which you keep in by leaving the fader open. You then continually drum (or "twiddle") the fader alternating your fingers as the same plays forward. I probably shouldn't have been using pull backs on the record but it made an interesting pattern of noise. You want one stab followed a split second later by the rest of the sample.

Recording decks to pc, scratching tutorials, beatmixing tutorials, beatmatching tutorials, CDJs tutorials, turntable tutorials, vinyl, vinyl care, vinyl storage, technics, vestax, flares tutorials, skratchin, sxratching, dj mixers, free dj tutorials, turntablism tutorials, dj tutorials, download dnb mp3s, drum and bass, dnb download, mixes, dj glossary, calibrating needles, deck setup, hifi wiring, monitoring, speakers tutorials