Finding the right set-up for your needles and turntables will help you immensely with stopping records skipping. Generally anti skating on your turntable is set to zero, the height is at roughly 5 and the weight on the tone arm is turned around (so that the numbers are at the back, it will be a little awkward to get back onto the tone arm) and all the way to the front (as close to the needle as possible).
There are a few exceptions to this rule, notably the Shure M447 needles. These need as little weight as you can put on them. Another way to get better performance is to angle the needle on the headshell so that it angles towards the outer edge of the record (in other words, turn it very slightly anti-clockwise. The norm is about 30?).
This is a very personal thing and varies greatly with different equipment, experiment to get the best performance. *** Top *BABY SCRATCH The first scratch to learn is the baby scratch. This is the easiest scratch to learn, but also the scratch that you will use the most as it is the basis for practically all scratches. What this scratch entails is placing your record hand on the record (throughout this tutorial this is what I will be calling the hand that you of course, use on the record. Typically, although not always, this is the left hand if you are right handed, and the right if you are left handed) and moving the record back and forth in a rhythm to the music so that it creates a zigga-zigga sound. This may not seem like the most exciting scratch, but in a combination with other scratches, or as part of a bigger routine it has a nice effect.
The Essay on Baby Scratch Pitch One Scratching
... hole is going to have a lot of perpendicular movement going on when he tries to scratch, pulling the needle ... out of the groove ("Scratching"). After this the DJ is ready to ... a pro at scratching is the hand technique. Check the vinyl to make sure there are no holes in the records. A wide ...
*** Top *SCRIBBLE This is a similar scratch to the baby scratch but is performed much differently and can take quite a while to get used to the technique. It is basically a really short fast baby scratch that is performed by placing your hand on the record and tensing your forearm until you get a shiver in it and the short fast sound of a scribble. *** Top The tear, again, is a scratch using just the record, and no crossfader. What you have basically is a baby scratch with pauses. As you push the record forward, pause for a short moment in the middle and then continue. This creates 2 parts to the forward stage of a baby scratch; this doesn’t need to be done just in the forward motion to be a tear. Experiment with different combinations of direction and also the amount of pauses. *** Top *FORWARD This is the first scratch using the crossfader that will be described here, and is a good way of getting the hand to eye co-ordination required to master the art.
Begin by cueing a sample to the start and with the cross fader closed so that the sound from the record deck you are scratching with cannot be heard, typically if you have your right hand on the crossfader and you are not scratching hamster style (if you don’t know what this is then you are more than likely not using this style. It will be explained further down) then this will mean the crossfader being pressed against the right hand side of the mixer. As you let the sample play, bring the sound in by opening the crossfader (bringing the crossfader knob far enough in the opposite direction so that the sound from the record playing can be heard at it’s full volume) and as the sample comes to the end, close the crossfader and bring the sample back to the start so that it is ready to go again. This is a forward, so called because you only hear the forward motion of the sample. This scratch can also be performed backwards and naturally is called a backward.
Compare And Contrast Sample Essay
H2>SAMPLE ESSAY 1: Columbia, Athlete and Musician (sailing and bass guitar) Write a chapter from your autobiography. Chapter 34: One Memorable Sailing Practice The suns glare off the water forces my watery eyes to close even more. Spray leaps over the bow and blocks my vision as it slams into me like hundreds of little pebbles. The salt water has irritated my eyes enough already, but I am only ...
*** Top The stab is basically a forward but instead of letting the sample play at normal speed, you push it forward quickly to get a more abrupt and harsh sound. Of course you can vary the speed to get different sounds, and also this can be done backwards. *** Top *TRANSFORM This is quite an easy scratch to learn, but a difficult one to master – what you need to do is basically the same as the forward, but instead of just letting the sample play and cutting it out at the end, you cut the sound in and out as it plays for a staccato effect. Changing the tempo and the amount of time you cut the sound in and out will vary the sound but to be a transform it must always end with the crossfader closed. Again, this can be performed backwards. *** Top This is one of the hardest scratches to learn, as the action used is very different to most scratches.
The Essay on Speed Of Sound
In this lab we want to see how long it takes sound to travel down and back in a tube, determine the speed of that sound, and compare the average of that value to the speed of sound in air. The temperature in the room is 21.8 degrees C, which means that the speed of sound should be 344.5. The value that we obtained for the closed tube was averaged at .00609, which accounts for a speed of 328.4 m/s ...
You start with the fader open, and as the forward part is ending, you cut the sound out. Then, when you are pulling the sound backwards, cut the sound in towards the end. You then start again with the fader open, giving a chirping sound. This will not sound like a chirp that you hear all the turntablists doing though unless it is done at the right speed and as cleanly and smoothly as possible. The sound you will normally hear is the result of fast chirps. *** Top A useful, but often over-used technique is called tones. What you will need for this is a record with a constant, long tone in it, such as a bass sample, or test tone similar to those you hear late at night on television. What you do then is to use the pitch control and the speed buttons and alter the pitch of the record as it is playing so that you make tunes out of the sample. The way DJ 8-Ball describes it, is to think of the middle of the pitch being D, now +3 might be an E and -3 might be a C. Now what you need to do is experiment with this to get a recognisable tune (of course you can make any tune you want, but this is pretty easy and to really impress people you need a recognisable tune).
If you would like a quick speed change, for instance, a kind of warbled sound you can do this in two ways. Firstly, you can place the hand on the rim of the platter and move it left and right quickly while pressing lightly on the platter. You can also get this sound by quickly changing the speed of the record from 33 to 45. This is best done on the Technics decks where you can keep one button pressed and tap the other to get this effect. Another technique that many DJs like to use is holding the spindle to slightly slow down the record. The spindle can also be used while the motor is off on the deck, allowing the DJ to change the pitch of the record very accurately. *** Top *HYDROPLANE This is a different technique, as when you begin to do it, you will definitely jump the needle. As the record is playing, you need to place a finger on the record, facing the opposite direction that the record is playing (against the grain kind of) so that it bounces and vibrates and produces just enough feedback on the needle that you get a distorted, bassy sound.
The Term Paper on Kundt's Tube: Velocity Of Sound In Solid
METHODOLOGY Two experiments were done last time due to some circumstances that made the class to lack time and to be late compared to the official class syllabus. The students were able to accomplished the job by equally dividing the time into two. The first experiment was about Kundt’s tube. In this experiment, longitudinal sound waves will be produced in a metal rod and an air column. Using the ...
You need to practice this quite a while because otherwise you will jump the record each time you try it. If you need to see someone very good doing it, watch Mix Master Mike. He hydroplanes quite a lot and is very aggressive at the same time, pulling the record with one hand and hydroplaning with the other, to make a higher pitched sound. *** Top Another scratch that Mix Master Mike does to perfection is the tweak scratch. This is performed by turning the motor off on your record deck (just stopping it with the start/stop button will suffice, there is no need to actually turn it off) and pushing the record back and forth, taking your hand off the record occasionally to let it slow down a little so that you get a “Wah-Wah” sound like a guitar. You can also combine this with other scratches using the fader, such as transforming at the same time. *** Top This is probably the most used weapon in a turntablist’s arsenal.
Not one of the oldest scratches, this can be a very difficult scratch to master, due to the high speed it is commonly performed at. It is basically transforming in reverse; you start with the fader open and as the record plays forward, you “click” the fader closed and open again. The variations on this scratch generally revolve around the speed, and the amount of clicks performed before the sample ends. You can also vary it by the speed that you move the record. *** Top These are simply a forward flare and a backward flare, performed straight after each other and using the same amount of clicks so that you get a continuous sound. *** Top This can be very difficult to learn, but is one of the few scratches that most people will suddenly click on and be able to do it as it is based on learning a movement, that until learned you won’t be able to perform the scratch.
Narrative Sample Essay
Note: The below essays were not edited by EssayEdge Editors. They appear as they were initially reviewed by admissions officers. SAMPLE ESSAY 1: Brown, achievement: Martial arts competition A faint twinge of excitement floated through my body that night. A hint of anticipation of the coming day could not be suppressed; yet to be overcome with anxiety would not do at all. I arduously forced those ...
There is no practice makes perfect, you will suddenly learn it and wonder why it took you so long. You start with the thumb pressed lightly against the fader, keeping it closed. Position your fingers so that they aren’t touching the fader, but are slightly forward of it so that your little finger (or pinky) is closest to it. The technique is best described by placing your hand flat on the table and drumming your fingers, starting with your little finger. They must be done individually and should get 4 taps from beginning to end. Now transfer this action to the cross fader, tap the crossfader with each finger individually until you have some idea of the motion and action involved. What you need to do is to get the tension used to push the crossfader closed just right, so that each time you tap it with a finger, it will click in and click back out again by the pressure of your thumb. What you basically get is a quick 4 click transform (or a flare if you are scratching hamster style, but this is quite a bit more complicated to explain so is best left to someone to show you how it is done) that looks like the motion of a crab walking.
The Essay on Sample Interrogatories
CIVIL DISTRICT COURT FOR THE PARISH OF ORLEANS FILED DEPUTY CLERK PLAINTIFF'S INTERROGATORIES TO DEFENDANT Plaintiff,, through undersigned counsel, propounds the following Interrogatories to defendant, Touro Infirmary, to be answered fully, separately, in writing, and under oath, within the delays allowed by law: State when the accident referred to in the Petition for Damages first came to the ...
This can also be done with only 3 fingers (which a lot of DJs find much easier) or with , which is commonly called a ‘twiddle’. The twiddle can also be used to perform flares and lots of other scratches. *** Top *FLIRPS A new scratch has been doing the rounds recently with many of the up ‘n’ coming battle DJs doing it. Basically what you have is a chirp-flare combo (hence the name).
You start with the fader open, like a chirp and as the forward part is ending, you cut the sound out. Then, when you are pulling the sound backwards, cut the sound in and then quickly out and in again before the end of the sample so that when you push the sample forward again the fader is open. This gives a half chirp 2 click flare sound that is very different than most of the sound nowadays. Quite easy to learn if you can flare and chirp accurately but a useful part of the arsenal. *** Top *ECHOES This is another relatively easy technique but one that requires use of the upfaders (which may give some people scratching normal style a little problem as it basically means scratching hamster but on the upfaders).
You begin by cutting the sample in and with the upfader at full volume, cut the upfader out completely at the end of the sample and quickly bring it back to the beginning of the sample. Next bring the upfader to slightly below full volume and at the same time let the sample play (rather like a forward).
repeat this a few times, gradually placing the upfader at a quieter and quieter position so that it fades out like an echo. Another way to do this is to gradually cut a little part of the sample off at the start so that it has a more realistic sound to it. A similar effect can also be done by using a long sample and a transform scratch. While transforming, move the record hand to the upfader and gradually fade out the sound. If the sample is long enough it will produce the same sort of effect. *** Top *DRUMMING A very useful and practically compulsory technique if you want to have a crew or enter team battles is drumming. You will need to find a record that has single breaks on it where there is a kick and a snare or bass kick combinations. What you need to do next is to mark where each of these are on your record. This does not have to be done, but a lot of DJs find it useful.
Generally people use round stickers placed on the run out groove of the record (the part of the record in the middle with no music on) so that when the sticker is at 12 o’clock on the record (right at the top) the sample starts playing. Place one sticker for each different drum sample you are going to use so that you can easily see where each kick or snare is. Now using these samples, try to make a beat with it using all the techniques above. The main techniques to use though are stabs and forwards. E.g. do a forward using a bass sample, the do the same with the next sample (a snare in this example) and then repeat. This would give you a very simple Bass Snare Bass Snare Bass Snare beat. You can then change the order you play the beats in, repeating certain samples a few times to give more complex combinations. You can also play some samples backwards, using baby scratches, chirps and flares to make more and more complex patterns.
*** Top *BANANA A very uncommon scratch invented by the Invisbl Skratch Piklz. This is similar to the tweak scratch but VERY easy to skip the record with due to it’s unorthodox nature. Place a record onto the turntable and grab the edge of the record on one side (not either edge but actually either side, between your fingers) and bend it upwards slightly. Now move the record back and forth. The advantage of this scratch is that you can get very weird sounds with it, but the main reason is as a body trick. *** Top *HAMSTER This is a style of scratching that was invented by The Bullet Proof Scratch Hamsters (now known as the Space Travellers) that involves having the record decks wired the wrong way around – so that the left hand record deck is selected or cut by pushing the fader in the direction that would normally cut in the opposite record deck (basically pushing it away from the record deck instead of towards).
This involves connecting the left deck to the right phono input on your mixer and the right deck to the left phono input, thus swapping them around. Most scratch mixers nowadays come with a switch that does this for you so that you don’t have to mess around with the wires although some don’t (notably the world championship mixer, the Technics).
Nowadays there are also small devices called ‘Hamster Boxes’ or something similar that will allow you to plug your decks in to a small box and the box into the mixer. This can then be switched at will, allowing you to add a hamster switch to a mixer that does not normally have one. The reason for doing this is basically one of personal choice. Some DJs scratch like this because they find it easier to do flares, and they prefer the sound that you get from hamstered crabs. If you try this and find it easier, then use it. Remember though that the techniques described here are for normal style and will need to be changed a little to be of use. *** Top *MARKING A useful tip for beginners is to mark your records. The reason for doing this is so that you know where the beginning of a sample is, or just as a general reference point in case the label is plain. There are a number of ways to do this but the most common way is to place a small round sticker on either the label the record or the part next to the label where there is no sound recorded on the record you are scratching with. The place to position the sticker is so that when the sample begins to play, the sticker reaches 12 o’clock (imagine a clock).
Another common version though is to mark the record so that the sticker lines up with where the needle touches the record. Some people also place the sticker on the edge of the record, since this can give greater accuracy when backspinning or finding the start of a short sample. *** Top *TAPE DROPS Something that you will see world class battle DJs doing is using tape drops. This can be quite a difficult idea to get to grips with at first but needs to be thought of ONLY in the arena of battling where every second counts. The basic premise is to be able to mark the record so that you know EXACTLY where to place the needle without the need for headphones. What you are basically doing is placing some tape or stickers (something similar to masking tape is preferred as it doesn’t interfere with your needles as much as a sticker) on the actual record so that the edge of the needle hits the tape and is forced into the groove with the sample you want.
Like I said, it is quite difficult to grasp the concept of this. You need to place tape at an angle on the record directed from the outside groove toward the inside groove so that as the record moves forward the needle hits the edge of the tape and drags across the record until it sits in the groove that you want. One of the best ways to get the position of the tape is to place it lightly where you think it is supposed to be (it is quite important that you get the position around the record as accurate as possible, less important to get the position across the record).
Then place the needle just before the tape (somewhere in the middle where it will definitely hit the tape is easiest to begin with; it does harm the record though and isn’t exactly good for your needle) and slowly let the record move forward until the needle hits the tape. Keep it moving until it reaches the end of the tape and sits in a groove. Is this where the sample starts? No? You should be able to slide the tape a little till you think it is closer to where it should be. Once you have done this repeat the process until you are satisfied with where it is. Since this is a little long winded I’ll also give you the quicker more difficult version. Make the weight on the tone arm as light as possible but heavy enough for the stylus to still touch the record. Find the start of the sample and push a bit of tape against it till it sits properly. All done, it can take quite a few goes at the beginning to get the tape positioned properly but all this will stop you looking like an idiot at battles, frantically searching for a sample.
Like I said, this is basically for battling DJs. It is bad for the record and even worse for the needle, but if you are using it in a battle it is a small price to pay to buy a couple of new records compared to the time it takes to find a sample with headphones. *** Top *BODY TRICKS This is sort of the black sheep of the family as far as many people are concerned. Back in the day when DJs were basic and battles were often judged on crowd response, the way to win over the crowd was to use a gadget or prop to scratch with (a football or something on the record) OR to do a body trick. The general premise for a body trick is to do something that you would normally do one way in a different way. So if you normally scratch with your eyes open, closing them to scratch could be called a body trick. More commonly though they are things like scratching behind your back, using your mouth on the record or fader and even (in the case of DJ David) doing turtles (handspins) on the turntable.
One of the DJs who use body tricks in their routines is Roc Raida and the X-Ecutioners as a whole. Body tricks can be very good or very bad. Craze executes one of the best body tricks in the 1999 DMC world finals where he rolls across the record to move it. The main thing with body tricks is to keep the sound quality high. There’s no use spinning around doing beat juggles if they sound sloppy, do the same thing and have them sounding clean and on beat and this shows that your skill level is high enough to be able to do techniques in even the worst conditions. Also look out for team body tricks, such as 3 person juggles where a crew will execute a juggle on the same 2 turntables whilst swapping positions so that they all juggle in time and cleanly. You will either like body tricks or not, it is a very personal thing and some events will not judge body tricks because they feel it cheapens the art form (ITF for example).
But where do you draw the line at what is a body trick though? Placing the pinky on the record and the thumb on the upfader to create a stab? Is using your stomach to push the fader while you juggle a new technique to speed up juggling, or is it a body trick? My advice is if it fits with your routine use it. If it doesn’t then leave it out. *** Top *LINE SWITCHES AND TRICKLERS If you don’t know what a line switch is, take a look at your mixer. The line switch will normally be above the upfaders and will be labelled something like ‘phono / line’. It is used to select which input you want to mix with, line or phono. There is another use for it though, you will notice that when you switch it, the sound from the turntable will cut out, this can then be used as a very fast cut in time fader. It can be quite difficult to learn to use and to be honest there is no need to use it as all the techniques that use is basically can be done with the fader instead. There is a modification that can be done to this switch but it is advised that you do not use it. On a large number of mixers, these switches can be taken out and can be modified so that for each switch, it turns the sound off and on then off again. Thus giving you a VERY quick click. If you use this to do orbits you will be able to do very quick regular continuous orbits with little trouble. Beware though because
