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Technique Guide -
07-13-2004, 12:22 AM
Aite this go's out to my boy tigger for makin the only real technique guides on the forum. so here they are
Dj Tiggers Beat Matching Guide
Ok this is a guide for newbies and pro’s alike, as best matching is the foundation of all Djaying and we all have room to improve. The cocept of beat matching is simple, take two or more tracks, and synchronise them. This however is like most things nowadays, and is a lot harder than it seems.
Ok now I’m going to contradict myself a little and say, beat matching is easy, but that is why u are gonna go out of ur mind trying to do it, because u know its easy yet I will guarantee that u will spend hours screaming at ur system because u cant get the damn records to mix.
Dj’s definition of a beat
We can define the beat of a track, by the basic rhythmic pattern of the music, NOT the sound of the drums. The easiest way to find this in most tracks is to focus on the bass drum (kick). Generally in most styles of music, the bass drum is the downbeat, and defines the rhythm of the music. Now u ask, what if there is no bass drum? Is there no rhythm? The answer is no. If u listen to a piece of music and find urself tapping ur feet, or nodding ur head, generally ur are doing so to the rhythm of the music.
Finding the beat can be very difficult in some records, and easier in others. You should all learn to count the beat of the music in ur heads, and not rely on what u are hearing as ur reference point. On the subject of counting, the speed of music, be it classical, heavy metal, or hiphop, is measured in BPM or beats per minute. Sometimes u will find the BPM marked on the record, if not, don’t worry coz it is easy to figure out. In fact when u first get into Deejaying, u should all learn how to work out the BPM of all ur vinyls, rather than relying on records with it marked on the label. As an example of how the BPM affects which records can be mixed, if we look at a typical house track, the BPM is generally around 135, so just by picking another track at around the 130-140 BPM mark, u will find that there is a good chance the records will mix. To figure out the BPM of a particular record, u need to set the pitch control into the centre position, then literally count each beat in the first minute of the record. Tedious, but effective. Of course, u only want to do this once with each record, so label the records once u have worked them out.
Now that you know what a beat is the next thing u need to know is that beats are generally placed together in groups, in multiples of 4. For example, listen to a piece of music that u have with u, and more often than not, u will find that changes in the music happen after 4, 16, or 32, bars. A bar in most contemporary music is a count of 4, so in a piece of music u mite find that it goes 1-2-3-4, 2-2-3-4, 3-2-3-4, 4-2-3-4, change. This is important, as we know the speed of the music will have a great affect on whether a track will mix, but we also need to think of WHERE in the music we drop our next track in. The idea is to create one piece of music out of multiple existing pieces, so the mix needs to be almost undetectable, the more subtle, the better.
You are now ready to start beat matching. I assume that you have 2 tables, be they CD or vinyl (preferably vinyl) and we will refer to them as deck 1(left) and deck 2(right).
Deck 1 will be our live deck, this means that deck 1 one will be playing the record through the speakers, and will be playing the track which we will mix our second track from deck 2 into. DO NOT touch the live deck, if u do, any changes u make will be heard by the audience, and will ruin the mix. We will do all of our work on deck 2 through the headphones. The fader should be currently set to the left so only deck 1 can be heard. Set the cue mix dial (headphones) so that u can only hear deck 2 in ur headphones. Wear ur headphones over only one of ur ears so u can hear what’s coming out of both the speakers and the phones. Now we are going to find where we are going to drop the track on deck 2 into the mix. The first bass drum on the track is ideal for this, to synchronize the records, move the track on deck 2 around under the needle until u find that the bass drum on deck 2 coincides with the bass drum on deck 1.
Pushing off is the technique we use to start the record on deck 2, it is a hard trick to learn but is essential, when mixing tracks. The aim is to push the record so that it gets up to speed immediately, and matches up with the first beat of deck 1, it will take lots of practice before u get this right. If you push too hard u will ruin the mix straight away, and will need to start again. Keep practicing this until u can push off in time with the track on deck 1.
Now that you can push off in time with deck 1 u can learn how to synchronize speeds. The key to synching, is to listen carefully to both tracks as u push off. By concentrating, u shud be able to figure out if deck 2 is too fast or too slow. Also, depending on how quickly the two tracks drift apart, will determine how u will need to adjust the pitch control. The sound of tracks drifting is easily recognized by thinking of a horses gallop, which gets gradually worse the further the tracks fall out of synch. There are 2 things you can do if the tracks start to drift, the first is easier, and is to stop the record, rewind it alter the pitch and try again. The second is harder and is done by first altering the speed of the track by either slowing it slightly or pushing it on a little more using slight pressure on the record. Once it is back in line u can alter the pitch accordingly. If you had to push the track on a bit, increase the pitch, if u had to slow it, decrease the pitch. When u have matched the beats u shud alter the cue mix dial(phones) so u can hear both tracks in the headphones and listen through both ears to hear what it sounds like, if it works, u can go live with the crossfader, and play both tracks through the speakers.
That’s the basics of beatmatching and I hope it has helped u all, if people continue to give me good feedback on these guides then I will continue to write about other aspects of djaying live, and creating ur own tracks on software, and how to go about getting gigs and credibility. Also if anybody request any more advanced tutorials (I don’t have a real idea on the standard of djaying in the forum yet) then I will post some more advanced guides pronto.
Happy Spinning.
Peace
Tigger.
Dj Tigger’s Beat Juggling Guide
First im gonna explain what we mean when we say beat juggling. Beat juggling is the modern term used to describe the technique used by Kool Herc at the dawn of hiphop. Herc used to take the break section of a song, and extend it using 2 copies of the same record and switching from one to the other whilst rewinding to the break, so that the break is played on a continuous loop. This was originally called ‘cutting’ and just as all elements of hiphop have evolved throughout their history, so has this technique, and it has become ‘beat juggling’.
Beat Juggling
OK so now u know what beat juggling is u are all just dying to know how to do it… right? If not ur reading the wrong thread lol. OK so getting started. The first thing we do when we juggle is mark our records….what’s that? We MARK OUR RECORDS????? In short, yes. Think about it this way, if u need to know when ur first beat is on a record, what is a better way than marking the point where it starts?
Marking
Ok there are many different ways of marking up, but I am gonna tell u the one which I learned when I was starting out all those many years ago. So this is how to go about it, play through ur track and find the first beat which u intend to juggle, this will usually start with a kick (bass drum) cue up ur record so that it starts on that beat and place a sticker on the 12 o’clock mark on the record. Now u know that whenever that mark is at 12 o’clock ur at the first beat of ur break. Cool…….no?
Looping
Looping is the basic process of beat juggling as used by Kool Herc. First we need 2 records exactly the same and marked up as explained in the last section. Now we need to cue up both records so that each will start at the first beat of the break. Now put ur fader all the way to either side of the mixer, then lets go for it. Play the first record, whilst holding the second record at the cue point. As the record is about to finish the required section, flip the fader and let the second record play. As the second record plays backspin the first record back to the cue point. Then repeat the process the other way, and keep doin it for as long as u want. Also practive looping big and small parts of the break to increase ur flexibility and speed.
Tapping
This isn’t really a big technique and there isn’t much to it really. The idea is to slow a beat down by extending the gaps between sounds, by simply tapping the record, it’s not that hard on one record, but becomes more difficult when combined with other techniques such as backspinning the other record.
Phasing
This is an effect designed to emulate the sound of a phaser or flanger effects unit. The way u achieve this effect is to have 2 identical records playing at the same time then alter the speed of one of the records by either pushing/slowing it with ur hand or adjusting the pitch control slightly, this will give u a sweeping sound.
Doubling
Doubling is a trick using the fader and mixing the records a certain way to ‘double up’ the beats in a bar. First we need to have both records playing at the same time, now we move one record slightly behind the other and use switch the fader from one record to the other so that each sound is repeated once. The delay u put between each track will affect what sound is created, so experiment and see what u come up with
Strobing
Strobing is where you play a section of the record doubling up each sound by alternatively tapping the two records anf fading between them. First u need to cue up both records, the set ur fader to the right deck, release the right record . As the right record plays to the end of the required sound, hit the fader to the left with ur right hand and release the left deck, then stop the right record with ur right hand so that it is cued at the second sound u want to double. As the left record reaches the end of the sound use ur left hand to push the fader to the right, and grab the left record with ur right hand. Keep doin this till u have doubled up every sound on the section of the record u want to strobe. This is mega hard so practice loads. Experiment with using different records as well and u will find u can create loadsa different sounds.
Another trick u night wanna try when juggling is usin the stop/start button on ur decks, this can give u a variety of crazy sounds, just experiment and remember djaying is an art not a science, these guides are just to get u started. If u only ever do what I tell u it’s just like a bboy only ever doing a 6 step, u need to come up with ur own stuff otherwise u aren’t a tablist.
Happy Spinning
Peace
Tigger.
DJ Tiggers Scratch Guide
Aite yo, I see so many questions around asking how to scratch and what scratches people know and shit. So I made this guide for y’all, I’m gonna cover all the scratches I know, so if I miss some I apologize in advance.
Non-Fader Scratches
Aite this section is scratches without the use of the fader, these are easier and good for newbies to master.
1.Baby Scratch.
This is the foundation of all scratches. A baby scratch is achieved by pushing and pulling the record back and forth in a rhythmic motion. Note that the baby scratch is done at slow speeds or it becomes a scribble which uses the same motion.
2. Scribble.
Basically a faster more fluid baby scratch, a scribble is a forward and backwards motion at any speed rhythmically quicker than a baby scratch.
3. Drag.
A drag is moving the record slowly forwards or slowly backwards. This is done more slowly than a baby scratch. A drag can last a lot longer than a baby, as it doesn’t require keeping to a certain rhythm.
4. Uzi.
Aite this is like a faster scribble, but the technique is a lil different. What u need to do for an Uzi is tense your arm so that it starts to shake, this should make ur hand vibrate very rapidly forwards and backwards on the record giving u a mad fast scribble type sound. When u get good at Uzi’s, try mixing in baby cratches aswell, that can give a crazy ass sound.
5.Pats.
Take a guess……no? ok u pat the record. Usually in patterns to and a silence in the middle of a sound, like pat – play – pat - play
6. Bubbles.
Tap the record with ur index and middle finger as if ur fingers were marching. Simple but effective, experiment with whereabouts on the record u tap.
7. Tear.
A tear is a little more difficult. What u need to do, is place ur hand on the record, move the record with ur hand so that u control how the sample is played, u can move it forward, stop, then backwards, stop, then forward again. Just be creative.
8.180.
Brush ur fingers lightly over the record in the direction it’s playing, u’ll get a wavy kinda sound.
9.Lazer.
What u wanna get from this scratch is the record goin really quickly orward or backwards, do it by putting ur finger on the record and flicking the record sharply.
10. Woodpecker.
Aite u need to hold the record with the thumb of ur scratching hand. Next u need to flick ur thumb back and forwards with ur fader hand. Dope technique.
Fader Scratches
Aite now ur a master of scratching with out the fader, u need to learn how to use it. Otherwise ur gonna suck bigtime.
1.Forward/Backwards scratch.
Forwards are done by taking a sound, letting it play, turning your fader off, pullin the record back to the beginning of the sound, and doing it over again. This is to create patterns in the music, a backwards works on the same principle except u pull the record backwards at the same speed as it would normally play, cut the fader and let it go to the end of the sound, then repeat. A backward is basically the same as a forward with the sound reversed.
2.Chops.
These can be done forwards or backwards, same principal as the forward scratch, but quicker and done to create rhythmic patterns rather than melodic ones.
3 Stab.
Faster version of a chop.
4.Transformer scratch.
This is done by movin the fader back and forth to a rhythm, and letting the record either play by itself, or dragging it forwards or backwards.
5.Chirps.
Sound a little like a forward then reverse chop. Start with the fader open, pull the sound back, and close the fader, push the sound forward whilst opening the fader. Basically try and get ur hands to move at the same time.
6.Tweak.
Stop the platter so the record isn’t moving, then use ur hand instead of the platter to get the sounds u want, BE CREATIVE, if u don’t, it will SUCK.
7.Flare.
This is when we start getting onto pro scratches now, they’re hard but just work at them and it’ll pay off. To do a flare, start with the fader open, move the record forward and quickly turn the fader off and on, then move the record backwards, and turn the fader off and on, u shud be back at the starting point. This leads me to clicking, clicking is the action of quickly turning the fader off and on again.
8.Orbit.
This is not a scratch, it is a description of any scratch which is the same forward as it is back, so if u do a 2 click forward falre followed by a 2 click reverse flare, u just did a 2 click orbit.
Fader Techniques
These are advanced techniques for ur fader hand, u need a good mixer otherwide ur fader aint gonna be up to the job.
1.Twiddle.
Place ur thumb on one side of the fader, and whichever finger u feel most comfortable with, and hit the fader rapidly inbetween the 2.
2.Crab.
Like the twiddle but with all four fingers on the opposite side of the fader to ur thumb, hit the fader with ur thumb, then brush it back with each of ur fingers consecutively starting with ur little finger, then along all of ur fingers to ur index finger and back again.
3.Blazing.
Place ur pinky on the crossfader, and ur index finger on the upfader (volume for ur sample) Uzi the crossfader whilst fading the upfader, lazer the record back and forth for good effect.
Aite peeps, that’s it. There is a lot more I could add to this guide, but I want to wait and see if y’all think it’s ok before I hit u with the whole shabang. I assume every1 knows about beat matching and tempo matching. If not let me know and I’ll make a guide for those aswell.
Hope this helps.
Peace.
Dobb (Dj Tigger)
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