h2g2 The Hitchhiker's Guide to the Galaxy: Earth Edition

Although DJing started as a way to blend records together in the early disco days, hip-hop is where it developed and turned into the art form it is today. Hip-hop turned the two record players from being a means to play music, to being a means of making music. Disc jockeys became capable of taking two records and making a completely new tune by looping, cutting and scratching the vinyl. Soon they teamed up with vocalists who performed their lyrics to the new beat- rap. This is how hip-hop began.

Following is a brief explanation of the techniques that DJ's use to perform. Normally used in conjunction with each other, these techniques combine to form a new music, not just what is pressed into the grooves.

1. Cutting.
Cutting is the act of completely switching from record to another. Whilst in dance music both tracks would normally be matched in tempo, this is not a nessecity with cutting, as you only hear one record or the other. Usually the cut is performed after the last beat in the bar, starting the new record on the first beat of the bar. Switching the cross fader at this presice moment performs the cut.

2. Looping, beat-juggling, or double-decking.
As with cutting, only one record is usually played at the same time. However, two copies of the same record are used to create the aural illusion of a flowing, continuous track. First a section of the first record is played, say a single bar, and then the cross fader is switched to play the first bar on the other deck. Whilst this is playing, the jockey rewinds the first deck to the start of the first bar, and cuts back. Changing the length of section played from one ber to several, half or just part changes the effect. Also tempo alteration, direction of play and volume can be utilised.

3. Scratching.
Hip-hops greatest weapon, is without doubt the scratch. Here only a small section of the record is played, normally over the top of an already playing record. This small snatch of sound can then be replayed by moving the cross fader back to the side that is playing the tune, rewinding quickly and repeating. This however is only the tip of the ice-berg. Obviously the sound can be played both backwards and forwards, or at different time intervals, i.e once a bar, once every half bar or even every beat! The trill is another method used, this is where the record is made to vibrate very quickly back and forth by the DJ making his hand tremble. Methods of cutting the scratch in are also varied, with punch and transform buttons allowing the sample to come through at a decided volume at the touch of a button. Similarly, "crabbing" is used to punch a sample in and out very quickly. This involves pushing the cross fader in with one of the three middle fingers and returning it with the thumb, and then repeating with the next finger, in a motion similar to a crab walking. This creates a very fast stutter effect.

Although these techniques may sound impressive when used on their own, when combined with each other, the sound is amazing and often completely different to the original records used. Turntablism is a new catch-all phrase used to describe the combination of theses effects. Many years of practise is required however to perfect theses techniques, just as with any instrument, but the range of material available means the sky is the limit. Enough with the talking, now I'm off to practise my three finger crab/trill combo!
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Erm, hope this is alright, please feel free to edit away, change my appalling grammar, spelling and all. just please credit VBM somewhere, tanks. Nice - send us a message when you are done, and I'll give you some more input! Dats all from VBM for now but peace, and hope dat kidney thing works out man, back ache indeed - whatever happened to the great British NHS! VBM, out.

Great stuff, I'll copy it in straight first then edit it afterwards and I'll add you to the researchers list in the artical!

Thanks again.

PS I've got some great tips from soundmen to add in as well now! Its all coming together