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T i p - o f - t h e - M o n t h - ( A r c h i v e )
Intro to Tricks with Two Identical Records Part I: Phasing, Braking, and Back-Spinning
by Rob WegnerJanuary 2002
DJ's that switch back-and-fourth between two or more turntables to juggle beats know that this is an art that takes time to learn. To get started, I've outlined three relatively easy to learn tricks below. Next month, I will discuss two additional (slightly harder to learn) tricks.
Trick One: Phasing (aka "flanging")
As Stephen Webber points-out in last month's Tip of the Month, "when two copies of the same record are close to being in sync, the records will sound phased." To accomplish this effect, simply start two identical records at the same spot (i.e., one record on each turntable) with the crossfader in the middle position (so that the volume of both are equal). Adjust the pitch-adjust slightly on either turntable until the two records are in perfect sync. Once in sync, as you move either pitch-adjust, you can control the phase. This takes practice since moving the pitch-adjust too far in any direction will take the records out of sync (which will sound as if the beats aren't matched). Once you get good at this, you should be able to detect when the phase has peaked (so that you know when to move the pitch-adjust in the other direction). In addition, you should eventually be able to sync two records at any time in any spot (i.e., not having to start at the beginning).
Trick Two: Braking
Once you learn how to sync identical records, you can proceed to tricks and effects such as braking. First, sync two identical records. Second, slide the crossfader to one side so that the volume of only one turntable is up. Counting in 4/4 time, when the beat hits four (i.e., 1-2-3-"4"), hit the stop/start button on your turntable and slide the crossfader to the middle position on beat one (i.e., 1-2-3-4-"1"). Depending on your turntable's brake calibration, the effect should sound as if you stopped and dragged the record - even though the song is continuing on the other turntable. Some turntables have brakes that stop instantly (less effect), while other turntables brake slowly (almost sounding like a power failure). Some DJ's have even calibrated their turntables' brakes to stop instantly and move the platter backwards. Once the sound of the brake ends, slide the crossfader completely over (to the song that's playing).
Additional Considerations: You may want to time your brake-effect at the end of a 32-beat segment. Also, if your turntable's brake stops instantly, consider dragging/stopping the platter with your finger (instead of hitting the stop/start button).
Trick Three: Back-spin
As you can see, when two identical records are in perfect sync, you can usually perform just about any effect - so long as you slide the crossfader over to continue the song on the next beat. One (often over-used) effect, is back-spinning. To perform this trick, first sync two identical records. Second, instead of hitting the brake button (like Trick Two above), you want to take your hand and pull the record backwards quickly on the fourth beat. Immediately slide the crossfader over on the next beat - so that the record that you've back-spun can no longer be heard.
I'll repeat the steps: (1) sync the records, (2) start counting in time with the song, 1-2-3-4, 1-2-3-4, etc. (3) back-spin one record on a fourth beat with the crossfader over to its side, (3) on the next beat, slide the crossfader completely over to the song that's playing.
The key to this trick is to have the backspin sound as if it's slowed down to a virtual stop before you slide the crossfader over. Thus, try the backspin on the 3rd beat, let it play through the fourth beat, and then slide the crossfader over to the song that's playing. Since you'll be cutting the song out for two beats during the backspin, you'll have to practice timing the spin so that it's long enough to fill two beats. If you don't spin fast enough, the record will start to rotate forward before you have a chance to slide the crossfader over in-time.
Additional Considerations: You don't need two identical records to perform this trick; Many DJ's will end a 32-beat segment mix with a back-spin (of the song that's ending) on the 31st beat. Watch your volume; the high-pitch of a back-spin can often sound like noise and can potentially damage woofers. Warped records will cause problems, as well as slipmats with excessive humidity and/or friction.
Next Month: Part II
Industry NewsAs some of you may already know, Ministry of Sound plans to launch the world's first airborne nightclub on planes acquired from Ansett Australian Airlines (BBC News, CNN). The planes will be modified to recreate a nightclub atmosphere including "special DJ decks" in the business class area. From a DJ's perspective, the most obvious issue concerns preventing the music from skipping during periods of turbulence (particularly vinyl). It's only a matter of time before there's a nightclub in space. By the way, a turntablist cannot work in zero-gravity.
Convention season is around the corner. Winter Music Conference is scheduled for March 23rd-27th in Miami Beach, Florida. DJ's and producers with original work can submit tracks for the official WMC Compilation CD for a fee of $750 (the deadline is February 15, 2002). Entries for the DJ spin-off are limited (call 954-563-4444).
Nightclub & Bar Magazine's Tradeshow in Las Vegas kicks off on March 3rd. Seminars include "Improving Communications Between DJ's and Management," "Design and Construction 101," "Rotate the Dance Floor for Maximum Beverage Sales," The New Age of Audio Systems," "Fun and Games for DJ's and Their Audiences," as well as the DJ Showcase on March 6th.
The January 29th, 2002 DJ Expo West/The Club Show, sponsored by DJ Times, was canceled due to September 11th related "International events and business climate." Nevertheless, the DJ Times Atlantic City, New Jersey International DJ Expo is still scheduled for August 22, 2002. The International DJ Expo typically draws over 5,000 DJ's.
Commentary: The State of the Rave SceneIs the rave scene struggling? Consider the following:
(1) The economy has turned and many rave promoters are struggling financially. In addition, many cities have passed anti-rave ordinances.
(2) The first generation of ravers has grown older (some are married, have careers, etc.) and are too busy with responsibilities to rave.
(3) The music industry is struggling, in part due to Napster/downloading, but also because of the slowing economy. Many new and even old artists aren't getting signed/funded. This affects the quality and availability of music to push the scene forward.
(4) Musical tastes change over time. The rave scene needs to present something new and different in order to maintain interest.
On the other hand, there's an old joke amongst ravers: "The deeper the recession, the more warehouses we can dance in." One of the benefits of an economic downturn is the fact that many people innovate to pay the bills (and those innovations are often the basis for a turnaround). The rave scene pushed forward during the recession of the early-90's. Most likely, there's a struggling DJ/promoter out there that's re-inventing the scene as you read this.
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