Intro
to Tricks with Two Identical Records Part I: Phasing, Braking,
and Back-Spinning
by
Rob
Wegner
January
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
News
As
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 Scene
Is 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.
