Tablism

Rippin it up!

I ran across this very interesting turntable hybrid in a Google Video search for turntablism. It appears to be a turntable, mixer and bongo drum all in one! Check it out at the scratchophone website. This concept is absolutlely off the hook!!! I can see some real potential in this instrument. Very nice job on thinking of an awesome concept and turning it into a reality! Keep up the good work – stick at it. This hybrid takes the ‘turntable as a musical instrument‘ movement to the next level!

The scratchophone @ scratchophonics

Two faders up. T T.

I have a few questions for the creators of this ingenious invention:
1. How does the tone arm stay in place without skipping or damaging the record?
2. Exactly what type of fader are you using?
3. How do I get my hands on one to test it out? Where are you based?

After exhaustive discussions between the DMC international branches and plugging in to the opinions of DJs and turntablist supporters around the world, DMC have now decided the following rules of entry for the 2006 DMC WORLD DJ CHAMPIONSHIP.

TURNTABLES: Technics turntables only.
MIXERS: Any mixer – no effects.
STYLUS – The Ortofon range.

DMC gave great consideration to the concept of a totally ‘open’ event allowing use of virtually any analogue products. It was felt however that the staging, particularly in countries were dozens of DJs are eliminated in afternoon sessions, would be almost impossible with constantly changing equipment.

DMC also evaluated the fact that some DJs cannot afford the newer turntable products on the market and this would put some DJs at a great disadvantage. DMC feels that whilst creativity would be advanced in allowing different equipment, it would also create an unfair field of play.

DMC has already responded to the turntablist society when agreeing with the huge majority vote, on line and at the 2005 World DJ Championship Finals, that the event would not allow digital products. This also is based on DMC’s belief that such technology, whilst potentially opening new creative possibilities, also gives advantage to the DJ who can afford such products.

The DMC Championship title must be won in a fair arena where economics do not dominate a DJs potential.

Wherever possible DMC will provide SL1210 Technics turntables and traditional Technics SH-EX1200 mixer. DJs wishing to use alternative mixers should take their own to the event having informed the organisers of the event in advance. No mixer featuring effects are to be allowed. DMC DJ CHAMPIONSHIP rules can be located on dmcworld.com/ In all cases each DMC National Champions will receive an expenses paid trip to the two day DMC World Finals in Paris, France in September 2006.

The 2006 DMC WORLD DJ CHAMPION will be awarded the traditional TECHNICS GOLDEN TURNTABLES & MIXER, the greatest prize in turntablism. They will also be presented with Ortofon’s cheque for $10,000 which can be banked safely when they return to their homeland. They will also receive the Ortofon Gold stylus. Silver mixer and stylus for the Runners-up and Bronze for the 3rd placed DJ.

The BATTLE FOR WORLD SUPREMACY will run to the same equipment rules. The Supreme Champion will win $10,000 plus prizes.

THE DMC WORLD TEAM CHAMPIONSHIP will run to the same equipment rules.

At all events any stylus from the Ortofon range may be used. Organisers will provide stylus at each event although DJs may bring their own Ortofons if they prefer to have ‘worn them in’.

First prize $10.000 (shared between team players).

Details of the event internationally will be posted regularly on dmcworld.com.

May the best man spin!

DMC LTD.
______________________________________

Very interesting. Should spice up the competition a bit.

This project started from a suggestion by Q-BERT, asking for a new instrument for the turntablists of the next generation. To let them mix and scratch like playing a guitar and to spread out the fun to kids.The process of making a new instrument is a simple repeat of creation and destruction. Handmade proto types were made in 4 generations up to No.8, and with Q-BERT testing it for a year and a half, while checking the best position for each knob and feature. Tests for the 180 degrees pitch control, dynamic straight-arm, cross fader were run over and over. When all the problems were solved, the birth of QFO.

THE LOW DOWN

The A.S.T.S. arm is known for it’s abilities of not skipping and has now evolved with applying the newly developed Dynamic Tone Arm system that resists skipping at any angle. Original high torque motor as used in the PDX-2000 with great stability and reliability, and a high-grade digital servo that controls the motor in perfectly.

The same Circuitry from the PMC-05Pro series is used in the mixer of QFO. RIAA, amp specialty, VCA control and curve control are all at the highest level of its technology.

Dual PLAY/STOP, QUARTZ LOCK and REVERSE controls lay out on each side of the cross fader to allow DJs the choice of their scratch hands and speedy access. The layout was also designed on a concept of how many features can be controlled at one time.

Reverse switches for the input fader and cross fader is set on the bottom of the QFO, a curve switch for the cross fader is on the front and for the input faders they are set above the fader. Conductive plastic PCV fader has been applied with a new shock absorbent technology called the Shock Mount method, securing supreme stability for the turntable. +/- 60%.

A new style of pitch controlling is now possible thanks to the Spin Slide Pitch control. Slides 180 degrees with a selection of 3 control modes and a variety of linked scratch moves. It is also a very important feature when you’re creating melodies with single note records.

2 line inputs and program channels with Trim and 2 band EQs. Line input and the QFO turntable can be assigned to each program channel and each side of the cross fader freely via the players choice, by simply using a select switch.

Unique stereo monitor system that can select each PGM and MASTER with the 3-point lever switch. Rehearsal play can be performed without sending the sound out to the hall when MASTER is selected, and headphone jacks can be selected from a stereo phone jack or a mini jack.

The 4-foot insulators can be detached easily and 2 belt hooks (not included) can be attached for strap playing. CD & MP3 SCRATCH – Digital scratching is now possible by mounting the TT-M1 on the QFO and connecting it to the CDX-05. With this new combination, music CDs and MP3s can be digitally scratched by using the QFO as an interface.

source: vestax

The official DMC world championship mixer, the SH-EX1200, is stripped down to perfection and built to last. This mixer sports an ergonomically designed, long lasting optical cross fader.

Optical Cross Fader
The ergonomically designed optical cross fader ensures a long life and a smooth feel.

Spare In The Trunk
Easy-to-change spare channel fader stored inside – just in case.

Three Column Level Meter
Easy to read, easy to use three column level meter is ideal for the professional DJ.

Review by $abotage
I have used this mixer for about about 3-4 years and I believe it is one of the best basic 2 channel mixers available. The optical cross fader is flawless – and cuts like a razor. I have given it a very decent work out most days and would have put it thru millions of repetitions, still no fader leak! The spare is still in the trunk!

The EQ produces an excellent sound and is very accurate – not many mixers can crunch like this one – the only hunch being only high/low EQ (not all bad). I believe this will go down as one of the all time greatest battle mixers. The Technics SH-EX 1200 Battle Mixer is designed for and excels in all aspects of turntablism.

A great all-round mixer for scratching, beat juggling and mixing, without all the fancy stuff like panning, 3 EQ (high/mid/low) and cross fader curve. A solid build and smooth faders makes for an excellent mixer. I would highly recommend the Technics SH-EX 1200 Battle Mixer for beginners and advanced DJs alike. If you are getting into your turntablism and looking for mixers – get the turntablist’s mixer – the Official World DJ Championship Mixer.

Two faders up. T T

Yo! The infamous Choppa_HeAvy pointed towards a dope site; Hand Control. They have HEAPS of crazy scratching, beat juggline and battle videos of turntablists such as; I-emerg, Netik, D-Styles, Mike Bookie, Toadstyle and the Birdy Nam Nam crew. This joint has the most freely available, decent quality Turntablism Videos I’ve seen on the net. Take note of, and bookmark their video section – some crazy dope shit there. I-emerg shows off his tight beat jugging skills and classy cuts in DJ Craze’s Miami Studios. Netik’s flawless scratching routines never fail to please – I love his style. These guys have a NICE collection – check it out. Also worth noting are the Audios and Loops/Players sections. Definately worth checkin out! Two faders up T T.

Life is hectic! Recently it has been too hectic to update this site often. I would like to let all visitors know that you can expect more from turntablism.com.au in the near future. We have plans to be providing you with the latest news in turntablism and the hip hop DJing world. You will find vinyl and equipment reviews, tutorials / discussions about scratching techniques, beat juggling, advanced mixing. Were gonna give you the low-down on the worlds best turntablists, their albums, their gigs and individual styles. We also have plans to add a turntablsim forum when time permits. This is gonna be Australia’s (if not the World’s) primo-one-stop turntablism hub. So stick around, check back soon and get excited (cos we are) about this pimpin hot portal for all you tablists. Oh yeh – expect a new design soon too! Peace.

Rane takes performance mixer design as seriously as performing DJs take their art form. In an effort to provide the best instrument possible, Rane devoted two years of R&D to developing a mixer with unparalleled performance. The TTM 56 is flexible, durable, and feature packed. The audio quality of the TTM 56 qualifies it for use in the most demanding live venue, recording studio or live broadcast applications.

Non-Contact Crossfader and Channel Faders

Rane’s patented magnetic fader is the fastest, most accurate, and long lasting on the planet. The design uses non-contact magnetic position sensor technology previously reserved for the most demanding aerospace and industrial applications. No travel noise – No bleed – ever! Unlike optical non-contact faders, the magnetic fader is impervious to smoke, moisture, temperature and aging. The electrical performance of these faders is totally unaffected by use. The mechanical life of the magnetic fader exceeds 10 million operations.

These magnetic faders know exactly what your hand is doing! A proprietary curve-translation module converts your hand motion into precise audio level control. The TTM 56 offers the user more flexible curve selection and fader assignment options than ever before. This technology is used for both Channel Faders and the Crossfader.

The Crossfader control includes Reverse switch, Mode switch and independent, continuously adjustable Contours for A-side and B-side. In Mode 1, the Contour control adjusts from smooth blend to extremely fast cut. Select Mode 2 for center-cut effect (PGM 1 and PGM 2 off in the center) with full range Contour control.

The Channel Fader controls include Reverse switches, Mode switches and continuously adjustable Contours. In Mode 1, the Contour control adjusts from smooth blend to extremely fast cut. Select Mode 2 for Left/Right pan effect with Contour control. The Channel Reverse switch allows left and right hand Channel Faders to control Program 1 or Program 2.

Post-Fader FlexFx^TM

Rane’s proprietary FlexFx effects loop allows assigning post-fader Program 1, post-fader Program 2 or both to the effects loop. A Wet/Dry pan control gives the user total control of how much processed signal is in the mix. With the effects loop post-fader, reverb and other delay effects respond to both Channel Fader and Crossfader operation.

Source: Rane Corporation

Vestax is best known for it’s scratch mixers, and over recent years the PMC-05, 06 and 07Pro have become the choice of top turntablists around the world, and this year Vestax is unveiling it’s latest addition to this genre, the VESTAX PMC-08. This new hybrid mixer offers a combination of technologies, with digital processing for supreme quality and flexibility, and an analogue interface for true dj-style control.

This mixer will be fully digital, including the crossfader.

With the highest demands from our Professional users of various technique, and needs of incorporating the finest parameters for their performances and styles, adjustable to their preference have made us reinventing the mixer allowing input sources turning to digital data.

Photo courtesty of skratchworx.com

Source: DJDeals.com

Turntablism is a subgenre of hip hop. One who engages in turntablism is a turntablist: a term perhaps created in 1994 by DJ Supreme, from New Rochelle, NY, to describe the difference between a DJ who just lets records play, and one who actually manipulates the sounds of a record.

Turntablists are DJs who use vinyl disc records, and turntable techniques like scratching or beat juggling in the composition of original musical works. Turntablism is generally focused more on turntable technique and less on mixing, rapping or vocal delivery. Some turntablists seek to have themselves recognized as a legitimate musician capable of interacting and improvising with other performers.

Turntables were actually first used as musical instruments in the 1940’s and 1950’s by musique concrete and other experimental composers, such as John Cage and Pierre Schaeffer, who used them in a manner similar to digital sampling. (Even earlier, Edgard Varese experimented with turntables in 1930, though he never produced any works using them) Modern experimental turntablists include Christian Marclay, Otomo Yoshihide, Philip Jeck and Janek Schaefer.

Hip hop DJs developed independently of the earlier techniques, and the sounds produced by these experimental composers are quite different from later hip-hop turntablism.

Source: Wikipedia

Hip-hop turntablism can be traced to the 1970s, if not earlier. DJ Grand Mixer DXT is credited with inventing turntablism(though other sources credit Grand Wizard Theodore), the rhythmic scratching of a record on a turntable, then using different velocities to alter the pitch of the note or sound on the recording, making the turntable a fully performable and improvisational instrument (Alberts 2002).

One of the earliest academic studies of the turntable (White 1996) argued for its designation as a legitimate electronic musical instrument — a manual analog sampler — and described turntable techniques such as backspinning, cutting, scratching and blending as basic to the repertoire of the virtuoso hip hop DJ. White demonstrated that the proficient hip hop DJ must possess many of the same skills required by trained musicians, including a keen sense of timing, sharply-developed hand-eye coordination, technical competence and creativity with his material.

New DJs/turntablists/crews like Roc Raida, Q-Bert, Gunkhole, A-Trak, Noisy Stylus, D-Styles, Birdy Nam Nam and Kid Koala owe a distinct debt to Old School DJ’s like DJ Kool Herc, Grand Wizard Theodore, Grandmaster Flash, Afrika Bambaataa and DJs of the “Golden Era of Hip-Hop”, who originally developed many of the concepts and techniques that evolved into modern turntablism.

Source: Wikipedia

Within the realm of hip hop, notable modern turntablists are the cinematic DJ Shadow, who influenced Diplo and RJD2, among others, and the experimental DJ Spooky, whose Optometry albums showed that the turntablist can perfectly fit within the classic jazz setting. Cut Chemist and DJ Nu-Mark, members of old school hip hop collective Jurassic 5, and Mixmaster Mike, who collaborated with the Beastie Boys on 1998’s Hello Nasty, are also known as virtuosi of the turntables.

Source: Wikipedia

Like many other musical instrumentalists, turntablists compete to see who can develop the fastest, most innovative and most creative approaches to their instrument. The selection of a champion comes from the culmination of battles between turntablists.

Battling involves each turntablist performing a routine (a combination of tricks) within a limited time period, after which, the routine is judged by a panel of expert judges. The winner is selected based upon score. The organized competitions, evolved from actual old school “battles” where DJs challenged each other at parties, and the “judge” was the simple fact that everybody knew who really was best, and often the winner kept the losers equipment and/or records.

Source: Wikipedia

Alright playas, pimps and prostitutes, lets get it on.
This is the official Australian turntablism hub.