789:) crew. Beat juggling essentially involves the manipulation of two identical or different drum patterns on two different turntables via the mixer to create a new pattern. A simple example would be to use two copies of the same drum pattern to evolve the pattern by doubling the snares, syncopating the drum kick, adding rhythm and variation to the existing pattern. From this concept, which Steve Dee showcased in the early 1990s at DJ battles, Beat Juggling evolved throughout the decade to the point where by the end of it, it had become an intricate technique to create entirely new "beats" and rhythms out of existing, pre-recorded ones (van Veen & Attias, 2012). These were now not just limited to using drum patterns, but could also consist of other sounds – the ultimate aim being to create a new rhythm out of the pre-recorded existing ones. While beat juggling is not as popular as scratching due to the more demanding rhythmical knowledge it requires, it has proved popular within DJ battles and in certain compositional situations (van Veen & Attias, 2012).
1355:, focused on gender in relation to musical performers and creators, and specifically on educational frameworks as they relate to both. She suggests that women's alienation from fields with strong technical aspects such as DJing, sound engineering and music producing should not only be attributed to a feminine dislike towards these instruments. Instead she argues that women entering these fields are forced to complete the difficult task of disrupting a dominant masculine sphere. Despite this, women and girls do increasingly engage in turntable and DJ practices, individually and collectively, and "carve out spaces for themselves in EDM and DJ Culture". There are various projects dedicated to the promotion and support of these practices such as Female DJs London. Some artists and collectives go beyond these practices to be more gender inclusive. For example,
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593:, transforming was basically clicking the fader on and off while moving a block of sound (a riff or a short verbal phrase) across the stylus. Expanding the tonal as well as rhythmic possibilities of scratching, the transformer scratch epitomized the chopped-up aesthetic of hip hop culture. Hip hop was starting to become big money and the cult of personality started to take over. Hip hop became very much at the service of the rapper and Cash Money and DJ Jazzy Jeff were accorded maybe one track on an album – for example, DJ Jazzy Jeff's "
562:, was an integral part of the group since his turntablism was critical to Run DMC's productions and performances. While Flash and Bambaataa were using the turntable to explore repetition, alter rhythm and create the instrumental stabs and punch phrasing that would come to characterize the sound of hip hop, Grandmaster DST was busy cutting "real" musicians on their own turf. His scratching on Herbie Hancock's 1983 single, "Rockit", makes it perhaps the most influential DJ track of them all – even more than (Grandmaster Flash's) "
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routine (A combination of various technical scratches, beat juggles, and other elements, including body tricks) within a limited time period, after which the routine is judged by a panel of experts. The winner is selected based upon score. These organized competitions evolved from actual old school "battles" where DJs challenged each other at parties, and the "judge" was usually the audience, who would indicate their collective will by cheering louder for the DJ they thought performed better. The
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1093:. Usually when someone is referring to an orbit, they are most likely talking about flare orbits. For example, A 1 click forward flare and a 1 click backward flare in quick succession (altogether creating 4 very quick distinct sounds) would be a 1 click orbit. A 2 click forward flare and a 2 click backward flare in quick succession (altogether creating 6 very distinct sounds) would be a 2 click orbit, etc. Orbits can be performed once as a single orbit move, or sequenced to produce a
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DJing aspect of the art form by combining turntablist skills with the trademark skills of club DJs, while others explored alternative routes in utilizing the turntable as an instrument or production tool solely for the purpose of making music – either by using solely the turntable or by incorporating it into the production process alongside tools such as drum machines, samplers, computer software, and so on. Digital turntablism techniques later was coined into a term called
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underground and were cultivated and built upon by a generation of people who grew up with hip hop, DJs and scratching. By the mid-90s the disappearance of the DJ in hip hop had created a sub-culture which would come to be known as turntablism and which focused entirely on the DJ using his turntables and a mixer to manipulate sounds and create music. By pushing the practice of DJing away, hip hop created the grounds for this sub-culture to evolve (Greasley & Prior, 2013).
1192:. It is one of the most difficult scratch techniques to master. The crab is done by pushing the record forward and back while pushing the crossfader mixer open or closed through a quick succession of 4 movements with the fingers. Variations can also include 3 or 2 fingers, and generally it is recommended for beginners to start with 2 fingers and work their way to 4. It is a difficult move to master but also versatile and quite rewarding if done right.
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extremely quickly in the middle of the forward stroke creating two distinct sounds in one stroke of your record hand and ending with the fader open. In the same manner, 2 clicks, 3 clicks, and even more clicks (if a DJ is fast enough) can be performed to do different types of flares. The discovery and development of the flare scratch was instrumental in elevating this art form to the level of speed and technical scratching that is seen in the 2010s.
490:". Briefly, the "break" of a song is a musical fragment only seconds in length, which typically takes the form of an "interlude" in which all or most of the music stops except for the percussion. Kool Herc introduced the break-beat technique as a way of extending the break indefinitely. This is done by buying two of the same record, finding the break on each record, and switching from one to the other using the DJ mixer: e.g., as record
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study suggests the proficient hip-hop DJ must possess similar kinds of skills as those required by trained musicians, not limited to a sense of timing, hand–eye coordination, technical competence and musical creativity. By the year 2000, turntablism and turntablists had become widely publicized and accepted in the mainstream and within hip hop as valid artists. Through this recognition came further evolution.
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1002:(van Veen & Attias, 2012). Arguably, this combination of distortion and audial effects against the original recording grants greater freedom of improvisation to the DJ than did the previous forms of turntablism. Via the ChopNotSlop movement, "Chopped and screwed" has also been applied to other genres of music such as R&B and rock music, thus transcending its roots within the hip-hop genre.
550:". These early pioneers cemented the fundamental practice that would later become the emerging turntablist art form. Scratching would during the 1980s become a staple of hip hop music, being used by producers and DJs on records and in live shows. By the end of the 1980s it was very common to hear scratching on a record, generally as part of the chorus of a track or within its production.
87:) so that a wider audience can hear the turntablist's music. Turntablists typically manipulate records on a turntable by moving the record with their hand to cue the stylus to exact points on a record, and by touching or moving the platter or record to stop, slow down, speed up or, spin the record backwards, or moving the turntable platter back and forth (the popular rhythmic "
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This form of turntablism, which is usually applied to prior studio recordings (in the form of custom mixtapes) and is not prominent as a feature of live performances, de-emphasizes the role of the rapper, singer or other vocalist by distorting the vocalist's voice along with the rest of the recording
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features a turntable as the solo instrument, complemented by a full symphony orchestra. This arrangement necessitated the development of "scratch notation" by DJ Radar to transcribe his turntable manipulations into a format readable by classically trained musicians. This innovative scoring method was
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This evolution took many shapes and forms: some continued to concentrate on the foundations of the art form and its original links to hip hop culture, some became producers utilizing the skills they'd learnt as turntablists and incorporating those into their productions, some concentrated more on the
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By the mid- to late 1990s the terms "turntablism" and "turntablist" had become established and accepted to define the practice and practitioner of using turntables and a mixer to create or manipulate sounds and music. This could be done by scratching a record or manipulating the rhythms on the record
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and D-Styles. And this is part of where this whole thing about turntablist came from. This was a time where all these new techniques were coming out, like flares and stuff, and there were probably 20 people or so, in around
California between Frisco and LA, who knew about these. So we worked on them,
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Kool Herc's revolutionary techniques set the course for the development of turntablism as an art form in significant ways. Most important, however, he developed a new form of DJing that did not consist of just playing and mixing records one after the other. The type of DJ that specializes in mixing a
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sphere, a male-centric culture has contributed to the marginalisation of women who seek to engage and contribute. Whilst turntablism and broader DJ practices should not be conflated, Katz suggests that the broad use, or lack of use, of the turntable by women across genres and disciplines is impacted
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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
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Each time the DJ bounces the fader off the side of the fader slot it makes a distinct clicking noise. For this reason, flares are named according to clicks. A simple one click forward flare would be a forward scratch starting with the sound on as the DJ bounces/clicks the fader against the side once
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Robert Earl Davis of Texas, innovated the art of chopping and screwing coining the phrase "chopped n screwed", taking original contemporary hit records and replaying them in the "chopped n screwed" art form. This gained a very large following finally paving the way for small, independent rap labels
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with a variety of sounds. The evolution of scratching from a fairly simple sound and simple rhythmic cadences to more complicated sounds and more intricate rhythmical patterns allowed the practitioners to further evolve what could be done with scratching musically. These new ways of scratching were
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concurs in her writing on female engagement with engineering technology. Oldenziel argues that socialization is a central factor in the lack of female engagement with technology, insisting that the historical socialisation of boys as technophiles has contributed to the prevalence of men who engage
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in 1987. This scratch technique is much like the "transform" in some ways, only instead of starting with the sound that is cutting up off, one starts with the sound on and concentrate on cutting the sound into pieces by bouncing the fader off the cut outside of the fader slot to make the sound cut
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forward while simultaneously closing the previously opened channel ending the first sound. Then, in a reverse fashion, the DJ opens the channel while moving the record backwards creating a more controlled sounding "baby scratch". Done in quick succession it sounds as though a chirp sound is being
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in that one does not need the fader to perform it, but unlike a baby scratch, when the DJ pulls the record back he or she pauses his or her hand for a split second in the middle of the stroke. The result is one forward sound and two distinct backward sounds. This scratch can also be performed by
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One of the earliest academic studies of turntablism (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 tools for most hip hop DJs. White's
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and other studio techniques that would ultimately push the DJ further away from the original hip-hop equation of the MC as the vocalist and the DJ as the music provider alongside the producer. This push and disappearance of the DJ meant that the practices of the DJ, such as scratching, went back
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The appearance of turntablists and the birth of turntablism was prompted by one major factor – the disappearance or downplaying of the role of the DJ in hip-hop groups, on records and in live shows at the turn of the 1990s. This disappearance has been widely documented in books and documentaries
155:" was the one who originally coined the term "turntablist". In 1995 while working on the groundbreaking mixtape "Comprehension", DJ Babu hand wrote the name "Babu The Turntablist" on hundreds of copies of this mixtape to describe his style of DJing, while working on the track "Turntablism" with "
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a sequence for his own purposes, introducing the idea of the DJ as the "feature" of parties, whose performance on any given night would be different from on another night, because the music would be created by the DJ, mixing a bassline from one song with a beat from another song (Greasley &
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experimented with turntables even earlier in 1930, though he never formally produced any works using them. Though this school of thought and practice is not directly linked to the 1970s–2010 definition of turntablism within hip hop and DJ culture, it has had an influence on modern experimental
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A "stab" is quite similar to the chirp technique but requires the crossfade mixer to be "closed". The stab requires the user to push the record forward and back quickly and moving the crossfade mixer with a thumb pressed against it, which results in minimal sound coming out, producing a sharp
1333:, the low percentage of women DJs and turntablists may stem from the overall male domination of the entire hip hop music industry. Most of the top rappers, MCs, DJs, record producers and music executives are men. There are a small number of high-profile women, but they are rare. In 2007,
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industry. Ncube claimed that "inety-five percent of music producers are male" and that female producers are less well-known than their male counterparts despite accomplishing great feats within the music industry. The vast majority of students in music technology programs are male.
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or other types, because the belt can be stretched or damaged by "scratching" and other turntable manipulation such as slowing down a record, whereas a direct drive turntable can be stopped, slowed down, or spun backwards without damaging the electric motor. The word
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Visual elements may be linked to turntable movement, incorporating digital media including photographs, graphic stills, film, video, and computer-generated effects into live performance. A separate video mixer is used in combination with the turntable. In 2005 the
99:'s crossfader control and the mixer's gain and equalization controls to adjust the sound and level of each turntable. Turntablists typically use two or more turntables and headphones to cue up desired start points on different records (Greasley & Prior, 2013).
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On stage the DJ would provide the music for the MCs to rhyme and rap to, scratching records during the performance and showcasing his or her skills alongside the verbal skills of the MC. The most well known example of this 'equation' of MCs and DJ is probably
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to describe the difference between a DJ who simply plays and mixes records and one who performs by physically manipulating the records, stylus, turntables, turntable speed controls and mixer to produce new sounds. The new term coincided with the resurgence of
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were unsuitable for turntablism, since they had a slow start-up time, and they were prone to wear-and-tear and breakage, as the belt would break from backspinning or scratching. The first direct-drive turntable was invented by
Shuichi Obata, an engineer at
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rather than normal turntables, "chopped and screwed" stood out from previous standards of turntablism in its slowing of the pitch and tempo ("screwing") and syncopated beat skipping ("chopping"), among other added effects of sound manipulation.
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music professor Mark Katz's article stated that it is rare for women to compete in turntable battles and that this gender disparity has become a topic of conversation among the hip-hop DJ community. In 2010, Rebekah
Farrugia stated that in the
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More sophisticated methods of scratching were developed during that decade, with crews and individual DJs concentrating on the manipulation of the record in time with the manipulation of the cross fader on the mixer to create new rhythms and
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It was around 95, I was heavily into the whole battling thing, working on the tables constantly, mastering new techniques and scratches... made this mixtape called "Comprehension", and on there was a track called "Turntablism" which featured
681:", was responsible for coining and spreading the term turntablist after inscribing it on his mixtapes as"Babu the Turntablist" and passing them around. Another claim credits DJ Supreme, 1991 World Supremacy Champion and DJ for
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even if the DJ wiggled the record back and forth on the platter. Since then, turntablism spread widely in hip hop culture, and the SL-1200 remained the most widely used turntable in DJ culture for the next several decades.
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811:, which inspired a movement of new digital DJs such as DJ Buddy Holly and Moldover. DJ Buddy and Moldover went on to create a song called "Controllerism" that pays homage to the sound of digitally emulated turntablism.
661:), books (DJ Culture), conferences (Skratchcon 2000) and interviews in online and printed magazines. These facts are that the origins of the words most likely lay with practitioners on the US West Coast, centered on the
530:. He put his hand on a record one day, to silence the music on the turntable while his mother was calling out to him and thus accidentally discovered the sound of scratching by moving the record back and forth under the
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The underground movement of turntablism has also emerged to focus on the skills of the DJ. In the 2010s, there are turntablism competitions, where turntablists demonstrate advanced beat juggling and scratching skills.
570:'s "Break Dancin' – Electric Boogie" (1983) was punk negation. As great as "Break Dancin'" was, though, it highlighted the limited tonal range of scratching, which was in danger of becoming a short-lived fad like
159:" and DJ Melo-D, Babu would say "if someone plays the piano, we call them a pianist, if someone plays the guitar, we call them a guitarist, why don't we call ourselves Turntablists?" found in the documentary "
941:, symbolizing its acceptance into the classical music tradition. The project was initially supported by Red Bull, which helped to sponsor its development and the premiere performance. The concerto debuted at
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doing the opposite and placing the pause on the forward stroke instead. A basic tear is usually performed with the crossfader open the entire time, but it can also be combined with other scratches such as
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The premiere at
Carnegie Hall was met with enthusiastic responses, highlighting the potential of digital instruments within classical music settings and demonstrating the artistic validity of turntablism.
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DJing is generally regarded as the foundational development in hip hop history, as it gave rise to all other elements of the genre. His influence on the concept of "DJ as turntablist" is equally profound.
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at a specific moment where the audience will not notice that the DJ has switched records. Using that idea, Grandmaster Flash elaborated on Kool Herc's invention of break-beat DJing and came up with the
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has been hosted since 1985. There are separate competitions for solo DJs and DJ teams, the title of World
Champion being bestowed on the winners of each. They also maintain a turntablism hall of fame.
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is a type of scratch used by turntablists. It is made from a combination of moving the record on the turntable by hand and quick movement of the crossfader. The flare was invented by its namesake,
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is a type of scratch used by turntablists. It is generally any scratch that incorporates both a forward and backward movement, or vice versa, of the record in sequence. The orbit was developed by
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is also credited with furthering the concept of scratching by practicing the rhythmic scratching of a record on one or more turntables (often two), using different velocities to alter the
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either by drumming, looping or beat juggling. The decade of the 1990s is also important in shaping the turntablist art form and culture as it saw the emergence of pioneering artists (
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culture. Dub music introduced the techniques of mixing and scratching vinyl, which
Jamaican immigrants introduced to American hip hop culture in the early 1970s. Beyond dub music,
870:, who originally developed many of the concepts and techniques that evolved into modern turntablism. Within the realm of hip hop, notable modern turntablists are the cinematic
430:, which was developed in 1971 by a team led by Shuichi Obata at Matsushita, which then released it onto the market in 1972. It was adopted by New York City hip hop DJs such as
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to New York City. He introduced turntable techniques from
Jamaican dub music, while developing new techniques made possible by the direct-drive turntable technology of the
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The origin of the terms turntablist and turntablism are widely contested and argued about, but over the years some facts have been established by various documentaries (
1311:. However, there are relatively few women DJs or turntablists. Part of this may stem from a general low percentage of women in audio technology-related jobs. In a 2013
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A "chirp" is a type of scratch used by turntablists. It is made with a mix of moving the record and incorporating movement with the crossfade mixer. It was invented by
744:) and the evolution of scratching and other turntablism practices such as Beat Juggling which are viewable in the IDA (International DJ Association/ITF) World Finals.
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he set up after emigrating to New York. The signature technique he developed was playing two copies of the same record on two turntables in alternation to extend the
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in the 1970s. As they experimented with the SL-1200 decks, they developed scratching techniques when they found that the motor would continue to spin at the correct
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series of turntables. In 1971, Matsushita released the
Technics SL-1100. Due to its strong motor, durability, and fidelity, it was adopted by early hip hop artists.
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set is well respected for his/her own set of unique skills, but playlist mixing is still DJing in the traditional sense. Kool Herc instead originated the idea of
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N.A.S.A. (DJ Zegon & Squeak E. Clean). The DJ on the left can be seen cuing up a part of a record by listening to the cue channel on one of his headphones.
534:. Though Theodore discovered scratching, it was Flash who helped push the early concept and showcase it to the public, in his live shows and on recordings. DJ
384:, Japan. It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests. In 1969, Matsushita released it as the
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937:, this composition showcases a unique melding of electronic and orchestral music elements. The concerto was first performed in notable venues including
1359:, a New York-based collective and booking agency, describe themselves as "representing and showcasing cis women, trans women and genderqueer talent."
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is a type of scratch used by turntablists. It is made from a combination of moving the record on the turntable by hand and repeated movement of the
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to turn a decent profit. However, it is thought by many that DJ Michael Price started slowing down vinyl recordings before the era of DJ Screw.
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Examples of turntable effects can also be found on popular records produced in the 1960s and 1970s. This was most prominent in
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are widely credited for having cemented the now established role of DJ as hip hop's foremost instrumentalist. Kool Herc's invention of
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shows the standard turntablist technique of manipulating the record with one hand while the other hand adjusts the controls on the
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Despite New York's continued pre-eminence in the hip-hop world, scratch DJing was modernized less than 100 miles down the road in
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is a type of scratch used by turntablists. It is made from moving the record on the turntable by hand. The tear is much like a
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is a groundbreaking musical work that integrates the art of turntablism with classical music composition. Co-created by
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Starting in the 1980s in the
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with other performers. Depending on the records and tracks selected by the DJ and their turntablist style (e.g.,
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described the art: "A phonograph in the hands of a 'hiphop/scratch' artist who plays a record like an electronic
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Prior, 2013). The DJ would be examined critically by the crowd on both a technical and entertainment level.
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reproduced—the record player becomes a musical instrument." Some turntablists use turntable techniques like
581:, where the climate for the return of the DJ was created by inventing transformer scratching. Developed by
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Turntablism as a modern art form and musical practice has its roots within African-American inner city
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for example by doing tears with the record hand and cutting the sound in and out with the fader hand.
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601:" (1988) and Cash Money's "The Music Maker" (1988). Other crucial DJ tracks from this period include
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talked about it and kicked about the ideas that these techniques and new ways of scratching gave us.
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Australian Broadcasting Corporation. A 1979 radio report on the "new" phenomenon of turntablism.
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986:" became a significant and popular form of turntablism. Often using a greater variety of
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To understand the significance of this achievement, it is important to first define the "
209:
or beat loops, atmospheric "pads", "stabs" of sudden chords or interwoven melodic lines.
83:(for live events) and/or broadcasting equipment (if the DJ is performing on radio, TV or
2232:
Katz, Mark (December 12, 2007). "Men, Women, and Turntables: Gender and the DJ Battle".
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2033:"NYU's Symphony Orchestra to Feature Innovative Music Including "Turntablist" DJ Radar"
1513:
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crucial for integrating the turntable's electronic sounds with the acoustic orchestra.
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559:
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280:
124:
84:
2098:
1614:. Stockholm: Skolan för datavetenskap och kommunikation, Kungliga Tekniska högskolan.
1299:
have achieved great success in singing and songwriting roles, with top examples being
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945:'s Gammage Auditorium before its major premiere at Carnegie Hall on October 2, 2005.
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388:, the first direct-drive turntable on the market, and the first in their influential
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1579:"What is Turntablism? | Turntablism Artists | Turntablist vs DJ | Turntablism Songs"
574:
until the emergence of Code Money's DJ Brethren from Philadelphia in the mid-1980s.
455:
A DJ vinyl turntable system, consisting of two turntables and a crossfader-equipped
451:
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Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture
1211:
World final introduced the 'Experimental' category to recognise visual artistry.
511:. He described it as being "...like cutting, the backspin, and the double-back."
295:. Turntablism as it is known today, however, did not surface until the advent of
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A "crab" is a type of scratch used by turntablists and originally developed by
542:
of the note or sound on the recording (Alberts 2002). DXT appeared (as DST) on
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29:
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131:). After a phone conversation with Disk, it was later popularised in 1995 by
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2587:. Rev. ed. Berkeley: University of California Press, 2010, pp. 124–45.
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albums showed that the turntablist can perfectly fit within a jazz setting.
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67:, mixes and other creative sounds and beats, typically by using two or more
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DJ Aron Scott DJing a set for a French radio station. He is using digital
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Turntablists, who are often called DJs (or "deejays"), generally prefer
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1039:
696:" added the following comments about the birth and spread of the term:
693:
674:
666:
605:'s DJ Too Tuff's "Behold the Detonator" "Soul Food" (both 1989)", and
400:
296:
205:), a turntablist can create rhythmic accompaniment, percussion breaks,
144:
132:
116:
1611:
The acoustics and performance of DJ scratching, analysis and modelling
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and create music that was entirely produced by the turntable. Cage's
174:
2583:
Katz, Mark. "The Turntable as Weapon: Understanding the DJ Battle."
2310:
1283:
814:
2634:. 2001. A documentary about the History and Culture of Turntablism.
2552:
685:. The truth most likely lies somewhere in between all these facts.
3837:
3827:
3747:
3637:
3430:
3408:
2971:
2553:
The Phonograph Turntable and Performance Practice in Hip Hop Music
1282:
1201:
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1104:
1035:
1009:
813:
450:
381:
328:
43:
35:
20:
1798:"The Technics 1200 — Hammer Of The Gods [XXL, Fall 1998]"
1676:. The Continuum International Publishing Group Inc. p. 132.
40:
World premiere of the Tri-Phonic Turntable, July 14, 1997, London
5278:
3109:
2748:
879:
415:' favorite section, switching back and forth between the two to
4888:
3134:
2661:
826:
New DJs, turntablists and crews owe a distinct debt to pioneer
2706:
1231:
898:(begun in 1989 as Shadow of the Prophet) and later DJ for the
819:
236:
has its roots dating back to the 1930s, 1940s, and 1950s when
143:
According to most DJ historians, it has been documented that "
774:, other practices such as drumming (or scratch drumming) and
494:
plays, the DJ quickly backtracks to the same break on record
894:
was a founding member of the influential turntablist group
507:, in which Flash sectioned off a part of the record like a
3130:
2458:
1998:
Can't Stop Won't Stop: A History of the Hip-Hop Generation
63:
is the art of manipulating sounds and creating new music,
1912:"History of the Record Player Part II: The Rise and Fall"
1317:
article Rosina Ncube attested that few women work in the
1263:
2571:
More Brilliant than the Sun. Adventures in Sonic Fiction
2425:"9 All-Female DJ Collectives You Need To Know Right Now"
1756:
Collins, Nick; Schedel, Margaret; Wilson, Scott (2013).
1259:
1255:
1670:"Bettered by the Borrower: The Ethics of Musical Debt"
1034:, comes from its similarity to the sound made by the
673:, was the first to coin the term, others claim that "
2600:
Groove Music: The Art and Culture of the Hip Hop DJ.
5342:
5266:
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5013:
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2699:
1727:
Computers in Music Education: Amplifying Musicality
1556:"The Art Of Turntablism | History Detectives | PBS"
2175:"Hip Hop Family Tree: DJ Jazzy Jeff / Boing Boing"
778:were also evolved significantly during the 1990s.
2585:Capturing Sound: How Technology has Changed Music
2011:"Brown cellist joins turntables in Carnegie Hall"
1697:Collins, Nick; RincĂłn, Julio d' Escrivan (2007).
558:who were composed of two MCs and one DJ. The DJ,
470:(a Jamaican DJ who immigrated to New York City),
2482:Pink Noises: Women on Electronic Music and Sound
2369:"Music – GEA – Gender and Education Association"
240:composers did experiments with audio equipment.
2535:Scratch and the Hip-Hop Book of Grand Mixer DXT
698:
1672:. In Christopher Cox and Daniel Warner (ed.).
1287:A DJ mixing two record players at a live event
914:are also known as virtuosi of the turntables.
32:at a turntablism competition in France in 2006
4900:
3146:
2673:
2639:Making Beats: The Art of Sample-based Hip-hop
2205:
2203:
2201:
1967:
1965:
1827:. Hal Leonard Corporation. 2003. p. 43.
1258:. Consider transferring direct quotations to
8:
1992:
1990:
363:Turntablism has origins in the invention of
1945:"Six Machines That Changed The Music World"
1762:. Cambridge University Press. p. 105.
1751:
1749:
1747:
1700:The Cambridge Companion to Electronic Music
1026:. The name, which has been associated with
5010:
4907:
4893:
4885:
4042:
3928:
3678:
3335:
3153:
3139:
3131:
2680:
2666:
2658:
2212:"Sounding Off: Why So Few Women In Audio?"
2121:"The Slow Life and Fast Death of DJ Screw"
1876:Pinch, Trevor; Bijsterveld, Karin (2012).
1850:"Tracking the next century's disk spinner"
1824:The World of DJs and the Turntable Culture
1703:. Cambridge University Press. p. 49.
1642:Newman, Mark "Markski" (January 3, 2003).
634:), and was linked to the increased use of
16:Art of manipulating sound using turntables
2603:New York: Oxford University Press, 2012.
1905:
1903:
1901:
1899:
1871:
1869:
1867:
1865:
1863:
1938:
1936:
1934:
1882:. Oxford University Press. p. 515.
1791:
1789:
1787:
326:effect in the song "Walk on the Water".
1674:Audio Culture: Readings in Modern Music
1547:
1366:
822:decks instead of phonograph turntables.
785:, a member of the X-Men (later renamed
426:The most influential turntable was the
181:, produces sounds which are unique and
1856:. Nielsen Business Media. p. 140.
1351:Lucy Green, professor of music at the
4847:LGBT representations in hip hop music
2363:
2361:
2285:
2283:
2257:
2255:
2227:
2225:
1249:too many or overly lengthy quotations
1124:out and then back in a split second.
882:, among others, and the experimental
498:, which will again take the place of
115:is claimed to be originated by Luis "
7:
5350:List of experimental music festivals
2641:. Middletown, CT: Wesleyan UP, 2004.
2559:2 (1996) Retrieved February 4, 2013]
1984:. Norway: NTNU and Sweden: KTH, p. 4
1879:The Oxford Handbook of Sound Studies
1209:International Turntablist Federation
2077:"DJ Radar's Concerto for Turntable"
5355:List of electronic music festivals
1971:Hansen, Kjetil Falkenberg (2000).
1796:Coleman, Brian (January 7, 2016).
1608:Falkenberg Hansen, Kjetil (2010).
1577:globaldjacademy (March 10, 2019).
1343:by "male technophilia". Historian
1097:never ending type of orbit sound.
14:
2548:. Rough Guides, 2001, p. 96.
2399:"Female Turntablists on the Rise"
228:Recording studio as an instrument
4865:
4864:
2210:Ncube, Rosina (September 2013).
1468:
1454:
1440:
1426:
1412:
1398:
1383:
1369:
1236:
617:Decline in role of DJ in hip hop
395:A forefather of turntablism was
91:" effect which is a key part of
5289:Experimental musical instrument
2856:Two turntables and a microphone
2618:. London: Quartet Books, 1998.
2573:. London: Quartet Books, 1998.
2401:. BPMSUPREME TV. Archived from
2266:. University of Chicago Press.
613:in Deep Concentration" (1989).
5360:List of experimental musicians
2344:. Cambridge University Press.
1848:Steve Trainan (May 21, 1977).
933:, a composer and professor at
781:Beat juggling was invented by
407:, which he used for the first
232:The use of the turntable as a
163:" which was released in 2001.
79:. The mixer is plugged into a
1:
5334:Electroacoustic improvisation
1910:Mayhew, Jess (October 2015).
4852:Feminist activism in hip hop
2195:. Retrieved October 17, 2007
1363:Some pioneers of turntablism
1335:University of North Carolina
1160:open. The DJ then moves the
316:Creedence Clearwater Revival
4842:Partner violence in hip hop
344:at Mayhem Festival in 2008.
5429:
2262:Farrugia, Rebekah (2013).
1943:Blashill, Pat (May 2002).
1730:. Routledge. p. 127.
1222:DMC World DJ Championships
1199:
1181:
975:
964:
692:online resource in 2005, "
352:
225:
4860:
4306:Bosnian and Herzegovinian
3319:Bristol underground scene
3170:
3052:Releases and distribution
2484:. Duke University Press.
1353:University College London
868:the golden age of hip hop
688:In an interview with the
263:Imaginary Landscape No. 1
2861:Vinyl emulation software
2342:Music, Gender, Education
1768:10.1017/CBO9780511820540
1256:summarize the quotations
988:vinyl emulation software
943:Arizona State University
935:Arizona State University
5110:Intelligent dance music
2836:Sound system (Jamaican)
2000:. Picador, 2005, p 113.
1652:March 20, 2009, at the
1489:Audio signal processing
1109:Marlon Williams aka DJ
365:direct-drive turntables
349:Direct-drive turntables
342:direct-drive turntables
320:self-titled debut album
104:direct-drive turntables
2784:Direct-drive turntable
2557:Ethnomusicology OnLine
2546:Rough Guide to Hip-Hop
2480:Rodgers, Tara (2010).
2373:genderandeducation.com
2299:Technology and Culture
1724:Brown, Andrew (2012).
1645:History of Turntablism
1288:
1149:
1113:
1015:
950:Concerto for Turntable
923:Concerto for Turntable
918:Concerto for Turntable
896:Invisibl Skratch Piklz
823:
758:all given names, from
708:
671:Invisibl Skratch Piklz
663:San Francisco Bay Area
524:Grand Wizzard Theodore
459:
355:Direct-drive turntable
345:
275:sonic/artists such as
129:Invisibl Skratch Piklz
57:
41:
33:
4020:Alternative reggaeton
3299:Universal Zulu Nation
2652:What is New York Rap?
2246:10.1093/musqtl/gdm007
2234:The Musical Quarterly
1980:June 7, 2011, at the
1406:Grand Wizard Theodore
1286:
1139:
1108:
1089:after being shown by
1085:who incorporated the
1013:
836:Grand Wizard Theodore
817:
454:
432:Grand Wizard Theodore
369:belt-drive turntables
332:
95:), all while using a
47:
39:
24:
5294:Experimental luthier
5004:Experimental popular
4785:Contemporary R&B
4594:Minneapolis/St. Paul
2340:Green, Lucy (2008).
2099:"Turntable Symphony"
2079:. September 30, 2005
2057:. September 12, 2002
1509:List of turntablists
677:", a member of the "
599:Jazzy's in the House
423:to a rhythmic beat.
399:, an immigrant from
306:of the 1960s, among
187:beat mixing/matching
140:DJing in the 1990s.
5215:Extended techniques
3389:Chopped and screwed
3294:Five-Percent Nation
2907:Chopped and screwed
2637:Schloss, Joseph G.
2628:Pray, Doug (Dir.).
2541:1/7 (October 2002).
2506:"About – Discwoman"
2193:DMC World Champions
2127:. January 20, 2013.
1174:"stabbing" noise".
984:chopped and screwed
978:Chopped and screwed
972:Chopped and screwed
866:, and other DJs of
466:of the late 1970s.
244:composers (such as
175:phonographic needle
161:Scratch (2001 film)
56:in England in 2005.
5406:Hip hop production
5396:Musical techniques
5391:Experimental music
5319:Sound installation
5166:Free improvisation
5058:Deconstructed club
4916:Experimental music
3105:Hip hop production
2754:Magnetic cartridge
2431:. February 7, 2016
2291:Oldenziel, Ruth A.
2101:. October 13, 2005
2013:. October 16, 2005
1854:Billboard Magazine
1289:
1150:
1114:
1016:
824:
736:), record labels (
711:Mid- to late 1990s
669:, a member of the
665:. Some claim that
460:
346:
234:musical instrument
58:
42:
34:
5368:
5367:
5304:Progressive music
5284:Data sonification
5209:
5208:
5068:Experimental rock
5026:Avant-garde metal
4882:
4881:
4768:
4767:
4030:
4029:
3916:
3915:
3666:
3665:
3246:Feminist activism
3128:
3127:
3115:Record collecting
2841:Speaker enclosure
2831:Sound system (DJ)
2609:978-0-19-533111-0
2593:978-0-520-26105-1
2533:Alberts, Randy. "
2516:on April 19, 2017
2461:on March 13, 2016
2405:on March 13, 2016
2181:. April 28, 2015.
1889:978-0-19-538894-7
1834:978-0-634-05833-2
1777:978-1-107-01093-2
1737:978-1-135-86598-6
1710:978-0-521-86861-7
1621:978-91-7415-541-9
1583:Global Dj Academy
1420:Grandmaster Flash
1348:with technology.
1323:sound engineering
1319:record production
1281:
1280:
874:, who influenced
844:Grandmaster Flash
572:human beat-boxing
476:Grandmaster Flash
277:Christian Marclay
5418:
5343:Events and lists
5267:Related concepts
5191:Progressive jazz
5063:Experimental pop
5021:Avant-garde jazz
5011:
4982:Musique concrete
4965:Acousmatic music
4909:
4902:
4895:
4886:
4873:
4868:
4867:
4735:
4710:
4572:Washington, D.C.
4535:
4470:
4283:
4171:
4049:
4043:
4038:
4003:
3935:
3929:
3924:
3868:Na mele paleoleo
3800:
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3331:
3205:
3198:
3191:
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3177:
3164:
3155:
3148:
3141:
3132:
3093:Related articles
3002:Video scratching
2682:
2675:
2668:
2659:
2614:Poschardt, Ulf:
2544:Shapiro, Peter.
2526:
2525:
2523:
2521:
2512:. Archived from
2502:
2496:
2495:
2477:
2471:
2470:
2468:
2466:
2457:. Archived from
2455:femaledjs.london
2447:
2441:
2440:
2438:
2436:
2421:
2415:
2414:
2412:
2410:
2395:
2389:
2388:
2386:
2384:
2379:on March 3, 2016
2375:. Archived from
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2125:texasmonthly.com
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1759:Electronic Music
1753:
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1688:
1687:
1662:
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1640:
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1598:
1596:
1594:
1585:. Archived from
1574:
1568:
1567:
1565:
1563:
1552:
1519:Sampling (music)
1476:The X-Ecutioners
1472:
1458:
1444:
1430:
1416:
1402:
1391:Afrika Bambaataa
1387:
1373:
1276:
1273:
1267:
1240:
1239:
1232:
1045:The Transformers
848:Afrika Bambaataa
643:Coining of terms
505:quick-mix theory
472:Afrika Bambaataa
436:Afrika Bambaataa
428:Technics SL-1200
405:Technics SL-1100
359:Technics (brand)
310:in the Jamaican
254:Pierre Schaeffer
238:musique concrète
54:record turntable
48:Record producer
30:record turntable
5428:
5427:
5421:
5420:
5419:
5417:
5416:
5415:
5371:
5370:
5369:
5364:
5338:
5324:Sound sculpture
5262:
5243:Prepared guitar
5228:Circuit bending
5205:
5124:
5007:
5005:
4998:
4960:Electroacoustic
4931:
4928:classical music
4927:
4918:
4913:
4883:
4878:
4871:
4856:
4822:Music sequencer
4764:
4733:
4727:
4708:
4702:
4701:
4667:Outside the US:
4664:
4660:Native American
4533:
4527:
4468:
4462:
4281:
4275:
4169:
4163:
4047:
4037:Regional scenes
4036:
4026:
4001:
3996:
3933:
3922:
3912:
3798:
3792:
3773:
3767:
3738:Psychedelic rap
3683:
3672:
3662:
3591:
3585:
3544:
3538:
3499:Progressive rap
3340:
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3282:
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3129:
3124:
3120:Record producer
3088:
3047:
3006:
2937:Harmonic mixing
2865:
2811:Monitor speaker
2764:Monitor speaker
2695:
2686:
2648:
2566:
2564:Further reading
2551:White, Miles. "
2530:
2529:
2519:
2517:
2504:
2503:
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2311:10.2307/3106784
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2158:
2156:
2150:"DJ Cash Money"
2148:
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2074:
2070:
2060:
2058:
2055:"Scratch Fever"
2053:
2052:
2048:
2038:
2036:
2035:. March 2, 2005
2031:
2030:
2026:
2016:
2014:
2009:
2008:
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1995:
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1982:Wayback Machine
1974:Turntable Music
1970:
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1654:Wayback Machine
1641:
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1607:
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1602:
1592:
1590:
1589:on June 9, 2023
1576:
1575:
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1561:
1559:
1554:
1553:
1549:
1544:
1529:Vinyl emulation
1485:
1478:
1473:
1464:
1462:Mix Master Mike
1459:
1450:
1445:
1436:
1431:
1422:
1417:
1408:
1403:
1394:
1388:
1379:
1374:
1365:
1297:women musicians
1277:
1271:
1268:
1262:or excerpts to
1253:
1241:
1237:
1230:
1217:
1204:
1198:
1196:Visual elements
1186:
1180:
1171:
1134:
1103:
1075:
1054:
1008:
980:
974:
969:
963:
920:
892:Mix Master Mike
804:
795:
755:sonic artifacts
750:
740:), DJ Battles (
718:Mix Master Mike
713:
645:
619:
595:A Touch of Jazz
568:West Street Mob
564:Wheels of Steel
536:Grand Mixer DXT
449:
361:
351:
285:Otomo Yoshihide
256:) used them to
230:
224:
219:
153:Dilated Peoples
119:" Quintanilla (
52:manipulating a
28:manipulating a
17:
12:
11:
5:
5426:
5425:
5422:
5414:
5413:
5411:Hip hop genres
5408:
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5248:Prepared piano
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5238:Plunderphonics
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5233:Frippertronics
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4734:South American
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4704:
4703:
4700:
4699:
4694:
4689:
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4650:Asian American
4647:
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4608:
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4601:
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4542:United States:
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4534:North American
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4520:
4515:
4510:
4505:
4500:
4495:
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4469:Middle Eastern
4464:
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3994:
3989:
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3979:
3974:
3969:
3968:
3967:
3957:
3956:
3955:
3953:Florida breaks
3950:
3948:Baltimore club
3939:
3937:
3926:
3918:
3917:
3914:
3913:
3911:
3910:
3905:
3900:
3898:Urban Pasifika
3895:
3890:
3885:
3880:
3878:Romany hip hop
3875:
3870:
3865:
3860:
3855:
3850:
3845:
3840:
3835:
3833:Hip hop galsen
3830:
3825:
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3810:
3804:
3802:
3794:
3793:
3791:
3790:
3785:
3779:
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3769:
3768:
3766:
3765:
3760:
3755:
3750:
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3740:
3735:
3730:
3728:New jack swing
3725:
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3705:
3700:
3695:
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3668:
3667:
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3655:
3650:
3645:
3640:
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3623:
3618:
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3611:Brooklyn drill
3603:
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3102:
3096:
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3076:
3071:
3066:
3064:Battle records
3061:
3055:
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3049:
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3014:
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3008:
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3005:
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2999:
2997:Voice-tracking
2994:
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2759:Mixing console
2756:
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2697:
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2647:
2646:External links
2644:
2643:
2642:
2635:
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2612:
2595:
2581:
2569:Eshun, Kodwo.
2565:
2562:
2561:
2560:
2549:
2542:
2528:
2527:
2497:
2491:978-0822346739
2490:
2472:
2442:
2416:
2390:
2357:
2351:978-0521555227
2350:
2332:
2279:
2273:978-1841505664
2272:
2251:
2240:(4): 580–599.
2221:
2216:Sound on Sound
2197:
2184:
2179:boingboing.net
2166:
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1514:Plunderphonics
1511:
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1494:Battle records
1491:
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1361:
1345:Ruth Oldenziel
1314:Sound on Sound
1279:
1278:
1244:
1242:
1235:
1229:
1226:
1216:
1213:
1200:Main article:
1197:
1194:
1184:Crab (scratch)
1179:
1176:
1170:
1167:
1140:This photo of
1133:
1130:
1102:
1099:
1074:
1071:
1053:
1050:
1007:
1004:
976:Main article:
973:
970:
962:
959:
919:
916:
840:Grandmixer DST
803:
800:
794:
791:
749:
746:
712:
709:
644:
641:
618:
615:
597:" (1987) and "
560:Jam Master Jay
544:Herbie Hancock
448:
445:
350:
347:
299:in the 1970s.
281:Janek Schaefer
226:Main article:
223:
220:
218:
215:
125:Herbie Hancock
85:Internet radio
15:
13:
10:
9:
6:
4:
3:
2:
5424:
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5409:
5407:
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5314:Sound collage
5312:
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4958:
4956:
4953:
4951:
4948:
4944:
4943:indeterminacy
4941:
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4903:
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4806:
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4801:
4800:Record player
4798:
4796:
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4791:
4788:
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4587:
4585:
4582:
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4577:
4573:
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4568:
4565:
4563:
4562:New York City
4560:
4558:
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4550:
4549:
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4544:
4543:
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4536:
4530:
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4509:
4508:Saudi Arabian
4506:
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4409:
4406:
4404:
4401:
4399:
4396:
4394:
4391:
4389:
4386:
4384:
4381:
4379:
4376:
4374:
4371:
4369:
4366:
4364:
4361:
4359:
4356:
4354:
4351:
4349:
4346:
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4339:
4336:
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4331:
4329:
4326:
4322:
4319:
4317:
4314:
4313:
4312:
4309:
4307:
4304:
4302:
4299:
4297:
4294:
4292:
4289:
4288:
4286:
4284:
4278:
4272:
4269:
4267:
4264:
4262:
4259:
4257:
4254:
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4247:
4244:
4242:
4239:
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4234:
4232:
4229:
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4224:
4222:
4219:
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4214:
4210:
4207:
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4187:
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4182:
4180:
4177:
4176:
4174:
4172:
4166:
4160:
4157:
4155:
4152:
4150:
4147:
4145:
4142:
4140:
4139:South African
4137:
4135:
4132:
4130:
4127:
4123:
4122:Port Harcourt
4120:
4119:
4118:
4115:
4113:
4110:
4108:
4105:
4103:
4100:
4098:
4095:
4093:
4090:
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4068:
4065:
4063:
4060:
4058:
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4054:
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4050:
4044:
4041:
4039:
4033:
4021:
4018:
4017:
4016:
4013:
4011:
4008:
4007:
4005:
3999:
3993:
3990:
3988:
3985:
3983:
3980:
3978:
3975:
3973:
3970:
3966:
3963:
3962:
3961:
3958:
3954:
3951:
3949:
3946:
3945:
3944:
3941:
3940:
3938:
3936:
3930:
3927:
3925:
3919:
3909:
3906:
3904:
3903:Vigilante rap
3901:
3899:
3896:
3894:
3891:
3889:
3886:
3884:
3881:
3879:
3876:
3874:
3873:Nuyorican rap
3871:
3869:
3866:
3864:
3861:
3859:
3856:
3854:
3851:
3849:
3846:
3844:
3841:
3839:
3836:
3834:
3831:
3829:
3826:
3824:
3821:
3819:
3816:
3814:
3811:
3809:
3806:
3805:
3803:
3801:
3795:
3789:
3786:
3784:
3781:
3780:
3778:
3776:
3770:
3764:
3761:
3759:
3756:
3754:
3751:
3749:
3746:
3744:
3741:
3739:
3736:
3734:
3731:
3729:
3726:
3724:
3721:
3719:
3716:
3714:
3711:
3709:
3706:
3704:
3701:
3699:
3696:
3694:
3691:
3690:
3688:
3686:
3680:
3677:
3675:
3673:Fusion genres
3669:
3659:
3656:
3654:
3651:
3649:
3646:
3644:
3641:
3639:
3636:
3634:
3631:
3627:
3624:
3622:
3619:
3617:
3614:
3612:
3609:
3608:
3607:
3604:
3602:
3599:
3598:
3596:
3594:
3588:
3582:
3579:
3577:
3574:
3572:
3569:
3565:
3562:
3561:
3560:
3557:
3555:
3552:
3551:
3549:
3547:
3541:
3535:
3532:
3530:
3527:
3525:
3522:
3520:
3517:
3513:
3510:
3508:
3505:
3504:
3502:
3500:
3497:
3493:
3490:
3489:
3488:
3485:
3481:
3478:
3477:
3476:
3473:
3471:
3468:
3466:
3463:
3461:
3458:
3454:
3451:
3450:
3449:
3446:
3444:
3441:
3437:
3434:
3433:
3432:
3429:
3427:
3426:Freestyle rap
3424:
3422:
3419:
3415:
3412:
3411:
3410:
3407:
3405:
3402:
3400:
3397:
3395:
3392:
3390:
3387:
3385:
3384:Chipmunk soul
3382:
3378:
3375:
3374:
3373:
3370:
3368:
3365:
3363:
3360:
3356:
3353:
3352:
3351:
3348:
3347:
3345:
3343:
3337:
3334:
3332:
3326:
3320:
3317:
3315:
3312:
3310:
3307:
3305:
3302:
3300:
3297:
3295:
3292:
3291:
3289:
3285:
3279:
3276:
3274:
3271:
3269:
3266:
3264:
3261:
3259:
3256:
3254:
3251:
3247:
3244:
3242:
3239:
3238:
3237:
3234:
3232:
3229:
3227:
3224:
3222:
3219:
3218:
3216:
3212:
3206:
3201:
3199:
3194:
3192:
3187:
3185:
3180:
3178:
3173:
3172:
3169:
3165:
3156:
3151:
3149:
3144:
3142:
3137:
3136:
3133:
3121:
3118:
3116:
3113:
3111:
3108:
3106:
3103:
3101:
3100:Controllerism
3098:
3097:
3095:
3091:
3085:
3082:
3080:
3079:Remix service
3077:
3075:
3072:
3070:
3067:
3065:
3062:
3060:
3057:
3056:
3054:
3050:
3044:
3041:
3039:
3036:
3034:
3031:
3029:
3026:
3024:
3021:
3019:
3016:
3015:
3013:
3009:
3003:
3000:
2998:
2995:
2993:
2990:
2988:
2985:
2983:
2980:
2978:
2975:
2973:
2970:
2968:
2965:
2963:
2960:
2958:
2955:
2953:
2950:
2948:
2945:
2943:
2942:Interpolation
2940:
2938:
2935:
2933:
2930:
2928:
2925:
2923:
2920:
2918:
2915:
2913:
2910:
2908:
2905:
2903:
2900:
2898:
2895:
2893:
2890:
2888:
2887:Beat juggling
2885:
2883:
2882:Back spinning
2880:
2878:
2875:
2874:
2872:
2868:
2862:
2859:
2857:
2854:
2852:
2849:
2847:
2844:
2842:
2839:
2837:
2834:
2832:
2829:
2827:
2824:
2822:
2819:
2817:
2816:Pitch control
2814:
2812:
2809:
2807:
2804:
2802:
2799:
2797:
2794:
2790:
2787:
2785:
2782:
2781:
2780:
2779:Record player
2777:
2775:
2772:
2770:
2767:
2765:
2762:
2760:
2757:
2755:
2752:
2750:
2747:
2745:
2742:
2738:
2737:Digital delay
2735:
2733:
2730:
2729:
2728:
2725:
2723:
2720:
2718:
2715:
2713:
2710:
2708:
2705:
2704:
2702:
2698:
2694:
2690:
2683:
2678:
2676:
2671:
2669:
2664:
2663:
2660:
2653:
2650:
2649:
2645:
2640:
2636:
2633:
2632:
2627:
2625:
2624:0-7043-8098-6
2621:
2617:
2613:
2610:
2606:
2602:
2601:
2596:
2594:
2590:
2586:
2582:
2580:
2579:0-7043-8025-0
2576:
2572:
2568:
2567:
2563:
2558:
2554:
2550:
2547:
2543:
2540:
2536:
2532:
2531:
2515:
2511:
2510:discwoman.com
2507:
2501:
2498:
2493:
2487:
2483:
2476:
2473:
2460:
2456:
2452:
2446:
2443:
2430:
2426:
2420:
2417:
2404:
2400:
2394:
2391:
2378:
2374:
2370:
2364:
2362:
2358:
2353:
2347:
2343:
2336:
2333:
2328:
2324:
2320:
2316:
2312:
2308:
2304:
2300:
2296:
2292:
2286:
2284:
2280:
2275:
2269:
2265:
2258:
2256:
2252:
2247:
2243:
2239:
2235:
2228:
2226:
2222:
2217:
2213:
2206:
2204:
2202:
2198:
2194:
2188:
2185:
2180:
2176:
2170:
2167:
2155:
2151:
2145:
2142:
2139:
2134:
2131:
2126:
2122:
2116:
2113:
2100:
2094:
2091:
2078:
2072:
2069:
2056:
2050:
2047:
2034:
2028:
2025:
2012:
2006:
2003:
1999:
1996:Chang, Jeff.
1993:
1991:
1987:
1983:
1979:
1976:
1975:
1968:
1966:
1962:
1950:
1946:
1939:
1937:
1935:
1931:
1919:
1918:
1913:
1906:
1904:
1902:
1900:
1896:
1891:
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1720:
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1712:
1706:
1702:
1701:
1693:
1690:
1685:
1683:0-8264-1615-2
1679:
1675:
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1661:
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1655:
1651:
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1623:
1617:
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1588:
1584:
1580:
1573:
1570:
1557:
1551:
1548:
1541:
1537:
1536:
1535:Wave Twisters
1532:
1530:
1527:
1525:
1522:
1520:
1517:
1515:
1512:
1510:
1507:
1505:
1504:Controllerism
1502:
1500:
1497:
1495:
1492:
1490:
1487:
1486:
1482:
1477:
1471:
1466:
1463:
1457:
1452:
1449:
1443:
1438:
1435:
1434:DJ Jazzy Jeff
1429:
1424:
1421:
1415:
1410:
1407:
1401:
1396:
1392:
1386:
1381:
1378:
1372:
1367:
1362:
1360:
1358:
1354:
1349:
1346:
1341:
1336:
1332:
1331:hip hop music
1327:
1324:
1320:
1316:
1315:
1310:
1306:
1302:
1298:
1294:
1293:popular music
1285:
1275:
1265:
1261:
1257:
1251:
1250:
1245:This section
1243:
1234:
1233:
1228:Role of women
1227:
1225:
1223:
1214:
1212:
1210:
1203:
1195:
1193:
1191:
1185:
1177:
1175:
1168:
1166:
1163:
1159:
1155:
1154:DJ Jazzy Jeff
1147:
1143:
1138:
1131:
1129:
1125:
1122:
1118:
1112:
1107:
1100:
1098:
1096:
1092:
1088:
1084:
1080:
1072:
1070:
1068:
1063:
1059:
1051:
1049:
1047:
1046:
1041:
1038:in the 1980s
1037:
1033:
1032:DJ Jazzy Jeff
1029:
1028:DJ Cash Money
1025:
1021:
1012:
1005:
1003:
999:
996:
992:
989:
985:
979:
971:
968:
960:
958:
954:
951:
946:
944:
940:
939:Carnegie Hall
936:
932:
928:
924:
917:
915:
913:
909:
905:
901:
897:
893:
889:
885:
881:
877:
873:
869:
865:
864:DJ Clark Kent
861:
857:
856:DJ Cash Money
853:
852:DJ Jazzy Jeff
849:
845:
841:
837:
833:
829:
821:
816:
812:
810:
809:controllerism
801:
799:
792:
790:
788:
784:
779:
777:
776:beat juggling
773:
769:
765:
761:
756:
747:
745:
743:
739:
735:
731:
727:
723:
719:
710:
707:
704:
697:
695:
691:
686:
684:
680:
676:
672:
668:
664:
660:
659:
654:
650:
642:
640:
637:
633:
632:
627:
626:
616:
614:
612:
608:
604:
600:
596:
592:
591:DJ Jazzy Jeff
588:
587:DJ Cash Money
584:
580:
575:
573:
569:
565:
561:
557:
551:
549:
546:'s hit song "
545:
541:
537:
533:
529:
525:
521:
518:
512:
510:
506:
501:
497:
493:
489:
484:
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477:
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458:
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429:
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398:
393:
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387:
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379:
375:
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366:
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348:
343:
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335:
331:
327:
325:
321:
317:
313:
309:
305:
300:
298:
294:
290:
286:
282:
278:
273:
272:Edgard Varèse
269:
265:
264:
259:
255:
251:
250:Halim El-Dabh
247:
243:
239:
235:
229:
221:
216:
214:
210:
208:
204:
203:hip hop music
200:
196:
195:beat juggling
192:
188:
184:
180:
176:
172:
168:
164:
162:
158:
154:
150:
146:
141:
139:
134:
130:
126:
122:
118:
114:
109:
105:
100:
98:
94:
93:hip hop music
90:
86:
82:
78:
74:
70:
66:
65:sound effects
62:
55:
51:
50:DJ Jazzy Jeff
46:
38:
31:
27:
23:
19:
5257:
5006:music genres
4926:contemporary
4869:
4817:Hip hop skit
4812:Drum machine
4804:
4773:Other topics
4666:
4567:Philadelphia
4541:
4010:Funk carioca
3960:Ghetto house
3818:Boomba music
3708:Hip hop soul
3621:Sample drill
3616:Jersey drill
3528:
3443:Instrumental
3181:
3074:Digital pool
2892:Beatmatching
2877:Audio mixing
2727:Effects unit
2722:Drum machine
2692:
2638:
2630:
2615:
2599:
2597:Katz, Mark.
2584:
2570:
2556:
2545:
2538:
2518:. Retrieved
2514:the original
2509:
2500:
2481:
2475:
2463:. Retrieved
2459:the original
2454:
2445:
2433:. Retrieved
2428:
2419:
2407:. Retrieved
2403:the original
2393:
2381:. Retrieved
2377:the original
2372:
2341:
2335:
2305:(1): 60–96.
2302:
2298:
2263:
2237:
2233:
2215:
2187:
2178:
2169:
2157:. Retrieved
2153:
2144:
2133:
2124:
2115:
2103:. Retrieved
2093:
2081:. Retrieved
2071:
2059:. Retrieved
2049:
2037:. Retrieved
2027:
2015:. Retrieved
2005:
1997:
1973:
1952:. Retrieved
1948:
1921:. Retrieved
1915:
1878:
1853:
1843:
1823:
1817:
1805:. Retrieved
1801:
1758:
1726:
1719:
1699:
1692:
1673:
1666:Oswald, John
1660:
1644:
1638:
1610:
1603:
1591:. Retrieved
1587:the original
1582:
1572:
1560:. Retrieved
1550:
1533:
1499:Beatmatching
1448:DJ Kool Herc
1350:
1328:
1312:
1290:
1272:January 2019
1269:
1254:Please help
1246:
1218:
1205:
1187:
1172:
1151:
1126:
1116:
1115:
1078:
1076:
1062:baby scratch
1057:
1055:
1043:
1019:
1017:
1000:
993:
981:
955:
949:
947:
922:
921:
900:Beastie Boys
887:
832:Kool DJ Herc
825:
805:
796:
787:X-Ecutioners
780:
751:
734:X-Ecutioners
724:, DJ Quest,
714:
699:
690:Spin Science
689:
687:
679:Beat Junkies
656:
649:Battlesounds
648:
646:
629:
623:
622:(among them
620:
579:Philadelphia
576:
552:
522:
516:
513:
499:
495:
491:
485:
461:
425:
409:sound system
397:DJ Kool Herc
394:
380:), based in
362:
312:sound system
301:
293:Maria Chavez
261:
242:Experimental
231:
211:
182:
165:
149:Beat Junkies
142:
112:
101:
60:
59:
18:
5381:Turntablism
5258:Turntablism
5201:Witch house
5161:Drone metal
4950:Avant-garde
4837:Video vixen
4832:Synthesizer
4805:Turntablism
4790:Disc jockey
4723:New Zealand
4503:Palestinian
4398:Montenegrin
4189:Bangladeshi
4184:Azerbaijani
3923:Derivatives
3908:Zenji flava
3883:Songo-salsa
3813:Bongo flava
3693:Country rap
3581:Memphis rap
3564:Mafioso rap
3559:Gangsta rap
3534:Underground
3529:Turntablism
3453:Chicano rap
3355:Hipster hop
3350:Alternative
3069:Rare groove
2987:Slip-cueing
2962:Needle drop
2851:Synthesizer
2769:Phono input
2717:DJ software
2693:turntablism
2191:DMC staff.
2159:January 13,
1954:January 15,
1807:January 15,
1305:Celine Dion
1291:In Western
1158:cross-fader
1111:Marley Marl
904:Cut Chemist
683:Lauryn Hill
625:Black Noise
322:features a
289:Philip Jeck
199:improvising
167:John Oswald
113:turntablist
108:belt-driven
73:cross fader
61:Turntablism
5401:Turntables
5375:Categories
5329:Soundscape
5253:Scordatura
5223:3rd bridge
5186:Industrial
5151:Avant-funk
5093:noise rock
5048:Avant-punk
5043:Avant-prog
5031:Post-metal
4970:Tape music
4718:Australian
4697:Salvadoran
4633:West Coast
4579:Midwestern
4557:New Jersey
4547:East Coast
4393:Macedonian
4368:Portuguese
4261:Sri Lankan
4251:Philippine
4216:Indonesian
4159:Zimbabwean
4134:Senegalese
3972:Glitch hop
3965:Ghettotech
3934:Electronic
3823:Cumbia rap
3783:Trap metal
3718:Industrial
3633:Latin trap
3592:Trap music
3576:Horrorcore
3519:Snap music
3503:Religious
3470:Mumble rap
3465:Miami bass
3421:East Coast
3314:Golden age
3309:New school
3304:Old-school
3268:Production
3221:Battle rap
3204:Beatboxing
2982:Scratching
2957:Music loop
2897:Beatmixing
2870:Techniques
2801:Microphone
2744:Headphones
2616:DJ Culture
1917:Reverb.com
1542:References
1524:Scratching
1264:Wikisource
1182:See also:
1165:produced.
1024:crossfader
967:Scratching
965:See also:
961:Techniques
931:Raul Yanez
908:DJ Nu-Mark
860:DJ Scratch
828:old-school
772:scratching
748:Techniques
611:DJ Premier
607:Gang Starr
583:DJ Spinbad
556:Run-D.M.C.
528:scratching
480:break-beat
374:Matsushita
353:See also:
340:operating
334:Sid Wilson
222:Precursors
191:scratching
147:" of the "
89:scratching
75:-equipped
69:turntables
5309:Sound art
5196:Punk jazz
5171:Free jazz
5103:post-rock
5098:post-punk
5078:math rock
5073:krautrock
5038:Avant-pop
4938:Aleatoric
4780:Auto-Tune
4760:Colombian
4743:Brazilian
4682:Dominican
4638:Northwest
4599:Wisconsin
4552:Baltimore
4458:Ukrainian
4438:Slovenian
4403:Norwegian
4378:Icelandic
4373:Hungarian
4328:Bulgarian
4266:Taiwanese
4256:Singapore
4246:Pakistani
4236:Mongolian
4231:Malaysian
4144:Tanzanian
4102:Mauritian
4015:Reggaeton
3987:Freestyle
3943:Breakbeat
3808:Afroswing
3774:Rap metal
3753:Rap opera
3713:Hip house
3601:Afro trap
3554:Dirty rap
3507:Christian
3492:Conscious
3487:Political
3414:Crunkcore
3399:Cloud rap
3330:Subgenres
3258:Festivals
3028:Transform
3011:Scratches
2992:Pitch cue
2846:Subwoofer
2774:PA system
2700:Equipment
2520:March 12,
2465:March 12,
2435:March 12,
2429:The FADER
2409:March 12,
2383:March 12,
2327:108698842
1630:609824040
1593:March 31,
1562:March 31,
1357:Discwoman
1260:Wikiquote
1247:contains
1020:transform
1006:Transform
912:Kid Koala
888:Optometry
884:DJ Spooky
872:DJ Shadow
830:DJs like
802:Evolution
783:Steve Dee
653:Doug Pray
636:DAT tapes
603:Tuff Crew
468:Kool Herc
413:b-dancers
378:Panasonic
304:dub music
246:John Cage
207:basslines
171:washboard
81:PA system
5274:Cymatics
5181:Hyperpop
5146:Art rock
5141:Art punk
5083:neo-prog
5053:Biomusic
5014:By style
4924:Related
4872:Category
4795:DJ mixer
4748:BrasĂlia
4709:Oceanian
4672:Canadian
4611:Southern
4513:Tunisian
4498:Lebanese
4483:Egyptian
4413:Romanian
4333:Croatian
4321:Scottish
4296:Austrian
4291:Albanian
4282:European
4241:Nepalese
4221:Japanese
4179:Armenian
4149:Togolese
4129:Nigerien
4117:Nigerian
4112:Namibian
4107:Moroccan
4097:Malawian
4082:Ghanaian
4072:Botswana
4067:Beninese
4057:Algerian
3982:Illbient
3888:Scam rap
3863:Motswako
3848:Igbo rap
3799:Regional
3788:Nu metal
3763:Trip hop
3758:Rap rock
3743:Punk rap
3723:Jazz rap
3626:UK drill
3545:Hardcore
3524:Southern
3480:Chap hop
3475:Nerdcore
3377:Road rap
3362:Boom bap
3241:Feminism
3236:Activism
3197:Emceeing
3190:Graffiti
3176:Breaking
2977:Sampling
2967:Phrasing
2912:Chopping
2806:Minutoli
2712:DJ mixer
2539:DigiZine
2293:(1997).
2154:NAMM.org
2138:DJ Screw
2105:June 24,
2083:June 24,
2061:June 24,
2039:June 24,
2017:June 24,
1978:Archived
1668:(2004).
1650:Archived
1483:See also
1215:Contests
1190:DJ Qbert
1146:DJ mixer
1142:DJ Qbert
1121:DJ Flare
1095:cyclical
1091:DJ Qbert
995:DJ Screw
927:DJ Radar
886:, whose
738:Asphodel
726:DJ Krush
722:DJ Qbert
517:creating
457:DJ mixer
390:Technics
367:. Early
338:Slipknot
324:backspin
318:'s 1968
179:plectrum
157:D-Styles
97:DJ mixer
77:DJ mixer
26:DJ Qbert
5156:Ambient
5136:Art pop
5129:Related
5115:Neofolk
5088:no wave
4977:Minimal
4827:Sampler
4755:Chilean
4692:Mexican
4687:Haitian
4621:Memphis
4616:Atlanta
4589:Detroit
4584:Chicago
4518:Turkish
4493:Israeli
4488:Iranian
4448:Swedish
4443:Spanish
4428:Serbian
4423:Russian
4388:Italian
4348:Finnish
4311:British
4301:Belgian
4199:Chinese
4194:Burmese
4154:Zambian
4087:Ivorian
4077:Gambian
4062:Angolan
4048:African
3893:Stronda
3858:Low bap
3843:Hiplife
3733:Pop rap
3703:Emo rap
3698:Electro
3684:General
3658:UK trap
3436:Jerkin'
3394:Chopper
3372:British
3341:General
3287:History
3273:Theater
3231:Fashion
3214:Culture
3163:Hip hop
3084:Mixtape
2917:Covered
2826:Slipmat
2821:Sampler
2789:SL-1200
2631:Scratch
2451:"Enter"
2319:3106784
1923:June 5,
1377:DJ Babu
1309:Rihanna
1301:Madonna
1083:DJ Disk
1040:cartoon
850:, also
793:Studies
694:DJ Babu
675:DJ Babu
667:DJ Disk
658:Scratch
631:Scratch
464:hip-hop
447:Hip-hop
401:Jamaica
308:deejays
297:hip hop
217:History
173:with a
145:DJ Babu
138:hip-hop
133:DJ Babu
117:DJ Disk
5299:Fluxus
5176:Glitch
4992:Danger
4930:genres
4643:Alaska
4523:Yemeni
4478:Arabic
4433:Slovak
4418:Romany
4408:Polish
4358:German
4353:French
4316:Celtic
4226:Korean
4204:Indian
4092:Kenyan
3853:Kwaito
3571:G-funk
3512:Jewish
3404:Comedy
3367:Bounce
3278:Genres
3059:DJ mix
2952:Medley
2947:Mashup
2796:Laptop
2732:Reverb
2622:
2607:
2591:
2577:
2488:
2348:
2325:
2317:
2270:
1886:
1831:
1802:Medium
1774:
1734:
1707:
1680:
1628:
1618:
1162:record
1067:flares
1036:robots
910:, and
846:, and
730:A-Trak
703:Melo-D
548:Rockit
532:stylus
421:breaks
291:, and
268:cymbal
258:sample
252:, and
193:, and
121:Primus
71:and a
5386:DJing
4987:Noise
4955:Drone
4677:Cuban
4655:Latin
4626:Miami
4604:Omaha
4453:Swiss
4383:Irish
4363:Greek
4343:Dutch
4338:Czech
4170:Asian
4002:Other
3992:Wonky
3977:Grime
3838:Hipco
3828:Genge
3748:Ragga
3653:Tread
3643:Plugg
3638:Phonk
3606:Drill
3448:Latin
3431:Hyphy
3409:Crunk
3263:Music
3226:Dance
3183:DJing
3038:Chirp
3033:Flare
3018:Orbit
2972:Remix
2902:Break
2689:DJing
2323:S2CID
2315:JSTOR
1949:Wired
1558:. PBS
1202:VJing
1132:Chirp
1117:Flare
1101:Flare
1087:flare
1079:orbit
1073:Orbit
876:Diplo
768:orbit
760:flare
540:pitch
509:clock
488:break
386:SP-10
382:Osaka
376:(now
177:as a
151:" / "
106:over
5279:Dada
5120:Wave
4271:Thai
4209:Desi
3648:Rage
3460:Lofi
3253:LGBT
3110:Rave
3043:Crab
3023:Tear
2932:Drop
2749:iPod
2691:and
2620:ISBN
2605:ISBN
2589:ISBN
2575:ISBN
2522:2016
2486:ISBN
2467:2016
2437:2016
2411:2016
2385:2016
2346:ISBN
2268:ISBN
2161:2022
2107:2024
2085:2024
2063:2024
2041:2024
2019:2024
1956:2023
1925:2016
1884:ISBN
1829:ISBN
1809:2023
1772:ISBN
1732:ISBN
1705:ISBN
1678:ISBN
1626:OCLC
1616:ISBN
1595:2021
1564:2021
1393:(l.)
1321:and
1307:and
1178:Crab
1169:Stab
1058:tear
1052:Tear
1030:and
948:The
929:and
880:RJD2
878:and
764:crab
628:and
609:'s "
589:and
474:and
434:and
419:the
417:loop
357:and
2927:Cut
2922:Cue
2707:CDJ
2555:."
2537:."
2307:doi
2242:doi
1764:doi
1340:EDM
1329:In
1077:An
820:CDJ
766:or
762:to
742:DMC
655:'s
440:RPM
336:of
183:not
5377::
2508:.
2453:.
2427:.
2371:.
2360:^
2321:.
2313:.
2303:38
2301:.
2297:.
2282:^
2254:^
2238:89
2236:.
2224:^
2214:.
2200:^
2177:.
2152:.
2123:.
1989:^
1964:^
1947:.
1933:^
1914:.
1898:^
1862:^
1852:.
1800:.
1786:^
1770:.
1746:^
1624:.
1581:.
1303:,
1295:,
1056:A
1048:.
1042:,
1018:A
906:,
902:.
862:,
858:,
854:,
842:,
838:,
834:,
728:,
720:,
651:,
585:,
287:,
283:,
279:,
270:.
248:,
189:,
127:,
123:,
4908:e
4901:t
4894:v
3154:e
3147:t
3140:v
2681:e
2674:t
2667:v
2611:.
2524:.
2494:.
2469:.
2439:.
2413:.
2387:.
2354:.
2329:.
2309::
2276:.
2248:.
2244::
2218:.
2163:.
2109:.
2087:.
2065:.
2043:.
2021:.
1958:.
1927:.
1892:.
1837:.
1811:.
1780:.
1766::
1740:.
1713:.
1686:.
1647:.
1632:.
1597:.
1566:.
1274:)
1270:(
1266:.
1252:.
1148:.
500:A
496:B
492:A
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