Electronic Groove Machine (Club Mixxx) - Smeg.ma - Electronic Groove Machine (Vinyl) download full album zip cd mp3 vinyl flac
Modern scratching techniques were made possible by the invention of direct-drive turntableswhich led to the emergence of turntablism. Early belt-drive turntables were unsuitable for scratching, 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. In the s, hip hop musicians and club DJs began to use this specialized turntable equipment to move the record back and forth, creating percussive sounds and effects—"scratching"—to entertain their dance floor audiences.
Whereas ss radio DJs had used back-cueing while listening to the sounds through their headphones, without the audience hearing, Electronic Groove Machine (Club Mixxx) - Smeg.ma - Electronic Groove Machine (Vinyl), with scratching, the DJ intentionally lets the audience hear the sounds that are being created by manipulating the record on the turntable, by directing the output from the turntable to a sound reinforcement system so that the audience can hear the sounds.
Scratching was developed by early hip hop DJs from New York City such as Grand Wizzard Theodorewho described scratching as, " nothing but the back-cueing that you hear in your ear before you push it [the recorded sound] out to the crowd.
Afrika Bambaataa made a similar discovery with the SL in the s. The Technics SL went on to become the most widely used turntable for the next several decades. Kool Herc developed break-beat DJingwhere the breaks of funk songs—being the most danceable part, often featuring percussion —were isolated and repeated for the purpose of all-night dance parties.
Although previous artists such as writer and poet William S. Burroughs had experimented with the idea of manipulating a reel-to-reel tape manually to make sounds, as with his s recording, "Sound Piece"vinyl scratching as an element of hip hop pioneered the idea of making the sound an integral and rhythmic part of music instead of an uncontrolled noise.
In the s, both scratching and scrubbing can be done on digital audio workstations DAWs which are equipped for these techniques. Christian Marclay was one of the earliest musicians to scratch outside hip hop. In the mids, Marclay used gramophone records and turntables as musical instruments to create sound collages.
He developed his turntable sounds independently of hip hop DJs. Although he is little-known to mainstream audiences, Marclay has been described as "the most influential turntable figure outside hip hop"  and the "unwitting inventor of turntablism. It was the first commercial recording produced entirely using turntables.
Another release to prominently feature scratching is Herbie Hancock 's Grammy Award -winning single " Rockit ". This song was also performed live at the Grammy Awardsand in the documentary film Scratchthe performance is cited by many s-era DJs as their first exposure to scratching.
The Street Sounds Electro compilation series which started in is also notable for early examples of scratching. Most scratches are produced by rotating a vinyl record on a direct drive turntable rapidly back and forth with the hand with the stylus "needle" in the record's groove.
This produces Electronic Groove Machine (Club Mixxx) - Smeg.ma - Electronic Groove Machine (Vinyl) distinctive sound that has come to be one of the most recognizable features of hip hop music. The hand manipulating the crossfader is used to cut in and out of the record's sound. Using a digital vinyl system DVS consists of playing vinyl discs on turntables whose contents is a timecode signal instead of a real music record. Some DJ software such as Traktor Scratch Pro or Serato Scratch Live support only the audio interface sold with their software, requiring multiple interfaces for one computer to run multiple programs.
While some turntablists consider the only true scratching media to be the vinyl disc, there are other ways to scratch, as:. Any sound recorded to vinyl can be used, and CD players providing a turntable-like interface allow DJs to scratch not only material that was never released on vinyl, but also field recordings and samples from television and movies that have been burned to CD-R. Dee Life Mix cassette. Catch Me In The Blue 12". Apollo 2 white vinyl 10".
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