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Party DJ Night Club Promoter Guide

Party DJ promoting involves getting your friends and others to go to a nightclub, and getting paid for doing it.

There are many people who make a good living working as  party DJ promoters.

I came across a guide written by a successful party promoter, that goes over how the whole business works.

It explains all the “do’s and don’ts” of   Party DJ Promoting and gives tips and techniques on how to get started working as a  party DJ promoter.

Nightclub Promoting is a great way to make good money on nights and weekends, with little effort.

Good for DJ services, wedding DJ’s and mobile DJ’s too.

As you will find out, there are special techniques you must learn first.

Austin King is one of the most successful party promoters in the country – he’s been a professional for over 10 years.

And he has decided to lay out his tricks and tips in a new eBook: “The Nightclub Promoter Handbook” a guide that is fast becoming the bible on how to be a party promoter.

To anyone who wants to learn how to become a party promoter, I highly recommend this guide. You can read more about it here:

Party DJ Night Club Promoter Guide

Learn the secrets for how to start your own club promoting business, and make money while you party at clubs on the weekends.

or check this Club DJ Guide

Party DJ Night Club Promoter Guide

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DJ Music | DJ Download | Download Music | DJ Website

So where do the DJ’s download music? What we need is songs of the best sound quality.

Here you will find a list of top DJ websites for DJ Music to download music.

These sites are not free to download music, but they are made for the DJ pros.

DJ mp3 download  sites list.

Pay and get paid!

(Image above by nuttakit)

The best quality is to get the wav file, though they might be more expensive than the mp3s.

Wav file (loss-less) is exactly CD quality at 1440. If you can’t then the 320 mp3 downloads are acceptable.

Some DJ’s download iTunes, but personally I haven’t tried that. So far I know, nothing beats wav (or Flac) files in any case, which is my preferred format.

List Of Legal DJ Websites Where To Download Music:

Choose a DJ website to download a song …

• Beatport – a favorite amongst the Traktor DJ’s
• Juno Records – popular in the UK
• BreakBeat Alliance
• Dance Music Hub
• DJ City – also very popular among DJ’s
• Traxsource
• Trackitdown
• Audiojelly
• DJ Mr
• Juno Download – over 2 million tracks specially for DJ’s
• Soma Records
• Digital Tunes
• Primal Records
• CD Pool Sixpack
• DJ Download
• Master  Mix DJ – an excellent source
• MassPool  – another super resource on the rise
• and there’s more coming along in a while. All digital music.

More DJ Tips Here

DJ Music | DJ Download | Download Music | DJ Website

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How To Stay Focused

• It’s the hardest thing in the world to stay focused, but you must force your thoughts to stop straying and return to your point.
• The important thing to remember is you have to keep at it, whatever it is; and you have to stay focused and keep moving forward. Don’t get discouraged by the bad times and instead look for the good.

• As Zig Ziglar says, you can have anything in life you want, if you just help enough other people get what they want.
• Do not mistake envy with a desired goal. Envy makes you weak. Inspiration and passion makes you strong.
• The more you stay focused the more it expands.
• Just do it –Nike.
• It does not matter how slowly you go so long as you do not stop –Confucius. (“The Turtle won the race.”)
• Eat Something!
• Pretend you only have 2 hours a day to work.What 3-5 things would you do during those 2 hours a day? Once you know what those are – then delegate or stop doing everything else that you currently do. And start doing only those 3-5 things all day, every day.

Stay Focused

• Take a quick walk and, while you are on the walk, think of 3 things you are going to do when you get back to your workspace. Works like a charm at finding your focus!
• A small piece of paper with the words “1 Thing at a Time”
• KISS (Keep It Simple Stupid!)

Right this post is a little off topic but I hope it helps anyway.

Back to DJ Tips here

Good Luck DJ And Stay Focused!

How To Mix Music Harmonically In Key

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Harmonic mixing consists of two elements: knowing the key of every song that you play and knowing which keys are compatible.

But before we continue, here is a briefing of  the terms needed to understand more about harmonic mixing.

MEASURE:

A distinct unit of music with an assigned number of beats. The house, techno, trance and progressive dance tracks almost always have four beats to a measure (4/4 time), though rarely tracks are done in 3/4 or 6/8 time. Most songs or tracks are usually built on 8 measure phrases with the chorus containing those 8 measures (sometimes repeating for another 8 measures: 8 + 8), while the verses are often 16 or 24 measures or more in length.

PHRASING:

A term used in overlaying records where the DJ mixes in correct musical phrasing, or set of measures. For example, an 8-measure track intro can be neatly overlaid on an 8-measure break.

Keep the beats synchronized while in harmonic mixing.

TEMPO:

The tempo is the speed at which musical notes are executed, commonly expressed in the DJ world as the number of beat per minutes. BPM.

PITCH ADJUSTMENT:

When a DJ mixes in key (harmonic mixing), he or she has to work with the PA and the BPM to achieve a harmonically pure mix. You can usually mix within 1 or 2 BPMs differential and still get an excellent mix, but beyond that point a quarter note or an unpleasant dissonance set in. Keep in mind that unless you own a Pioneer mixer with PA, as soon as you pitch a track more than 1.5 + or – on your Technics 1200 MK2 the key can change. Very dangerous in harmonic mixing so beware.

CHROMATIC SCALE:

A scale of notes encompassing the entire range of notes within an octave in our Western 12 note system: Ab (A flat), A, Bb (B flat), B, C, Db (D flat), Eb (E flat), F, Gb (G flat), G. I use flat in referring to the individual note and keys for simplification of reference, but note that you can also refer to them with the use of sharp: Ab refers to the same note as G# (G sharp), Bb is the same as A# (A sharp), etc. These notes that can be written as either sharps or flats appear on the piano keyboard as the black notes between the white notes, and are known as accidentals.Important to understand in harmonic mixing.

KEY:

The key of a song identifies the family of notes that are found in its particular scale. Though the chromatic scale contains 12 different notes from Ab to G, the individual scale identified with a particular key signature contains only seven different notes. For example, the C major scale contains all 7 different white notes on the piano keyboard: C, D, E, F, G, A, B, whereas the B major scale uses all the black notes, so that five out of seven different notes in it’s scale are flat. Key to Harmonic Mixing.

MODULATION:

A key change creates a lifting of all music and a chord by a measure degree to create further excitement or musical tension in a song. Modulations most commonly raise the key by a half step or a whole step. For example, the C major family of notes can be lifted a half step to Db major, or a whole step to D major. A song can also modulate from major to minor, or vice versa. Harmonic mixing!

MODULATION MIX:

The DJ can create the modulation by harmonic mixing from one record to the next from one key to another key by suddenly and cleanly slamming into the next record, “slam” or “slip cue”, or with the help of a 4 or 8 measure (rhythm only) beginning on the incoming record. For a perfect modulation mix you must remember to never allow the incoming bass line or any type of notes to play on top of the outgoing track that has any type of notes happening for harmonic mixing.

AIRBEATS:

A section of music where the strong rhythm drop out, or in the beginning of a track before the kick drum or heavy percussion begins, such as high hats or any type of ticks or as in the case where the vocals are the only indicators of measured rhythm. Airbeats can be used in overlaying, but be careful to overlay accurately or you may have what is commonly know as a “train wreck” when the kick drum on the incoming track begins.

CHORD:

Three or more musical tones sounding in a combination simultaneously, with the lowest tone usually considered the “tonic” or root of the chord.

BASSLINE:

The lowest tones heard in a musical arrangement, usually played in house or dance music on bass guitar or a bass synthesizer. Also very useful in harmonic mixing.

ARPEGGIO:

Sounding the musical tones of a chord in a sequence, rather than simultaneously. Also in harmonic mixing.

QUARTER TONE:

A musical tone that would have a pitch found in between any two half steps in the 12 tone chromatic scale. If two record in the same key are mixed with more than 1 or 2 BPM differential between them, the pitches can be thrown off into this middle ground, resulting in a strange sour sound, rather than in a harmonic mixing sound.

SYNCOPATION:

Accenting of beat or rhythms in a piece of music that are usually unaccented.

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Harmonic Mixing Simplified with Camelot Wheel Chart

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(Mark Davis created the Camelot wheel)

Harmonic Mixing

Many professional DJ’s move around the Camelot wheel with every mix in key.

To select a compatible song, choose a same key code or within one “hour” of your current key code.

If you are in 8A, you can play 7A, 8A or 9A next.

If you are in 12A, you can play 11A, 12A or 1A.

This will be smooth every time in harmonic mixing.

You can also mix between inner and outer wheels if you stay in the same “hour.”

For example, try harmonic mixing from 8A to 8B, and notice the change in melody as you go from Minor to Major.

Harmonic mixing is a simple technique, but it opens up a world of creativity.

You will play creative DJ sets and discover interesting song combinations.

Always try to stay in harmonic mixing for better outcome.

It’s easy to get started with any music genre.

Check out how to make a good DJ Playlist with harmonic mixing here for some more reading if you like.

Enjoy Harmonic Mixing  !

DJ Dictionary For Technical Electrics

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This DJ Dictionary is especially good for Mobile DJ’s.

If you scroll down about half way, there is another section of the DJ Dictionary on mixing styles.

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* AC (Alternating Current) – Electrical power which oscillates up and down a number of times per second. U.S. power runs at 60 times a second, or 60Hz.

* AMP – The measurement used to describe the amount of electrical current flowing in a wire or circuit.

* ANALOG – see Control Logic.

* BALLAST – Used with Fluorescent and Discharge lamps. Similar to a transformer by delivering proper operating voltage, but a Ballast also limits current flow or else the lamp would draw increasing current and self-destruct. Also, Ballasts are used to provide a temporary high voltage to start the lamp or arc.

* BEAM SPREAD – Measurement in degrees of the width or diameter of a light beam. Examples: A very narrow spot beam (VNSP) is approximately 5°, a narrow spot (SNP) 12°-20°, medium and wide floods range from 18°-55°. Note: Beamspreads expressed with two numbers indicate an oval shape. Examples: 15° x 32°, 20° x 40°.

* CHANNEL – An individual control/power circuit, connected to and causing its lighting to turn on/off, and, in some cases, dim higher and lower.

* CANDELA (aka Candlepower) – The intensity of light from a source or fixture in one direction.

* CHASE – Lamps turning on and off in sequence, controlled by a variable speed control.

* COLOR TEMPERATURE – The blueness or redness of a light source, expressed as a temperature in degrees of Kelvin. Examples: A 2,700° lamp appears very warm or red like a table lamp or pinspot. At 3,100°, the halogen lamp has more blue content and appears whiter. Sunlight at noon is approximately 5,000°.

* CONTROL LOGIC – A low voltage DC. signal (0-15 volts) known as analog. Also, a digital signal (example: DMX512). Control Logic signals activate power packs which, in turn, activate lights.

* CONTROLLER – A device that utilizes control logic to control lighting. In audio, the mixer/preamp is analogous to a controller.

* CROSSFLOW – A controller function that dims one lighting channel to a lower level, while simultaneously fading another to a higher level.

* DC (Direct Current) – does not oscillate like AC, but flows steadily. DC can literally destroy transformers and must be avoided when these are present.

* DICHROIC – A thin rare earth coating is applied to a lamp reflector to conduct heat rays backwards and light forward.

* DICHROIC FILTER – Durable, heat resistant material, usually borosilicate glass. Special coatings are applied to the glass which pass select wavelengths (colors) and reject all others. An audio analogy is a narrow bandpass filter. These last much longer than other color media and the hues and shades of color are pure and brilliant.

* DISCHARGE LAMP (aka High Intensity Discharge Lamp (H.I.D.) – A family of lamps that produce light by means of an arc through a gas. Categories of H.I.D. lamps include Mercury Vapor, Metal Halide, High and Low Pressure Sodium. These offer long life and higher output of light than most other types of lamps and require the use of ballasts to operate.

* DISPLAY – A group or area of active lighting such as pinspots, par cans, strobes, etc.

* ELECTROMOTIVE FORCE (EMF) – When AC voltage is applied to a transformer (see inductive load), a contrary or opposing voltage builds up, and is released when the applied voltage is turned off. This EMF feeds back through the circuit where the original voltage comes from, known as BACK EMF. Back EMF is bad for powerpacks and other power output devices and can virtually blow them up. Rapid chase of transformer devices like pinspots increases this kickback or backfire. To compensate, some manufacturers install EMF protection in powerpacks and specify a reduction in total load ratings by 30-40 percent.

* HALOGEN LAMP – An incandescent lamp containing special gases. Halogen lamps exhibit higher color temperature (whiter light) and increased operating life, usually 3-5 times longer. However, these take longer than regular incandescent lamps to go completely off or dark when turned off or chased.

* INCANDESCENT LAMP – A lamp that emits visible light as a result of a filament being heated.

* INDUCTIVE LOAD – Usually a load containing a winding or coil, i.e. transformer, electric motor, etc.

* INTELLIGENT LIGHTING – A misnomer associated with moving lights or moving mirror scanners. These fixtures usually do not operate on their own and require instructions from controllers.

* FOOTCANDLE (fc) – A measurement of light level reaching a surface. One fc = one lumen (see lumen) per square foot.

* JOULE – An energy measurement, usually used for strobes, where 1 watt at 1 second = 1 Joule.

* LASER – Acronym: Light Amplification by Stimulated Emission of Radiation. Also a device that creates a very tight light beam of a certain color. Lasers used for entertainment purposes utilize mirrors and motors to move the beam in varying patterns. Laser operation is tightly regulated by government agencies, primarily to protect vision.

* LASER CHASE/DARK CHASE – In Light Chase mode, lights will appear to move or switch on in an animated sequence. Dark Chase is where a dark space will appear to move as lamps are switched off.

* LOAD RATING – The maximum amount of watts or amps that a circuit or powerpack can handle. Exceeding the maximum load rating for any one channel, or all channels of a powerpack, could result in a complete shutdown or damage, or tripping a circuit breaker which disengages the circuit.

* LUMEN – A measurement of light output, emanating from a light source or lamp in all directions.

* MATRIX (aka X-Y Chase) – By using special controllers and powerpacks to chase large quantities of fixtures such as pinspots or par cans, many more flow patterns can be created. The controllers/packs actually fire the
fixtures’ hot wires and neutral wires separately.

* METAL OXIDE VARISTOR (MOV) – An electrical device commonly used in power conditioners for absorbing the energy of spikes.
MOV’s are able to absorb spikes of an energy content at or near their maximum rating without degradation. When hit by a sufficiently large spike, the MOV may be destroyed. However,
MOV’s are inexpensive to replace and by giving up their life, valuable and expensive equipment is protected.

* NOISE (Referred to as Electro Magnetic Interference [EMI] and Radio Frequency Interference [RFI]) – Electrical noise is caused by many factors and phenomena, including lightning, load switching, generators, radio transmitters, lighting dimmers, etc. It can be intermittent or chronic and have an adverse effect on computer data. Noise can also become quite audible through audio and sound systems. Power conditioners often provide filters to eliminate or reduce EMI/RFI noise.

* PAR, PAR36, PAR46, etc. – P = parabolic (the shape). A = Aluminized (the reflective coating). R = Reflector. The number indicates the diameter or size expressed in the number of 1/8 inch pitches across the front of the lamp. Example: 36 = 36 x 1/8, or 4 1/2.

* PHASE CONTROL – A commonly used method to dim lighting. Basically, the AC waveform is switched on and off rapidly, undetectable to human vision, as a method to lower lamp output. Unlike earlier dimming methods, phase control does not generate DC which is harmful to inductive loads.

* PINSPOT – Usually a 6 volt or 12 volt PAR36/PAR46 spotlight with built-in transformer. Quality pinspots are fuse protected and some are U.L. listed.

* POWERPACK – Handles high power and provides the muscle for the controller brain. Analogous in Audio to a power amp. Two types are Relay/Switching packs which simply turns lights on and off and Dimming Packs, a.k.a. Dimmers which not only turn lights on/off, but also raise/lower light level.

* POWER CONDITIONER – An electrical device used to protect sensitive electronic equipment from voltage spikes/surges, and EMI/RFI noise. Power conditioners can also include voltage regulation to protect against voltage sags or surges which exceed safe operating ranges.

* PROTOCOL – See Control Logic.

* QUARTZ LAMP – Usually, but not always, a Halogen lamp. Due to higher operating temperatures, quartz (instead of glass) must be used as the envelope or shell around the filaments. These must not be touched by human skin because body oil can cause them to blacken.

* RAINLIGHT – See Pinspot.

* SAGS (Also known as brownout) – Short term decreases in voltage. This is the most common power problem in the U.S., reaching a regular occurrence rate of 87%. Electronic devices can be damaged or may not function when voltage drops below a safe operating range.

* SCENE – A number or combination of displays or lights switched on together to provide a specific effect or look.

* SEQUENTIAL POWER UP/POWER DOWN – A function of certain power conditioners where the components or devices plugged into the conditioner are electrically switched on, one-at-a-time in a timed sequence. Eliminates large currents, pops, thumps and other audible noise when switching on audio components.

* SOUND CHASE (aka Audio Chase) – Similar to Auto Chase, except the sequence of light movement is controlled by rhythm (usually bass beat) so that the lighting sequence responds to beat of the music.

* SURGE – A short term increase in voltage, usually 10% to 35% above normal. Surges last longer than spikes (15ms to minutes) and are a result of high-powered motors, appliances, and other high current devices being switched on. Sensitive electronic devices can be damaged when safe operating ranges of voltage are exceeded.

* SPIKE – An instantaneous, dramatic increase in voltage, as high as 6,000 volts. Usually of short duration (milliseconds) and caused by nearby lightning strikes, spikes can enter through AC, serial, or phone lines, and damage solid state components, or cause data loss. Effects can be cumulative, causing gradual deterioration and catastrophic failure.

* TRANSFORMER – An inductive load device used to change AC input voltage to higher or lower voltage output.

* TRIAC – A solid state, AC switch, used for heavy power handling and dimming of lighting.

* VOLT – Describes the amount of force at which an electrical current flows.

* VOLTAMP – A unit of electrical power and a measurement of electrical power of a device, usually a transformer. Similar to a watt, but a voltamp device must have a higher rating than the unit taking and consuming power from it.

* WATT – A unit of electrical power and a measurement of electrical power when voltage goes from its origin to its destination. Denotes power consumed.

* ZERO VOLTAGE SWITCHING – A sensing network which allows a triac to switch only when its supply voltage is at zero. Used for interference suppression or noiseless switching. Will not dim.

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DJ Dictionary for Mixing Styles

Of course the DJ is an artist and can have his own unique styles, so these names are just the most popular mixing styles here in the DJ Dictionary.

Backspin
This refers to spinning a record backwards for a short and quick spurt. It is used as a special sound effect and can be used to give the peak of a build some more energy.

Bleeding
This occurs when a crossfader breaks after long use. When the crossfader is completely on one side, the opposing channel should not be detected in the output but the broken crossfader will allow some of the opposing channel to “bleed” through. Crossfaders that bleed need to be replaced so that the DJ has control over which channel is played to the audience.

Break
A moment in a musical track where the main beat changes and becomes more subtle. Breaks have gained such an immense popularity that a new genre of electronic music has evolved with the same name, which consists entirely of breaks. The break of a musical track was designed to break the monotony of modern dance beats and provide a change in the mood of a song. A break will usually occur between downbeats of a track and may span for more than one loop.

Build
A moment in a musical track signified by a strong building sensation, climaxing with an explosion of sound and followed by either a break or a main beat. Builds are usually the most exciting part of a song and are very useful in creating energy within a crowd. The climaxing explosion will occur on a downbeat.

Crossfader
A sliding control device on the mixing board that allows the DJ to transfer the audio output from one source to another in a smooth manner. As the crossfader moves from left to right, the volume of one source decreases while the volume of the other source increases. If the crossfader is completely on one side, only one audio source is played. It is also called a fader for short.

Cueing
This is the act of finding the correct starting point of a track. With vinyl records, this is done by placing the needle on a certain groove and then moving it back or forth until the needle is above the point that the DJ wants to play. On a CD player, this is done by selecting the track that the DJ wants to play and then scanning through the track (if necessary) to find the correct starting point.

Downbeat
The is the first beat of a loop and is usually signified with an accent or extra burst of sound from and instrument such as a crash symbol or hi hat. If a musical track consists of 16 beat loops, we should hear a downbeat once every 16 beats.

Loop
Most modern electronic dance music consists of loops of sound. A loop is a piece of sound that can be played again and again in a coherent sequence. Dance music consists of many types of loops layered on top of each other to create music. One track can contain many loops which may not necessarily be played throughout the entire track. Typically a loop will consist of 16 beats although loops of 4,8,16,32,etc. can also be found.

Scratching
This is the act of moving the needle back and forth along a groove in a record causing the sound contained within the groove to be played forwards and backwards at various speeds. A DJ will usually have one hand on the record and the other hand on the crossfader located on the mixer. By using the crossfader to cut the volume of the record in and out and moving the record back and forth at various speeds, the DJ can create many unique sounds. The type of sound sample used on the record also affects the sound of the scratch. For more information see the scratching section of this site.

Train Wreck
A train wreck is a term used to explain when two tracks that are playing at the same time have their beats out of phase and out of time. When the audience can hear this, it will sound like incoherent beats occurring at odd times and not making much sense. The term comes from the idea that when your tracks cross, your train will crash, thus a train wreck. This is always a bad thing in a musical mix and is the mark of an amateur DJ.

Turntablist
A person who uses vinyl records and turntables in a manner that involves scratching and cutting the records back and forth to produce new musical output from fractions of the music contained on the records. Turntabilists perform the art of turntabism and know how to perform a variety of scratches and tricks involving playing music from two or more records.

Airplane Scratch/Phazing
This refers to taking two identical sounds and playing them simultaneously on both turntables with the crossfader in the middle position. Although the DJ is trying to match them up exactly, the beats will always be a little bit off (but not enough off for too much of a noticeable delay) so the end product does not sound the same as just one of the channels playing the beat on its own. The result is a flange/phaze sounding effect. This technique is also referred to as phazing.

Baby Scratch
The simplest of scratches, the baby scratch is performed without the use of the crossfader by simple moving the record back and forth. A simple example would be one forward stroke, and one backward stroke (or vice versa) in sequence.

Beat Juggling
To beat juggle, you use two records with a beat on each turntable and mix them together with the crossfader to create new combinations of beats or to create new beats altogether in a “cut and paste” fashion.

Bubble Scratch
First demonstrated by DJ Noize, this technique is achieved by moving the record back and forth while at the same time turning the EQ knob back and forth from minimum to maximum to get a sort of wah-wah pedal sounding scratch effect. This move is easier to perform on a Technics SHDJ1200 than on a Vestax 05/06 Pro since the SHDJ1200′s EQ adjustment is different.

Chirp Scratch
The chirp scratch, perhaps most utilized in the style of DJ Jazzy Jeff, is performed by fading the sound out with the crossfader as you push the record forward and fading the sound back in with the crossfader as you pull the record back. Done slowly the effect might not be too impressive, but done quickly and accurately, a chirp sounding scratch is the effect. While the concept is easy to understand, chirps are one of the hardest scratches to perfect with great speed and consistency.

Crab Scratch
The crab scratch was invented by DJ Qbert as a variation on DJ Excel’s “twiddle.” It seems that the two met up in Japan for the Vestax DJ competition in 1995 and Excel was asking Qbert how to flare. When he showed Qbert how he thought the flare was done he was actually doing the twiddle instead by using his thumb as a spring and “twiddling” the fader with 2 fingers. After this meeting, Qbert took the idea back to San Francisco with him and after showing the scratch to DJ Disk, he ended up creating a move that utilized all 3 to 4 fingers and thus the crab was born. Later in 1995, while the DMC USA finals were being held in San Francisco, a group of DJs and judges which included The Beat Junkies, The X-Men (now called the X-ecutioners), and the rest of ISP among others got together for what would later be know as the “Famous Warehouse Session” at Yoga Frogs old mobile DJ warehouse. It was at this session that Qbert shared the new scratch.

While the name “crab” seems self explanatory since it makes your hand look like a crab when you curl all of your fingers to perform it, according to Qbert the name originated elsewhere. Apparently, he and Mixmaster Mike had just returned from Beirut, Lebanon around the same time that he invented it where they were served crepes one night after a show. He said that when the people over their pronounced crepes, it sounded more like “cccccreb” and since he thought it was funny, he used it to name the “cccccreb” scratch which everyone now pronounces as the crab.

To do a crab scratch the DJ quickly rubs/taps the fader knob with 3 or 4 different fingers in sequence starting with the pinkie or ring finger while using the thumb as a spring to cut the fader back out after each tap (or in if scratching hamster style). The result is much like a 3 or 4 tap transform (or a 3 or 4 click flare if you scratch hamster style) only much quicker than you could probably do with one finger. Many DJs find this move easier or more comfortable to perform hamster style by bouncing the fader off of the side of the fader slot, but the move can be performed both normal and hamster. As with orbits, crabs can be performed once as a single distinct move, or sequenced to produce a cyclical never ending type of crab sound.

Flare Scratch
Discovered/invented by DJ Flare and further developed most famously by DJ Qbert, this scratch is much like the transform in some ways, only instead of starting with the sound that you are cutting up off, you start with the sound on and concentrate on cutting the sound into pieces by bouncing the fader off of the cut out side of the fader slot to make the sound cut out and then back in a split second. Each time the DJ bounces the fader off of 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 you bounce/click the fader against the side once 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 you’re 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 we’re so used to seeing today.

Forward and Backward Scratches
Forward and backward scratches are also fairly simple scratches but unlike the baby scratch they are performed using the fader to cut the sound in and out. As an example, to perform 2 forward scratches a DJ would just do two baby scratches with his/her record hand using his/her fader hand to cut the sound in when he/she moves the record forward both times and out while he/she is pulling the record back both times so that all we hear are the 2 forward strokes. To do backward scratches a DJ would do the same thing, but cut the backward strokes in and the forward strokes out.

Hamster Style
Normally a DJ setup would be configured with the right turntable playing on the right channel of the mixer and the left turntable playing on the left channel of the mixer. With a hamster style setup, however, the opposite is true. The right turntable plays through the left channel, and the left turntable plays through the right channel. Many DJs find it more comfortable to scratch hamster style since to do many moves it is easier to bounce the fader off of the side of the fader slot using your multiple fingers rather than your thumb. There are two ways to achieve this mixer configuration. One is to physically hook your turntables up to the opposite channels where they come into the back of your mixer, and the other is with a hamster switch. Normally a hamster switch only reverses your crossfader’s configuration, while physically reversing your turntable cables reverses the crossfader and volume faders’ configuration.

Hydroplane
A hydroplane is performed while the record is spinning and the DJ lightly applies pressure to the surface with one or more fingers without stopping the record. The idea is to create light friction between the fingers and the record and with the right touch, a bassy friction sound is the result.

Looping
Alternating between two different copies of the same record, this technique is achieved by using the crossfader cutting in a phrase of music from one record, then cutting in the same phrase of music from the other record while at the same time pulling back each cut out record to the phrase’s beginning point before it is cut back in again. By doing this you end up playing the same sound over and over again much like a sampler looping a beat (or any other sound for that matter). In many ways, looping is the foundation of almost all hip-hop beats even though these days most people of course loop beats with samplers rather than turntables. Grandmaster Flash is primarily credited as the first dj to “loop the break” using two copies of the same record.

Orbit Scratch
An orbit is most generally any scratch move performed both forward then backward or backward then forward in sequence. Usually when someone is referring to an orbit, however, 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 cyclical never ending type of orbit sound. DJ Disk is primarily the one credited as the first person to discover/incorporate flare orbits into his scratching.

Scribble Scratch
A scribble is performed by tensing up the forearm muscles and moving the record back and forth with very small shaky sounding increments. The result is best described as a vibrating “scribbly” sounding effect.

Strobing
Strobing is a type of beat juggling first associated with DJs Shortkut and Yoshi, but most famous demonstrated by Shortkut. In strobing you pretty much alternate back and forth between two records with a beat on each while you take turns tapping or pulling the records back slightly with your hand to manipulate the tempo on each record and keep them in sync in an alternating incremental fashion. An example might sound like kick, kick, snare, snare, kick, kick, snare, snare, kick, kick, snare, snare …alternating between the same sounds on the two different turntables, but any combination is possible using 2 of the same records, or 2 completely different beats. By cutting back and forth one can usually separate kicks, snares, cymbal sounds, etc., to make new sounding or doubled sounding beats.

Tear Scratch
The tear is much like a baby scratch in that you do not need the fader to perform it, but unlike a baby scratch, when the DJ pulls the record back he/she pauses his/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 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 flares for example by doing tears with the record hand and cutting the sound in and out with the fader hand.

Transform Scratch
Most famously associated with DJ Cash Money who is credited with coining the term “transform” or “transformer” scratch, this scratch is achieved by moving a sound with your record hand while repeatedly tapping the fader to cut the sound in and out in sequence with your fader hand as the sound plays. A transform scratch should begin with the sound off tapping the fader once you want the effect/sound to start. Imagine the crossfader as a button, and your thumb as the spring (or vice versa if you scratch hamster style). What you would be doing is tapping the button repeatedly as the sound plays giving a stuttering or tremolo type effect.

Tweak Scratch
The tweak scratch is a scratch perhaps made most famous by Invisbl Skratch Piklz member Mixmaster Mike. To perform a tweak scratch, you turn the motor off on your turntable and move the platter and record back and forth manually with your fingers and thumb in whatever pattern you desire. The fader may be used to do transform sounding tweaks, but the fader does not have to be used at all for this move if you choose not to use it. This scratch is best performed on long tone type samples, but can be applied to any sound. The result varies, but usually is a somewhat jerky sounding scratch. Because the turntable is turned off, each time your finger hits the record in a certain direction, it continues to go in that direction, but slows down as it does instead of returning to a constant speed after each time it is released as it does when the motor is on.

Twiddle Scratch
The Twiddle scratch is the precursor to the crab and its introduction is most commonly attributed to DJ Excel of the UK. Quite basically, the twiddle is a crab scratch using two fingers instead of 3 or 4 to repeatedly “twiddle” the fader.

Zig-Zag Scratch
A zig zag scratch is a move where the DJ uses one hand on the record, and one hand moving back and forth between the volume fader and the record to create a unique scratch effect. If scratching with your right hand on the record the technique would go something like this:

right hand pulls back sound and lets go
left hand taps the record as it’s coming back forward to make a quick pause in the forward movement of the sound to make two distinct forward sounds instead of one.
left hand quickly moves and taps down the volume fader a small increment to make the volume a little lower (or higher since you could do the same thing in reverse).
repeat pattern

The effect you get is a 1,2,3 1,2,3 1,2,3… scratch of the sound while the 1,2,3 fades out a little more each time the volume fader is tapped a little lower (the sound can be faded completely out or you can start fading the sound in and out).

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