Is the Turntable a musical instrument?

Can it work as a ‘classical’ instrument?

These were the first questions posed by idea of a Concerto for Turntables.

Gabriel Prokofiev’s Concerto for Turntables & Orchestra (Heritage Orchestra Feat. DJ Yoda) attempts to answer those questions.

Should the turntable join the instruments of the classical orchestra?

Give it a listen and let me know what you think.

via apc

This video offers an introduction to TTM (turntablist transcription method), a system of notation designed for notating turntable-based music.

TTM is derived from a graph of the rotation of the record vs. time. The vertical axis of the staff represents the rotation of the record, and the horizontal axis represents time.

About The TTM System

The Turntablist Transcription Method, also known as TTM, appears to be the most popular method of transcribing turntablism. This structure consists of a grid that subdivides the beats of the song being played. This grid consists of thicker lines to separate the beats, and thinner lines for subdivisions within the beat. Lines are drawn going in an upward motion to indicate that the record is going forwards and downward to indicate that the record is going backwards. This method is read from left to right and the lines drawn represent the scratches, which slant from left to right. Slower movements are always slanted but appear to be 45 degrees or less from the horizontal axis and faster movement appear greater than 45 degrees but never can fully reach a 90 degree angle from the horizontal access. Due to the fact that a turntablist is always scratching a music sample, the word or name of the sample is listed to the left of the grid. The beginning of this sample is present at the bottom of the grid and the end of the sample is at the top, with all the subdivisions of the sample being subdivided by the grid that appears vertically. The name of the record being scratched is listed above and to the right of the grid. Although this method is extremely unique in its notation structure, it does use conventional dynamic markings such as crescendo and diminuendo. These are listed underneath the grid and appear to be the only characteristic similar to that of standard music notation. Another unique characteristic of this system is the use of drum scratching. When scratching drums, a unique symbol is given to the kick, snare, or hi-hat and these are drawn on the grid along with lines indicating if the record is going backwards or forwards. When a record is simply played, lines are drawn from the lower left corner of the grid section representing each beat to the upper right corner.

This method has many strong points that can allow a turntablist to utilize its methods. Any DJ with scratching experience can learn this system in a relatively short period of time. With practice, a DJ could possibly sight read with some efficiency but there are some factors that could prevent one from doing so. This method features a way to notate scratching on a turntable but may prove more difficult when focusing on a song in its entirety. It is true that two of the TTM staffs can be used to identify a song with one record being scratched and the other record being played. Sight-reading various scratches is possible but notating or reading a full-length song could prove to be difficult and extremely lengthy. In order for a DJ to read a full-length song, he would be constantly flipping through multiple pages, even if the song only appeared to be very short. This would require a turntablist to flip through many pages, which is similar to when a guitarist reads guitar tab. A lengthy song would be difficult to keep on a music stand. For this reason, sight-reading using this method might only appear useful for learning scratching techniques or short etudes. The only other downside to reading using this method for a full song would be that it doesn’t appear to address sections of a full-length song. Measures can be numbered but due to it’s lengthy use and absence of defining sections of a song, it would be easy for the turntablist to become lost when reading the song.

This is not to say that reading using this method is impossible, but would require one to be quite familiar with the song before attempting to read it. As noted earlier, the turnablist will face the same challenges that appear when a guitar player attempts to read guitar tab. If the player has heard the song already, he will have a much easier time reading the song. Without hearing the song, the player may be able to play something similar to the song that the composer intended but it would require lots of practice and the turntablist would face some limitations when sight reading.

The TTM system is a revolutionary method that allowed the turntablist to notate music for the first time. Despite it major differences from that of standard music notation other than its use of crescendo and diminuendo, it appears to be an effective way of transcribing turntable music.

via TTMethod

This is the music video for Herbie Hancock’s monster electronic dance classic, Rockit. It was released as a single from his 1983 album Future Shock.

The song was written by Hancock, bass guitarist Bill Laswell and synthesizer/drum machine programmer Michael Beinhorn.

via limahl81:

Constructed and composed during the recording process at various studios, including Martin Bisi’s in Brooklyn NY, “Rockit” was perhaps the first popular single to feature scratching and other turntablist techniques, performed by GrandMixer D.ST – an influential DJ in the early years of turntablism – using turntables as a musical instrument. Later turntablists, such as DJ Qbert and Mix Master Mike, cited Rockit as revelatory in the documentary film Scratch, inspiring their interest in the instrument.

The record GrandMixer D.ST. used for scratching in Rockit was Change The Beat by B-Side, released in 1982 on Celluloid Records.

OT: The video that Native Instruments won’t want you to see!

Grandmaster Flash back in the Bronx, spinning strictly vinyl.

via djgrandmasterflash

Tonetable (App Store link) is a $7.99 application for DJs who want to control their digital vinyl system from their iPhone or iPod Touch.

It produces a control tone that is compatible with most digital vinyl systems such as Serato’s Scratch Live, Native Instruments’ Traktor Scratch, M-Audio’s Torq, Image-Line’s Deckadance and many more.

via inklen

Haverford College, in suburban Philadelphia, plays host this coming week to electronic and experimental hip hop musician DJ Spooky, virtual reality guru and composer Jaron Lanier, and Living Colour percussionist Will Calhoun as they gather for an event called “The Sound of Sci(l)ence.” The conference takes place June 15 – 17.

“The Sound of Sci(l)ence: Listening to Quantum Mechanics, the Big Bang, and Nanotechnology,” is a three-day series of conversations, workshops, and performances exploring the intersection of music and quantum mechanics. Supported by a Mellon Arts Residency Planning Grant from Haverford College’s Hurford Humanities Center, the event pairs visiting artists Will Calhoun, Jaron Lanier, and Paul Miller (aka DJ Spooky) with Haverford faculty and students in an effort to widen the scope of quantum mechanics pedagogy through the study of sound, as well locate synergies with courses across the academic disciplines.

Organized by Chemistry professor Joshua Schreier and Physics professor Stephon Alexander, who describe the idea behind the workshop this way:

“Mathematically, quantum mechanics (QM) has many analogies with the classical wave phenomena of sound, and yet the pedagogy of QM is almost entirely visual. This series of conversations and performances will explore how to ‘listen to’ the simple systems used to teach QM, how this can increase student comprehension, reach out to non-technical audiences, and for its own inherently aesthetic benefits. In addition, we would like to explore how this could be used to explore/comprehend our research interests in cosmology and nanoscience. “

The event is FREE, but registration is required. Attendees can register for tickets at this link.

Schedule of Events:

Monday, June 15th

4:00 p.m. Sharpless Auditorium

Open Panel Discussion on Sound and the Physics Curriculum
Speakers: Will Calhoun, Jaron Lanier, Paul Miller/DJ Spooky, Peter Love, Stephon Alexander, and Joshua Schrier

Tuesday, June 16th

12:00 noon Sharpless Auditorium
Screening of Paul Miller/DJ Spooky’s film Rebirth of a Nation
*Snacks provided

4:00 p.m. Hilles 109

Wavedrum Presentation/Workshop with Will Calhoun

Wednesday, June 17th

7:30 p.m. Marshall Auditorium, Roberts Hall
Performance: “The Sound of Sci(l)ence” Featuring Will Calhoun, Jaron Lanier, and Stephon Alexander

Additional Information:

Visiting Artist Will Calhoun is a Grammy Award-winning percussionist and member of Living Colour; winner of multiple drumming awards. Calhoun’s music utilizes both the Korg Wavedrum and the Mandala Drum, integrating banks of effects and other technological enhancements into his performances.

The name Jaron Lanier may be familiar to many readers, for his pioneering work in virtual reality (in fact, it was Lanier who coined the term in the early 1980s).  Founder of VPL Research, the first company to sell VR products, Lanier is also a visual artist and composer. At present, he is Interdisciplinary Scholar-in-Residence, CET, UC Berkeley.

Paul Miller (DJ Spooky) is an electronic and experimental hip hop musician whose work is sometimes called “illbient” or “trip hop”. He is a conceptual artist, film-maker, turntablist, and producer.

DJ Getdown rocks the Numark N7 at Remix Hotel Miami 2009.

via NumarkVideo

This video demonstrates Jack Lykins’ Static: an Interactive Approach to Animation.

Lykins triggers video clips via MIDI and then manipulates them, using a turntable as a control interface.

The animation is cool by itself, but it’s even more interesting how Lykins uses technology to blur the lines between music and animation.

via Peter Kirn at CDM

DJ Revolution – Man Or Machine Music Video

Description:

With no human competition left, DJ Revolution battles a machine for turntable supremacy.

Watch to see who is victorious.

Music from DJ Revolution’s “KING OF THE DECKS” album courtesy of DUCKDOWN.COM.

Directed by Todd Angkasuwan.

via duckdown

Yo yo yo yo-yo yo-yo yo!

This conceptual turntablism routine was composed, performed and edited by DJ Angelo to support MTV’s “Show Us” Anti-Knife Crime campaign and inspire young people to put their energy and talent into something creative.

A preview for As the Technics Spin (to be released in February 2009). 

As The Technics Spin is the second movie release from DJ Rob Swift (X-ecutioners, Ill Insanity).  In this latest installment, Rob embellishes on what it took to create his unique style of Djing.

via CrateKings

These videos feature the work of Valerio Spoletini and V-Scratch.

V-Scratch is a software/hardware environment which allows for unique visual interpretations in turntable composition. It transposes nuances made by the rotation of the record: the variations of speed, audio spectrum and volume into video.

The physical act of spinning the record back and forth is transmitted through an optical mouse. These variables enable a simultaneous performance of moving image and sound.

Click here to view the embedded video.

Scratch (2001) is a documentary film, directed by Doug Pray, that looks at the birth and evolution of hip-hop disc jockeys (DJs), scratching and turntablism.

Interviewees include:

• Grand Wizard Theodore (the inventor of the scratch)
• Grand Mixer Q-bert
• Grand Mixer DXT, Z-Trip
• Mix Master Mike
• Rob Swift
• DJ Premier
• Afrika Bambaataa
• Jazzy Jay
• Cut Chemist
• NuMark
• DJ Craze
• DJ Shadow
• DJ Babu
• DJ Krush
• Madlib
• Peanut Butter Wolf

You can watch the whole thing for free; YouTube is experimenting with hosting full movies.

BestDocumentaries, via wiretotheear

In this video, Grand Wizard Theodore demos the Scratchophone.

The Scratchophone is a cool portable DJ instrument created by Thierry Alari. Here’s Alari’s answers to common questions about the Scratchophone:

What is your background, how did you become a turntable innovator?

I’m coming from no where, I mean, I’m just an unsatisfied scratch intrumentist. I’ve been playing (and tweaking) guitar for a long time until I discover the “scratch art”. Everybody knows this “wiki wiki” sound, it’s common in many musical styles now… but almost no one knows HOW to do that sound. How can you play a turntable ? The answer is sad for a lot of classical instruments players, but, yes, scratching is a new (about 20 years) “instrumental practice”. For instance, there’s about 30+ differents “scratch routines” to combine in rythm, a system for a musical notation (turntablist transcription method TTM) and of course an infinity of audio samples possibilities (voices, drums, etc.) to play with. Plus new gears, new vinyl skip proof records, scratch lessons DVD, etc…

So, scratching is maybe an instrumental practice but where is the instrument ?

The scratch “instrumental unity” does not exist. The classic setup for a scratcher is a turntable, a mixer (with a proper scratch Xfader) and amplification. It costs too much, especially for the youth … All this gear’s chain can easily be designed in an “all in one” concept, autonomous and portable. With a scratchophone you can play standing up and front stage, while eventually even singing …

This scratch instrument should create new usage’s situations (and then new users) because it offers a kind of new found freedom : we are not constraint anymore in a given space.

This is the kind of idea that some people might have but never see it through, what made you pursue it as strongly as you have ?

Beyond this simple market observation, I’ve got the “very shellfish” plan to work everyday with a big banana on my face, that means I’ve got an personnal entreprise project and I’ve just found my “passion sector of activity”: Scratch instrument maker.

I like the idea to bring something new to the community of instrumentists. Remenber that, this is not like selling toothpaste, this is a musical instrument, it requires endless passion for a product of quality.

At least, even with no economic success, I’m trying to do what I really like, everyday. Project management, business plan, PR, technical R/D, etc.. For 2 years now, I’m making prototypes (version 0.5 soon) while preparing the classic entrepreneur formation. I just hope to gently shift one day from my basic day to day work to this not so exotic professionnal activity.

Do you plan to manufacture these for full distribution, if so how much would you expect it would cost ?

If one day I succeed to deliver a quality prototype, I plan to manufacture and distribute it like a small handcraftman. I’m not a big fan of those chinese mass product visions. It can be Hand made, one by one, custom etc… and why not selling them on an auction site ? New distributions channels should be quite effective to warm this niche market. Price must be competitive wich means that a basic version should cost less than 250 £. Then, we may imagine all kind of options like autosampler, fx, fm transmetter, more speakers power etc.

via CrateKings

Ammobox:lite is a free ensemble for Reaktor that promises to be “the shift in the way people will think about turntablism”:

With ammobox you can layer samples into a ’stream’ and scratch the stream, this allows for asyncronous sample triggering and layered effects that would be impossible otherwise. Microscopically you could say that ammobox is a ‘virtual battle album’ toolkit, macroscopically you could say that it’s a completely new way of thinking about scratching and the next step in the evolution of digital vinyl.

No digital vinyl product has the capabilities that ammobox does as far as layering and triggering individual samples. ammobox dismisses the idea of DVS systems reproducing the workflow of DJs that has remained virtually unchanged since 1970. Absolute position is dead, relative positioning is the key to creativity. Scratching is not a linear process, it’s about rearranging and re-imagining sounds in combinations that haven’t been expressed yet. Don’t waste your time cutting and pasting, start innovating NOW.

What do you think? Does this shift your way of thinking about turntablism?

Boston’s Berklee College of Music, one of the leading institutions for the study of contemporary music, is breaking new ground in music education by becoming the first music college in the world to incorporate the study of turntablism into its curriculum. This spring semester, Turntable Technique will teach students the art of playing the turntable.

Turntable Technique will be taught by Professor Stephen Webber, a veteran of classical, jazz and electronic music who is considered a leading authority on turntable education, as the author of the first instructional method book to teach the turntable, Turntable Technique: The Art of the DJ (Berklee Press, 2000).

Berklee’s decision to adopt the turntable as a musical entity worthy of academic study continues the institution’s historical tradition of defying the music conservatory establishment by adopting new and often controversial music forms. In the 1940s, Berklee became the first music college to offer jazz in its curriculum, and later in the 1960s was the first college to adopt the electric guitar as a principal instrument.

Berklee Press was the first publisher to introduce a line of books and records to offer instruction in the art and techniques of the DJ. Turntable Technique: The Art of the DJ culminates the music education that Berklee College has made famous for over 50 years and offers a formalized method of musical notation so DJs can better communicate with and learn from each other. Turntable Technique: The Art of the DJ is now a best-selling title available as a book and vinyl set, and in DVD and VHS formats.

“Turntablists are musicians,” says Webber. “Many of them, like DJ QBert, are virtuoso musicians, who practice hours a day and constantly strive to push their art further. I recently saw QBert perform, and he transported the entire audience; made us forget where we were and who we were, with nothing but a turntable and a piece of vinyl.”

“People take it for granted today that jazz is serious music worthy of the same disciplined study as classical music,” said Webber. “But when Berklee began teaching jazz improvisation in the 1940s and rock guitar in the 1960s, most other music schools perceived those musical forms as a threat to ’serious’ music. It’s the same situation with Hiphop and turntablism today.”

As with jazz and guitar, the decision to create a curriculum for Turntablism was not made lightly, according to Gary Burton, executive vice president of Berklee College of Music and a legendary jazz musician. For the past year, Burton has chaired a study group of faculty members that has debated and dissected turntable music to evaluate how it would hold up to academic analysis.

Burton commented, “We knew that there was serious interest in turntablism from many of our students, but we had concerns about how this emerging mode of music making could fit into a college music curriculum. So, we studied the work of some of the established names in the field and debated the musical issues, such as the lack, to date, of an agreed upon method for notating turntable performances, and how we could teach our students these skills within our educational approach. Issue by issue, we sorted out how we could do this at Berklee and respond to our students’ interest.”

Part of what makes it possible to offer the study of the turntable at the college level is the representation of scratching in music notation. Webber’s method first appeared in his book Turntable Technique: The Art of the DJ, and consists of a “scratch staff” in which the movements of the record and the mixer’s controls are expressed in standard musical notation. This is the first time that anyone has adapted standard musical notation to teach the turntable.

Noted electronic musician, DJ, creator of the soundtrack to the film Monster, and Berklee alumnus BT commented, “I’m extraordinarily excited that turntablism is finally being recognized as an instrument unto itself. The skill of rhythmically and melodically manipulating vinyl is a more than 25-year-old tradition and it’ll be great to see people check off turntable as their primary instrument.”

“That will be a while,” says Webber. “At this point, we only have one class, as well as a vibrant club and an unofficial turntable ensemble. We want to let this grow organically.” The course has already received a tremendous student response and has a waiting list of over 50 names.

History of Turntablism

Webber notes that the architects of Hiphop were young DJs from the Bronx in the 1970s. DJs Kool Herc, Grand Master Flash and Afrika Bambaataa changed what it meant to be a DJ by aggressively pushing the limits of mixing, interacting with the virtuoso dancers known as B-Boys and B-Girls, and assembling crews of MCs who spawned the practice of rapping. Grand Wizard Theodore, a protégé of Flash, was the first to start scratching, manipulating the record back and forth under the needle for musical effect. Grand Mixer DXT was tapped by Bill Laswell to scratch on the Herbie Hancock hit “Rockit,” inspiring thousands of kids to head for their parents’ turntables.

DJ competitions helped push the art form forward in the 80s and 90s, much like the legendary “cutting sessions” that took place in the early days of jazz. DJs who rose to prominence after success in battles include Jazzy Jeff (who teamed with Fresh Prince Will Smith), DJ Swamp, Roc Raida and Rob Swift of the X-ecutioners, and Mix Master Mike and QBert, formerly of the Invisibl Skratch Piklz.

Webber points out that more recently, DJs have been appearing in Nu Metal bands, and with pop stars ranging from Moby to Sugar Ray. Progressive scratch DJs like DJ Logic have been playing with jazz acts from Medeski Martin and Wood, to John Scofield. Arizona’s DJ Radar has even written, with partner Raúl Yáñez, a turntable concerto for turntablist and symphony orchestra. The term “turntablism” was coined by DJ Babu to refer to the practice of playing the turntable as a musical instrument.

Webber adds, Hiphop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hiphop, the four principal expressions being:

• Visual art (graffiti)
• Dance (breaking, rocking, locking and popping, commonly known as break dancing)
• Literature (rap lyrics and slam poetry)
• Music (DJing and turntablism).

Equipment

Generous support from select vendors allow the Berklee classroom for this prototype class to be equipped with professional state-of-the-art instruments and gear. Numark contributed their TTX hybrid analog/digital turntables, cartridges, analog and digital DJ mixers, and innovative CD turntables. Vestax supplied turntables, DJ workstations, and DJ mixers that link together so that multiple turntablists may perform together.

Calzone Case Company provided protective cases for all DJ components and created custom rollaway cases that enable the mixers and turntables to be easily rolled into the classroom from an adjacent storeroom for class and practice times. Alesis supplied “air FX” units, which use infrared light to allow DJs to control effects in “real time.” Korg supplied KAOSS Pads, which allow users to intuitively incorporate sampling and effects controlling into their performance with the touch of a finger; and the KAOSS Pad entrancer, which does the same with video effects as well.