“Logic I’m just mainly using for audio editing when it comes to routines, and just for working with effects and stuff. You can audition whatever you’re searching for in Loopcloud whilst you’re playing whatever it is that you’re playing. I use Loopcloud a lot, to find samples that are in key. “I’ve got my Kaoss Pads – I’ve got a Kaoss Pad 3 and a Kaoscillator, which I use to generate tones and sounds. Moving away from DJing for a moment, tell us a little about your studio setup… Since you’re not using headphones to work out what you’re doing, you just eventually do it visually instead.” You know the sticker needs to be in that place.
“It’s about building a kind of visual muscle memory that helps your hand-eye coordination. It doesn’t really matter how you place them though, because whatever you’ve practised a lot, you gain some muscle memory. That is, for me, the most comfortable visual marker to quickly get back to. I’ll place it where the needle would land if I was using a real turntable, if that makes sense. “Most people will use the sticker at the 12 o’clock position. Tell us a little more about the stickers you’re placing on your control vinyl. Those stickers are what I use, heavily, to keep in time as I manipulate the arrangement in the scratch routines.” I’ll get the track and I’ll edit a left deck and a right deck version of it, to correlate with the stickers on my records, which are my marker points. I do a lot of scratch routines where, for example, there’s a well known track that people probably know, and want to do a scratch remix of it. Because, obviously you’re looking at the crowd, and you’ve kind of gotta go with the flow of what’s going on with them.” “Non-stop planning! For each gig I’ll probably make a playlist of something that I think I’ll do, then I’ll have like another 10 or 20 playlists that are completely random to go in and out of. How much planning are you putting into all these sets? Do you always know exactly how it’s going to go in advance of the event? Then for showcases I would probably do just nonstop scratch routines – some more simple, some more technical.” Also I’ll be bearing in mind what I think the judges will be giving high marks for. “For a competition, I would go as technical as possible. So in that case, I would do a party set, but I would throw in some scratch routines that I’ve tailormade to, hopefully, keep people on the dance floor while still gaining hype and attention from the crowd. People are there because they want to dance, and they don’t necessarily care about turntablism skills whatsoever. “In a club, festival, party or any dancing environment, doing anything a bit too technical is not a good idea. What’s the difference between how you’ll put together a club set, competition routine or showcase? Anything that’s got a platter that you can move.” “Anything that allows you to make some sort of noise by scratching a platter, whether that’s a turntable with normal records, a controller, or CDJ.
You can also sample anything and edit the music to correlate with your scratching or turntablism or mixing or anything you want to do.”įor complete newbies getting into the art of turntablism, what gear would you recommend to start on? “With Serato you can use any audio that’s in your laptop, computer, phone or whatever you’re using, which means that you can have as much music as you want, wherever you get it from. These days you use a digital approach based around Serato.
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