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I was given a microphone recently. Here's me putting it to good use. I stole my 3 year old's Fisher Price turntable for this video. I manage to turn off the Roland PK-5A while recording the last melody, but it works out fine in the end.

they might have a kickstarter campaign for the video first to be able to release it on vhs tape. limited edition of course. plus a super limited tape with a recording of the recording of the video so you can listen to it in your car. except if you have a vhs player in your car, then the tape is just for your collection. but hey, it will be limited.

they might have a kickstarter campaign for the video first to be able to release it on vhs tape. limited edition of course. plus a super limited tape with a recording of the recording of the video so you can listen to it in your car. except if you have a vhs player in your car, then the tape is just for your collection. but hey, it will be limited.They will even add these super-rare 06-Faceplates by JuneBuggthey're so rare, i've never even heard of them. but you will get limited edition glow-in-the-dark pictures of them. polaroid style to fit in your pockets for portable viewing pleasures.

We just moved house, and I won big in the game of "Win a turntable room". Put a video together earlier today to get back into the swing of things. After struggling to capture quality audio with this set up, I finally tried to remove static from the audio with Audacity, with a decent level of success. Anyway, scratch + looping + effects.

ok i pulled out one of those Tomy Hyperrap watches from the archive unopened for the prize, it has "Real scratch dial" or some shit hahaha, will be cool on the shelf or something

This is a next level game changer and you vinyl purists need to get with the times.

sorry i can't hear you over the pleasant warmth of my rotary mixer's wood panelling.

These moment when you wait to check Darcyd using the bass footpedal with pdx3000... Satisfied, thanks!

http://skrat.ch/ Also scratchML project did some improvements/contributions in this side... http://fffff.at/scratch-markup-language-sml/ Also a actual software that could be useful due it has full automation (record and replay) If someone wants to talk about this in 2016 I will enjoy the chat...

Ha! I supposed to trump card for this one will be applying dialogue from the film to the music you make

Too sick. Top work.

http://pitchimprover.com/ This app is very neat! I've always had terrible perception of intervals and harmony (I blame listening to ISP fader pitch routines and mixing tracks only by tempo ) - I've only been using it for about two weeks now and I'm already seeing some progress even though there's some categories where I struggle to just complete level 1... I guess, it could be useful for beat producers as well so that it becomes more easy to recognize if two samples really fit together or what to play with a VST and what not.

That sounds like a fucking scam to me. "Give us your money, and we might follow through with the project". Trust works both ways.

love that you incl8uded the film tho, that should be playing on silent in the background for all beatmakers in this battle

xxx

wow thats dope!!

Darcy D - the D is for DoingThingsThatYouNeverHeardOf

My friend updated and keeps sending me really dumb snapchat-esque hand written text messages. Super annoy.

You guys really think Q can't rustle up 14k for refunds? If he can't he's a total idiot, or there really is no money in the scratch game fools.

To be fair, i think they have niched the niche, they have found a market, so enthralled with their god like status, that they can literally take a shit on a piece of card, and say hey, this is new scratchy poo vol 1, when you put it on your turntable it flings poo all over the walls, and guess what, this is your deities poo Q, the wonderful Q, and oh yeah, we have fucked a crap PC in a mixer, the PC is out of date the day after you bought the mixer, but guess what, it has Q on it, the wonderful Q !!!! They are basically raping the shit out of what is left of the scene.

If i was in Q-Bert's position i'd be thoroughly ashamed of myself for acting in this way towards people who have basically helped him to have a fucking career in the first place -i mean its a niche musical artform to start with so to alienate the community that has respected and supported you and your work for all these years seems like a completely stupid thing to be doing.. Steve-sorry if its an obvious question but have you talked with anyone else who's experienced the same problems as yourself in all of this away from DV on other forums or elsewhere ? .. ^^^Edit-forget this bit id mis-read your post where you said the puzzle backers alone fronted 14 grand so obviously you must have I know we aren't the biggest music community on the Interweb in terms of members but we obviously do get quite a lot of traffic coming through from guests to the site and obviously the vast majority are coming here for scratch related content which makes me wonder how many of them read threads like this one and see how much Q & Thud Rumble are damaging their reputation by doing stuff like this and especially amongst the hardcore of scratch heads on DV ?

they probably used all the money to build their stupid mixer. or maybe a new hq on the moon.

They're not the same though, they're just another digital recreation of the 303 and 909. If they really want to get people interested they'd make proper analog versions.

Tbh I think a lot of the issues in current DJ battles ARE because of lack of experience. Not with running battles in general, but with running battles in the DVS and Internet era where the landscape is much different. And I agree issues like you mentioned are a bad look for battling, but I disagree that somehow they make battling itself obsolete.

LOL. I agree about the sleeping on your idea thing but it's called the "QFO" so I'm not sure how much ground Q would have to say he never said it was his baby. Call me old fashioned, but I'm still of the camp where you give credit where it's due. If you're building a "fretless fader" because John Beez is not, then at least give the guy a nod.

Well I mean.... when I first started cutting in around 2001 I had the same idea. I imagine a lot of people did, it's a pretty obvious one. If disk actually built one in 1994 then that's a different story. (BTW the QFO was announced at PLASA 2003)

Yeah, like I said, I hope you guys keep on repressing your titles as long as there's demand. In a year or so when both my copies of Combinations... are shagged, I'll be the first to pester you for a repress It must be hard to have to predict the market though, especially wether you'd be best putting your limited funds into repressing or a new project... nobody wants to go to the vinyl equivalent of your own book re-pulping. I'm afraid I remain a Thud-sceptic though - over many years and incidents I think they've shown themselves to be pretty cynical businessmen.

Am I the only scratch dj without Super Seal. My original copy of hee haw brayks is all I ever needed.

Selling records quickly via causing buyer's panic over limited editions selling out completely is hot property right now. The irony is, half of the limited edition stuff just sells to speculators to stick on eBay at stupid prices.

They must have been making money hand over fist for years with those battle wax albums and like Dubba says every scratch dj on the planet probably owns a scratchy seal,then think of all the doubles they must have sold on top of that cos as everyone knows you gotta have doubles ,and I remember those albums being not exactly cheap to start with, I mean I must have at least 10 of them myself and I dont even scratch, I just liked the drumbreaks they put on them but Deeswift had everything they put out and doubles at that ,thats the sort of scale it should be viewed from I think.Ive got a couple of mates who had record shops back then and they couldnt sell those lps fast enough and at 10 to 15 pounds each it doesn't take a genius to work out the mathematics, so yeah I think diggla and dubba are both spot on with their comments on thud rumble tbh

I disagree with that and so do Kickstarter given that their rules don't prevent it, so I think it's a case of some people projecting what they think Kickstarter should be for on to it. About a quarter of the people who sign up to Kickstarter for the first time in order to back a high profile project from an established company also go on to back smaller projects from startups and individuals, so is that not a good thing? My objections in this case are the time it's taking to deliver on the project and the total lack of communication from Thud Rumble - a company that's not a brand new startup and should know better when it comes to doing business. In terms of business, generally speaking, if you can get other people to pay for something instead of you paying for it, you should. I think what's far more important than the debate about that is delivering the goods to the backers, and it's actually the smallest projects from startups that are the worst offenders there, with about 14% of them failing to deliver. Ethically I don't have a problem with it at all, simply because nobody is forced to back a Kickstarter project. It's always a choice. The argument that "if they can afford to pay for it themselves, they shouldn't do crowdfunding" has issues in itself. You don't know how much cashflow a small business like Thud Rumble has, but the assumption is that they have a lot. At the same time, if "unknown dood" steps up with a Kickstarter for a small project, people assume that it couldn't happen without crowdfunding and that it's "ethical" and "worthy", but how do you know how much money that guy has in the bank? You don't. You just assume. The other issue is, if you're going to set a line that can't be crossed, where do you set it?

That's the thing tho, isn't it? Kickstarter is for amateurs and startups to get matched with money. Sometime you get burned. Sometimes it's so successful that the demand is crushing. Thing is Thud Rumble isn't amateurs and isn't a startup--it's professionals with an established company and brand putting all the risk on their consumers and that is completely fucked. They shouldn't be allowed to use Kickstarter IMO. They are not using the platform, they are taking advantage of it. There is a line between business and scam and they are walking it.

What a load of bullshit! I expected a degree of farce as you do with anything Thud related and as I said at the time, I think a business of their size using Kickstarter was a cynical move, but two years and all that money for a digital download only?!?! We should have all listened to FLARE after all! For me now, this just confirms what I've been thinking for a couple of years now - I'm never giving them another penny of my money and I'm only going to support the smaller businesses run by the people who really make this scene good.

Ah fair play doods my apologies then, i got the wrong end of the stick from seeing a few negative looking comments then i took veks comment from that angle. I recon TTM might actually be able to notate pretty much every nuance of a scratch once notation can be read and written using DVS data. I think one of the strengths of it really is in its simplicity.. there are very few symbols compared to classical notation systems so there isnt room for interpretation.. Ive used cubases classical notation system before for a uni assignment and the notation it creates is apparently jibberish.. for some reason it doesnt describe whats going on with live midi keyboard performance.. id say it may have to do with the complexity of the notation system. Having said that, even if TTM can do what i think it can i agree that you dont have to learn strictly through notation. I think its one of the major flaws with the way classical instruments are taught.. from the very beginning you have a notation system put in your face to learn with your instrument and youre given notated compositions to emulate.. Theres no informal approaches to exploring the instrument on your own and because of this so much of the fun is cut out of the learning process. I took piano as a child and that was what got me to decide to quit.. its like even though you have this cool instrument in front of you, youre not actually encouraged to just play around and discover things on your own. If there had been maybe a 50/50 split between being encouraged to self explore and learning from other peoples compositions i might have stuck with it back then.

chile - yeah, I know you're right really. I was mostly just being contentious. I fully understand a TTM's uses, particularly in the learning process.

A tracks a dope dj but wouldn't you pissed if he took something you had created that he saw in a forum and called it his own invention repeatidly and in interviews? Irrespective of how little something might be used within the niche of turntablism, why shouldn't he be called out on that? @rockwell - How exactly is TTM not a new language? those lines and dots you call stupid drawings describe the patterns of record and fader movements very closely. People didnt randomly draw stuff like that in the 80s up to 99 to describe their combos.. it takes someone to discover the connections between 3d record movements and how they can mapped onto 2d notation using wave patterns for that to come about. We can say now looking back it was stupidly obvious because those drawings capture the movements in a very straight forward obvious way but it clearly wasnt that obvious since it took up to 1999 for someone to describe it. @vek 'TTM is to scratching what written lyrics are to songs. They do a great job of telling you the words, but won't say anything about how to sing them... nor should they.' I see your point but theres a pretty big flaw in that analogy. TTM is capable of notating the rhythm of a cut and where it needs to be placed over music in a way that someone writing lyrics to go over a song doesnt do. I wouldnt have been able to describe cross rhythm scratching if that wasnt the case. When someone writes lyrics down theyre only describing what they need to say, not information about the changing rhythm and pitching. Currently the only thing ttm doesnt do well is notating this pitch information, but once DVS software integrates with TTM we'll see notation with record wave gradients that match the pitch accurately using the record velocity data from digital vinyl. I havnt used TTM for juggling but I dont see why its so impractical for notating beat juggling patterns since it captures sample positions and closely maps the record and fader conditions at differnt points in time. It might need a little tweaking but surely that information for both tables is the bulk of whats needed for describing juggle patterns.

I guess all notations of beat juggles are quite a mess to look at especially when you tap the record and turn straight notes into swung notes. Here's one I did a while ago from x2k's video!