VJ Heaven

From Points In Time 002

Scratching Using Vinyl Records Scratching to some oldschool rap htto://www.hitcreatormusic.ning.com “Scratching” is also a present participle of “scratch”, and may also refer to a form of street art Scratching is a DJ or turntablist technique used to produce distinctive sounds by moving a vinyl record back and forth on a turntable while manipulating the crossfader on a DJ mixer. While scratching is most commonly associated with hip hop music, since the 1990s, it has been used in some styles of pop and nu metal. Within hip hop culture, scratching is one of the measures of a DJ’s skills, and there are many scratching competitions. In recorded hip-hop songs, scratched hooks often use portions of different rap songs. Scratching was developed by early hip hop DJs from New York such as Grand Wizard Theodore and DJ Grandmaster Flash, who describes scratching as, “nothing but the back-cueing that you hear in your ear before you push it [the recorded sound] out to the crowd.” (Toop, 1991). Jamaican-born DJ Kool Herc also influenced the early development of scratching. Kool Herc developed break-beat DJing, where 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.[1] Although previous artists such as William S. Burroughs had experimented with the idea of manipulating a record manually for the sounds produced (such as with his 1950s recording, “Sound Piece”), scratching as an element …

Venus Kaly Profile:Fictitious DJ name for French radio station DJ/anchorman Morgan. Sites:blog.funradio.fr/VenusKaly, MySpace Aliases:Morgan (17) Variations:All | Venus Kaly | Venus Kally Releases: The Secret ◄ (2 versions) Chic Flowerz Records 2007 The Secret (12″) Chic Flowerz Records 2007 The Secret (Electro Remixes) (12″) Chic Flowerz Records 2008 Myself (12″) Chic Flowerz Records 2008 Tracks Appear On: Clubbing Digital – Sessions #1 (File, MP3, Comp, Mixed) The Secret (New Mix) Chic Flowerz Records 2007 100% Ibiza – The Original Sound (2xCD, Album) Myself Contraseña Records 2008 DJ Zone 72 – Dance Session 32 (CD, Comp) Myself (Original Chic … Time Records 2008 Dancefloor Anthology 2009 (4xCD, Comp) Myself EMI Music (France) 2008 El Mejor House Del Mundo Vol.3 (2xCD, Album, Unm) Myself Contraseña Records 2008 Summer Session 08 (CD, Comp, Mixed) The Secret DKD D-Noy Muzik 2008 Tonic Generation (CD, Comp) The Secret (New Mix Edit) Wagram 2008 Electro Hits Summer 2009 (2xCD, Comp, Seq) Life Play On 2009 Juicy Ibiza 2009 (2xCD, Comp, Mixed) Mon Amour (Robbie Rive… Black Hole Recordings 2009 Juicy Ibiza 2009 (2xCD, Comp, Mixed) Mon Amour (Robbie Rive… Velcro 2009 Live At Pacha Club Brazil São Paulo (CD, Comp, Mixed + DVD-V) Life DKD D-Noy Muzik 2009 Dancefloor J’ad♥re (5xCD, Comp, Dig) ———————————————————————————————————— Chic Flowerz Records Profile: French indie House label managed by …

How interesting are Hip Hop Records?

Hip hop music, also known as the rap music, is a modern form of music. This type of music is available in the hip hop records. Hip hop music does not include lyrical styles. It is made up of two elements, rapping and record scratching. You may call rapping as MCing and DJing. This is also known as audio mixing. If you listen to the hip hop records, you will find that hip hop music is mainly instrumental and based on drum beat, sampling and bassline.

Sampling: Sampling is used in modern type of hip hop. In this type, the producers create original recordings using beats generated from the computer. Sampling is very important in hip hop music. The samples are usually taken from vinyl and are transferred to the samplers or sequencers.

A bassline:This is a core part of hip hop. It is exclusively used for the low-pitched instrument.

A drum beat: The drum beat is another essential element of hip hop production. The quality of the hip hop recording greatly depends on the speed and complexity of the drum beat. Some of the beats are sample beats; others are generated from the drum machines like Alesis SR-16 or Roland TR-808.The TR-808 cowbell is used in the hip hop production, to generate a better sound for the recording.

The hip hop music was invented by the African Americans, Latinos and Hispanics. It was invented in the New York City, in the early seventies. The legend of hip-hop music, Kool DJ Herc and Grandmaster Flash later started with the scratching and remixing techniques in the hip-hop music.

Proficient hip hop musicians now use live instrumentation, sequencers, synthesizers, samplers and turntables. The samplers and sequencers allow the musical beats to be played accurately. Kurtis Blow is the first hip hop artist to use a digital sampler. This has possibly increased the craze of hip hop music to a great extent. Possibly for such a reason, hip-hop records are in great demand.

Today, hip hop records are in great demand by people all over the world. The youth of the present generation are crazy for the hip hop records. Despite several controversies there has been a rapid increase in production and sale of the hip hop records over time. You can purchase hip hop records from anywhere, around the world. In the present days, hip hop records are also available online.

Hardly a day goes by, it seems, that someone isn’t talking about the death of the album, replaced by singles. When they say “album,” however, they tend to mean “pop album,” using as their primary metric sales of the very top end of the spectrum. In electronic music, the album has never been about sales. For one, singles have long ruled the dance floor, long before iTunes began peddling online downloads of a la carte tracks. But more than that, albums are a unit of time, a packaged statement of aesthetic thought. They’re a story. And after an explosion of flash-pot diversity, labels today begin to be valued for their longevity and endurance. Albums once justified the label. Now, labels are a reason for albums to exist.

Of course, actually figuring out how to do that is as challenging – in business and cuisine – as running a restaurant. You need enough diversity to keep people coming back, but without becoming chaotic or losing the plot. You need a quantity / quality list.

Ghostly International is to me one of the superstar musical chefs that’s done it right. This summer, they’ve reached the milestone of 100 album releases. That may sound like a lot, but Ghostly has had just over a decade in operation, meaning they’re averaging just around ten releases a year.

I’m not personally shelling out for one of the 50 in this series, but I really admire its design. It embodies Ghostly’s philosophy – and it’s also a symbolic milestone. With its beautiful, organic design, it’s a physical manifestation of the new, enduring album, the album that survives even in the age of torrent sites and iTunes singles and enormous hard drives and music as commodity. As Ghostly puts it:

The Ghostly Bento was inspired by Japan and its tradition of quality, service, and design—values that Ghostly has always cherished. “Manzoku” is a Japanese word that roughly translates to “satisfaction.” Thus, the Bento is an intimate celebration of satisfaction in multiple forms—tactile, visual, aural—packaged in a handcrafted wooden box, stained and etched with a stunning image by LA artist Dosa Kim.

Putting out pretty wooden boxes isn’t going to justify any label, but Ghostly is busy, as always, this month.

Here in New York at digital tech research hub Eyebeam, a handful of artists will gather to collaborate with the label on visualization of music, under the tutelage of digital artists Aaron Myers and Aaron Koblin, as covered previously on CDMotion:
Matching Visuals to Music: Round-up of Inspiration
I hope to be there covering what happens, and coding myself.

This Friday July 9 in San Francisco and Saturday July 10 in Los Angeles, Ghostly will celebrate its 100 discs with live events, featuring favored artists like Tycho, Shigeto, The Sight Below, and Mux Mool. (If anyone from CDM’s readership would like to go cover, we’d be much obliged!)
XLR8R.com, SF event, LA showcase

And if you want to include records other than just Ghostly’s in your listening queue, check out their lovely look back at the past decade at the end of last year – plenty of agreement in my own music library here.
Ghostly’s 110: Our Favorite Albums of the Decade

Meanwhile, if you want a look behind the scenes with a Ghostly artist, here’s what Christopher Willits is up to with Livid Instruments’ Block (see last week’s round-up) and Ableton Live with Max for Live, for our friends at XLR8R.

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