This is a public version of the members-only Hip-Hop Scratch with DJ Qbert, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Hip-Hop Scratch with DJ Qbert.
Join Now

Skratching
 ≡ 
Battles
 ≡ 
Digital Applications
 ≡ 
Training Dojo

In this section, you can have call and response sessions with experienced skratch djs. They'll skratch the questions, and you skratch the answers. Here, you can try to copy them or just freestyle. Try out the skratches you've learned and put them together in your own way. It's that easy!

When you get better, you can post your own call and response "sessions" for the training dojo so that others can skratch along with you too!

 ≡ 
Beat Juggling
 ≡ 
Setup & Gear
 ≡ 
Helpful Hints
 ≡ 
Guest Professors
 ≡ 
30 Day Challenge
 ≡ 
+Music
 ≡ 
«Prev of Next»

Skratch Lessons: Several Players 1.3

Lesson Video Exchanges () submit video Submit a Video Lesson Study Materials () This lesson calls for a video submission
Study Materials
information below
Lesson Specific Downloads
Play Along Tracks
Backing Tracks +
Written Materials +
Additional Materials +
Close
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Skratch

This video lesson is available only to members of
Hip-Hop Scratch with DJ Qbert.

Join Now

information below Close
Information
 ≡ 
Course Description
 ≡ 

This page contains a transcription of a video lesson from Hip-Hop Scratch with DJ Qbert. This is only a preview of what you get when you take Skratch Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
X
X
X
[MUSIC]
So,
okay.Let's go over to the bass sequence.
I work at this with a sample from the
fantastic
better tool Drunken Master Break by DJ
Dice.
This is a contrabass sample,
I think, and it goes like [NOISE] so.
And, yeah.
Now, what informations are important for
me to create a bass sequence?
In this case, I will produce a constant
tune,
and logically I use the release playing
mode.
[NOISE].
[MUSIC]
The whole time.
So now, due to the fact that the bass
tempo goes through different tones like
[MUSIC]
I will define some queue points.
This is very important.
The first queue point is for me.
[MUSIC]
This one here.
[SOUND] Okay.
Very important.
The second cue point is this point here.
[SOUND] When you look at the button, this
is 12 o' clock.
And, the third cue point is the distance
between 12 and
[SOUND] this here.
So, okay.
The practical conversion goes like this.
We start with the first queue point
[SOUND] on the one beat.
Okay?
And, we play it really simple,
only a release note.
[SOUND] Then, we make a one-sixteenth
rest.
Then, we play a little back scrap like
this.
And, In direct secession, following once
again a one sixteen note.
I will play it over a hi hat.
One.
Two.
Three.
Four.
[MUSIC]
And.
[MUSIC]
Really simple.
Very simple,.
[MUSIC]
So, okay.
After this, we move the record back to
the second Q point at 12 O'clock, and we
let it play.
But now, the,uh, Whitmaker positioning is
really important because we let,
let it play at the two ends that means
when you count.
One and two and three and four and one and
two and three and four.
We place this sample on the two and.
Okay?
So, over height.
you can count this, one two three four.
[MUSIC, So, I cut every record motion
with the reverse transformer click.
You can also use the normal transformer.
So, and then, after we let the sample play
from this positioning.
[MUSIC]
We came once again to our first queue
point and we repeat our sequence.
So, it goes like.
[SOUND]
Sorry.
[MUSIC]
Okay?
Basically really simple.
We make it one time, and then we move the
record.
Once again, to our second cue point, and
we let it play a little bit longer, until
we arrive the end of our sound sample.
[NOISE] Okay?
[NOISE].
Once again, [NOISE].
So, and this is, is a positioning of this
last sample this is a four and.
That means one and two and three and four
and on this positioning,
we catch it and we place this sample.
So, after this, basically we got it.
That means, our last move was.
Then, we move it back, and now came our
third cue point in action.
That means.
[MUSIC]
Du du du du do du du du do.
Okay?
[MUSIC]
So, and
now we put all the things together over
hype.
One, two,
three, four.
[MUSIC]
So, okay.
This is interesting as effects, we work
with three different cue points and yeah.
That makes it possible to create the best
basic rinse
which runs through different tones, okay?
And, it's really important to try out,
yes, to try different
rhythmical positionings because you obtain
always different acoustical results.
[MUSIC]