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Skratch Lessons: Skratch Techniques 1.2

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Okay, so far we discussed positioning.
Now we come to the record motion, and
I wanna present three different types of
possible modification.
The most famous method in scratching to
create something new,
is to play a sequence in the reverse mode.
This will be a reverse prism scratch.
That means we start now with backward
[NOISE] And then two forward,
[NOISE] then two backward [NOISE] okay.
This is the reverse present switch.
A variation of this is when you put
together the original
note class reverse pattern and play it
That means we start with original motive
that means [NOISE] forward, closing,
tapping, backward.
[SOUND] Opening, then the second half of
the prism.
After this,
we go into the reverse pattern, okay.
That means-
[SOUND] Backward, check and then-
You must play it subsequently and in this
case, we obtain a sequence with 12 sounds.
This is a little demo of it.
So, okay, once again.
So, and in order to play these techniques,
it is necessary to go a little bit inside
the scratch sample.
It's here in this positioning to now jump
out of or lose the sound while we are
changing into the reverse mode, okay?
[SOUND] That means once again, we start
with the original motive.
[SOUND] Sorry, like this.
And then we go into the-
Reverse mode.
So, variation two.
In general, we play all the record motions
of the prism scratch
completely by a hand movement, yeah?
So, we obtain another acoustical result
when we play all the forward motions as a
That means-
For example, we start with the forward-
[SOUND] As in release, then-
[SOUND] Tap-
[SOUND] Opening then forward,
release, tap, release, and, okay?
Here's a little demo.
Once again.
Okay at first glance this technique is not
so spectacular.
But due to the fact that we play every
note as a release,
we produce always an equal emphasis on
each and
opposite to the tradition pattern in which
we put an accent on the very first.
Note of the original motive completely by
hand is-
It goes like-
[SOUND] The M phases is also on the very
first note.
And now we play all the notes, all the
forward motions.
It's a release, it means.
now, we do not put in the phases in the
forward notes.
This is a, this is effect why I'm, it's
another variation in my opinion.
So all right, you are now the third
variation of the prizm pattern it's a so
called Autoprizm scratch.
This is one of my favorite modifications.
As the name reveals, it's a repeat between
the prizm performance and
the Autobahn scratch.
The goal of the Autobahn scratch is to
make an additional step
inside the sound to catch a significant
segment of the sound.
And then, to go back it means the autobahn
is like this we
start [NOISE] in, in this way.
Then we make additional step [NOISE]
inside the sound,
and now we go logically into the second
part of the tone.
In case, case the, the fresh-
[SOUND] Fer, and then-
[SOUND] Okay?
So now we use this consideration, or this
and when we pair this with the prism
And now it's necessary that we play it a
little bit in another way.
That means, we start scratching with the
Then we play the tap backward, and the
but we go only, in fact we go not to the
new start point, not in this way.
We go [NOISE] this we make only a a little
step [NOISE] then only a little step
[NOISE] and
then we can go to the second tab
autoprizms it means [NOISE] forward,
then tapping [NOISE], and we catch the shh
of the fresh.
After this our closing off is [NOISE], so
backward motion to the point.
Once again,
that means forward note in closing.
[NOISE] Then another tap, another closing,
opening, sorry.
Then forward, then tap, and
so my explanation is okay, but
the demonstration is better.
Here we go.
Once again-
Try it.
You can also transfer this methodology to
the reverse prism scratch.
And it's up to you.