Turntablism

Turntablism is the art of manipulating sounds and creating new music, sound effects, mixes and other creative sounds and beats, typically by using two or more turntables and a cross fader-equipped DJ mixer. The mixer is plugged into a PA system (for live events) or broadcasting equipment (if the DJ is performing on radio, TV or Internet radio) so that a wider audience can hear the turntablist's music. Turntablists typically manipulate records on a turntable by moving the record with their hand to cue the stylus to exact points on a record, and by touching or moving the platter or record to stop, slow down, speed up or, spin the record backwards, or moving the turntable platter back and forth (the popular rhythmic "scratching" effect which is a key part of hip hop music), all while using a DJ mixer's cross-fader control and the mixer's gain and equalization controls to adjust the sound and level of each turntable. Turntablists typically use two or more turntables and headphones to cue up desired start points on different records (Greasley & Prior, 2013).

Turntablists, often called DJs (or "deejays"), generally prefer direct-drive turntables over belt-driven or other types, because the belt can be stretched or damaged by "scratching" and other turntable manipulation such as slowing down a record, whereas a direct drive turntable can be stopped, slowed down, or spun backwards without damaging the electric motor. The word turntablist is claimed to be originated by Luis "DJ Disk" Quintanilla (Primus, Herbie Hancock, Invisibl Skratch Piklz). After a phone conversation with Disk, it was later popularised in 1995 by DJ Babu to describe the difference between a DJ who simply plays and mixes records and one who performs by physically manipulating the records, stylus, turntables, turntable speed controls and mixer to produce new sounds. The new term coincided with the resurgence of hip-hop DJing in the 1990s.

According to most DJ historians, it has been documented that "DJ Babu" of the "Beat Junkies" / "Dilated Peoples" was the one who originally coined the term "turntablist". In 1995 while working on the groundbreaking mixtape "Comprehension", DJ Babu hand wrote the name "Babu The Turntablist" on hundreds of copies of this mixtape to describe his style of DJing, while working on the track "Turntablism" with "D-Styles" and DJ Melo-D, Babu would say "if someone plays the piano, we call them a pianist, if someone plays the guitar, we call them a guitarist, why don't we call ourselves Turntablists?" found in the documentary "Scratch (2001 film)" which was released in 2001.

John Oswald described the art: "A phonograph in the hands of a 'hiphop/scratch' artist who plays a record like an electronic washboard with a phonographic needle as a plectrum, produces sounds which are unique and not reproduced—the record player becomes a musical instrument." Some turntablists use turntable techniques like beat mixing/matching, scratching, and beat juggling. Some turntablists seek to have themselves recognized as traditional musicians capable of interacting and improvising with other performers. Depending on the records and tracks selected by the DJ and their turntablist style (e.g., hip hop music), a turntablist can create rhythmic accompaniment, percussion breaks, basslines or beat loops, atmospheric "pads", "stabs" of sudden chords or interwoven melodic lines.

The underground movement of turntablism has also emerged to focus on the skills of the DJ. In the 2010s, there are turntablism competitions, where turntablists demonstrate advanced beat juggling and scratching skills.

The use of the turntable as a musical instrument has its roots dating back to the 1930s, 1940s, and 1950s when musique concrète composers did experiments with audio equipment. Experimental composers (such as John Cage, Halim El-Dabh, and Pierre Schaeffer) used them to sample and create music that was entirely produced by the turntable. Cage's Imaginary Landscape No. 1 (1939) is composed for two variable speed turntables, frequency recordings, muted piano and cymbal. Edgard Varèse experimented with turntables even earlier in 1930, though he never formally produced any works using them. Though this school of thought and practice is not directly linked to the 1970s–2010 definition of turntablism within hip hop and DJ culture, it has had an influence on modern experimental sonic/artists such as Christian Marclay, Janek Schaefer, Otomo Yoshihide, Philip Jeck, and Maria Chavez. Turntablism as it is known today, however, did not surface until the advent of hip hop in the 1970s.

Examples of turntable effects can also be found on popular records produced in the 1960s and 1970s. This was most prominent in Jamaican dub music of the 1960s, among deejays in the Jamaican sound system culture. Dub music introduced the techniques of mixing and scratching vinyl, which Jamaican immigrants introduced to American hip hop culture in the early 1970s. Beyond dub music, Creedence Clearwater Revival's 1968 self-titled debut album features a backspin effect in the song "Walk on the Water".

Turntablism has origins in the invention of direct-drive turntables. Early belt-drive turntables were unsuitable for turntablism, since they had a slow start-up time, and they were prone to wear-and-tear and breakage, as the belt would break from backspinning or scratching. The first direct-drive turntable was invented by Shuichi Obata, an engineer at Matsushita (now Panasonic), based in Osaka, Japan. It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests. In 1969, Matsushita released it as the SP-10, the first direct-drive turntable on the market, and the first in their influential Technics series of turntables. In 1971, Matsushita released the Technics SL-1100. Due to its strong motor, durability, and fidelity, it was adopted by early hip hop artists.