alexmarvel, Christov, DenzelW, Dja, Fizzle, Flinstoner, Formant, Lepricon, Macronizm, mbikoms, MistaSweet, MONSTAH_BEATZ, ODB, RaRa, Rauf, Rik, Yid, Z!ño
Vinyl, SACD, CD, DVD
Alle genre's. Ook imports!
Yo, DJ DBS hier.
Zo’n 17 jaar bezig als DJ en hou me voornamelijk bezig met mixen en op parties draaien.
Check mn profiel voor meer info
http://hop.to/dbs (ouwe site)
http://www.djdbs.hyves.nl
http://www.myspace.com/defbeatz
http://www.aight.nu
Vroegur stonden alle tapes online bij HIJS maar na de update van de site is alleen nog de laatste beschikbaar:
Defbeats vol. 8: http://boombyeyeah.com/downloads/71
DOEN! ask DBS, nadat ik hem een wedstrijd of 7 klop had gegeven met Wii tennis is hij ook helemaal hooked op die Mario.
Damn.. ik zou ook 24-7 spelen als ik naar zo een dorp verhuist was en de deur niet meer uit mag 
Wil jullie uiteraard allemaal wel ff uitdagen om een echte mannen game te komen spelen: BF2-en dan speel ik wel met 1 hand… is helaas op de pc…
Mario galaxy was wel de shit! erg dope en erg verslavend
DOEN! ask DBS, nadat ik hem een wedstrijd of 7 klop had gegeven met Wii tennis is hij ook helemaal hooked op die Mario.
Damn.. ik zou ook 24-7 spelen als ik naar zo een dorp verhuist was en de deur niet meer uit mag
Wil jullie uiteraard allemaal wel ff uitdagen om een echte mannen game te komen spelen: BF2-en dan speel ik wel met 1 hand… is helaas op de pc…
Mario galaxy was wel de shit! erg dope en erg verslavend
FOK DIE “REAGEER OP TOPIC” KNOP
http://www.aight.nu of http://www.H3C.nu
Foto’s komen uit Bleeks prive collectie.. hehehe
Track was: “Survival of the Fittest”
ik ben blijven hangen op een emu 6400 ultra sampler. goeie sound en werkt lekker..
Watte! komt ie er aan? dope " eet je eigen arm op" shitz..
Damn Fellatio, wist niet dat je je gezicht had getatoot? kom je nog wel aan werk zo?
hii haa..
Mario kart is een volledige versie :D incl.alle 3 de cups op 50 / 100 en 150 cc.. + de extra cc (waarin je alle cups nog een keer kan rijden maar dan rij het parcour de andere kant op) maar dan moet je wel eerst alle cups hebben gewonnen.. dus dat zal wel een tijdje duren bij jullie.. hehehe
Ik ga me ook maar eens registreren.. ff weer een niewe downloaden..
Hahaha.. daar ben je zeker erg trots op.. hehehe.. gelukkig dat we niet gemarioot hebben voor je,..
Snowboarden moet je nog wel ff gaan oefenen want dat zag er niet uit…–lol-
Moet maar ook elke dag 2 uur achter de wii om te trainen hehehe
ik denk niet.. ik ben daar!
heb er zin in!!
weet niet of dit al geplaatst is.. maar check it..
http://www.planet.nl/planet/show/id=75064/contentid=911837/sc=900f86
Drop hier dope crew dingen
ooh ja.. dit is C2C (Coup 2 Cross) op CBE
Het maakt mij niet veel uit of het orho’s zijn of Shure’s. Heb zelf die shures m44-7 en doen het uitstekend, liggen goed in de groove en stabiel.
Drop hier alle links naar mixtapes, of drop je eigen mixtape..
The art of manipulating/restructuring previously existing phonograph recordings to produce new, musically creative combinations of sounds using turntables and a mixer.
After mastering the skills of beat matching, scratching seems to be the natural progression and when introduced to the set it provides colour and an extra kick to your mixing skills. A simple way of explaining scratching is the sound produced when a sample of the record is played both forwards and backwards underneath the stylus. The segment played could be any part of the track, for example a single beat, symbol or a vocal. Indeed when most people think of scratching it is this forwards and backwards motion that they think of. There is nothing wrong with this interpretation but it suggests that there is very little scope for variation. When first discovering the art of scratching what surprises most people is in fact the multitude of variations derived from such a simple concept. In general, the art of scratching can become quite tricky. The idea is to keep the scratch simple to begin with; this can be done by selecting a simple scratch pattern or by slowing down the movements until you have the pattern firmly lodged in your head. First attempts at any scratch will no doubt result in utter chaos but stick with it and you will be surprised at how fast you actually pick it up.
Hamster Style–Normally a DJ setup would be configured with the right turntable playing on the right channel of the mixer and the left turntable playing on the left channel of the mixer. With a hamster style setup, however, the opposite is true. The right turntable plays through the left channel, and the left turntable plays through the right channel. Many DJs find it more comfortable to scratch hamster style since to do many moves it is easier to bounce the fader off of the side of the fader slot using your multiple fingers rather than your thumb. Personally I think that hamster style seems more conducive to flaring and doing continuous crabs.
DJ members of the Bullet Proof Scratch Hamsters/Space Travellers crew are most commonly recognized as the first DJs to practice/demonstrate this style thus giving it the nickname “hamster” style. There are two ways to achieve this mixer configuration. One is to physically hook your turntables up to the opposite channels where they come into the back of your mixer, and the other is with a hamster switch. Normally a hamster switch only reverses your crossfader’s configuration, while physically reversing your turntable cables reverses the crossfader and volume faders’ configuration. Hamster Switch–A switch on a mixer that reverses the crossfader without reversing the volume faders so that you can scratch hamster style without physically hooking up the turntables to different channels on the back of the mixer.
Scribble Scratch–A scribble is performed by tensing up the forearm muscles and moving the record back and forth with very small shaky sounding increments. The result is best described as a vibrating “scribbly” sounding effect.
Tweak Scratch–The tweak scratch is a scratch perhaps made most famous by Invisbl Skratch Piklz member Mixmaster Mike. To perform a tweak scratch, you turn the motor off on your turntable and move the platter and record back and forth manually with your fingers and thumb in whatever pattern you desire. The fader may be used to do transform sounding tweaks, but the fader doesn’t have to be used at all for this move if you choose not to use it. This scratch is best performed on long tone type samples, but can be applied to any sound. The result varies, but usually is a somewhat jerky sounding scratch. Because the turntable is turned off, each time your finger hits the record in a certain direction, it continues to go in that direction, but slows down as it does instead of returning to a constant speed after each time it is released as it does when the motor is on.
Bubble Scratch–Fist demonstrated by DJ Noize, this technique is achieved by moving the record back and forth while at the same time turning the EQ knob back and forth from minimum to maximum to get a sort of wah-wah pedal sounding scratch effect. This move is easier to perform on a Technics SHDJ1200 than on a Vestax 05/06 Pro since the SHDJ1200’s EQ adjustment is different.
Zig-Zag Scratch–What I call a zig zag is a move that I first saw Qbert perform where you use one hand on the record, and one hand moving back and forth between the volume fader and the record to create a unique scratch effect. If you scratch with your right hand on the record the technique would go something like this:
1. right hand pulls back sound and lets go
2. left hand taps the record as it’s coming back forward to make a quick pause in the forward movement of the sound to make two distinct forward sounds instead of one.
3. left hand quickly moves and taps down the volume fader a small increment to make the volume a little
lower (or higher since you could do the same thing in reverse).
4. repeat pattern
The effect you get is a 1,2,3 1,2,3 1,2,3… scratch of the sound while the 1,2,3 fades out a little more each time
the volume fader is tapped a little lower (the sound can be faded completely out or you can start fading
the sound in and out).
Beat Juggling–To beat juggle, you use two records with a beat on each turntable and mix them together with the crossfader to create new combinations of beats or to create new beats altogether in a “cut and paste” fashion.
Strobing is a type of beat juggling first associated with DJs Shortkut and Yoshi, but most famous demonstrated by Shortkut. In strobing you pretty much alternate back and forth between two records with a beat on each while you take turns tapping or pulling the records back slightly with your hand to manipulate the tempo on each record and keep them in sync in an alternating incremental fashion. I know that this explanation can be more than a little confusing, but an example might sound like kick, kick, snare, snare, kick, kick snare, snare, kick, kick, snare, snare…alternating between the same sounds on the two different turntables, but any combination is possible using 2 of the same records, or 2 completely different beats. By cutting back and forth you’re usually separating kicks, snares, cymbal sounds, etc., to make newsounding or doubled sounding beats.
THE MILITARY First, this skratch is actually a combo skratch, although some fail to acknowledge it, and it uses both the stab and the baby skratch together to make this skratch. Starting the first part with a quick stab, then a simple baby skratch. Continue this combo repeatedly in order to create a cadence. Now think of a military song that has drums in it. Notice how the drums keep a constant cadence with the same repetitive pattern. All you have to do is work this combination of skratches so that you come out with a cadence of your own. When you finally get it down, you can double up on the skratches, by doing two quick stabs and two baby skratches. Then you can alternate and create your own military skratch patterns or even use them with other skratches to create a sequenced routine when skratching to a beat or when performing with a Team.
Flare Scratch–Discovered/invented by DJ Flare and further developed most famously by DJ Qbert, this scratch is much like the transform in some ways, only instead of starting with the sound that you are cutting up off, you start with the sound on and concentrate on cutting the sound into pieces by bouncing the fader off of the cut out side of the fader slot to make the sound cut out and then back in a split second. Each time you bounce the fader off of the side of the fader slot it makes a distinct clicking noise. For this reason, flares are named according to clicks. A simple one click forward flare would be a forward scratch starting with the sound on as you bounce/click the fader against the side once extremely quickly in the middle of the forward stroke creating two distinct sounds in one stroke of your record hand and ending with the fader open. In the same manner, 2 clicks, 3 clicks, and even more clicks (if you’re fast enough) can be performed to do different types of flares. The discovery and development of the flare scratch was instrumental in elevating this art form to the level of speed and technical scratching that we’re so used to seeing today.
Crab Scratch–The crab scratch was invented by DJ Qbert as a variation on DJ Excel’s “twiddle.” It seems that the two met up in Japan for the Vestax DJ competition in 1995 and Excel was asking Qbert how to flare. When he showed Qbert how he thought the flare was done he was actually doing the twiddle instead by using his thumb as a spring and “twiddling” the fader with 2 fingers. After this meeting, Qbert took the idea back to San Francisco with him and after showing the scratch to DJ Disk, he ended up creating a move that utilized all 3 to 4 fingers and thus the crab was born. Later in 1995, while the DMC USA finals were being held in San Francisco, a group of djs and judges which included The Beat Junkies, The X-Men (now called the X-ecutioners), and the rest of ISP among others got together for what would later be know as the “Famous Warehouse Session” at Yoga Frogs old mobile DJ warehouse. It was at this session that Qbert shared the new scratch.
While the name “crab” seems self explanatory since it makes your hand look like a crab when you curl all of your fingers to perform it, according to Qbert the name originated elswhere. Apparently, he and Mixmaster Mike had just returned from Beirut, Lebanon around the same time that he invented it where they were served crepes one night after a show. He said that when the people over their pronounced crepes, it sounded more like “cccccreb” and since he thought it was funny, he used it to name the “cccccreb” scratch which everyone now pronounces as the crab.
To do a crab scratch you quickly rub/tap the fader knob with 3 or 4 different fingers in sequence starting with the pinkie or ring finger while using the thumb as a spring to cut the fader back out after each tap (or in if you scratch hamster style). The result is much like a 3 or 4 tap transform (or a 3 or 4 click flareif you scratch hamster style) only much quicker than you could probably do with one finger. Many DJs find this move easier or more comfortable to perform hamster style by bouncing the fader off of the side of the fader slot, but the move can be performed both normal and hamster. As with orbits, crabs can be performed once as a single distinct move, or sequenced to produce a cyclical neverending type of crab sound.
Orbit Scratch–An orbit is most generally any scratch move performed both forward then backward or backward then forward in sequence. Usually when someone is referring to an orbit, however, they are most likely talking about flare orbits. For example, A 1 click forward flare and a 1 click backward flare in quick succession (altogether creating 4 very quick distinct sounds) would be a 1 click orbit. A 2 click forward flare and a 2 click backward flare in quick succession (altogether creating 6 very distinct sounds) would be a 2 click orbit, etc. Orbits can be performed once as a single orbit move, or sequenced to produce a cyclical neverending type of orbit sound. DJ Disk is primarily the one credited as the first person to discover/incorporate flare orbits into his scratching.
Twiddle Scratch–The Twiddle scratch is the precursor to the crab and it’s introduction is most commonly attributed to DJ Excel of the UK. Quite basically, the twiddle is a crab scratch using two fingers instead of 3 or 4 to repeatedly “twiddle” the fader.
Baby Scratch–The simplest of scratches, the baby scratch is performed without the use of the crossfader by simple moving the record back and forth. A simple example would be one forward stroke, and one backward stroke (or vice versa) in sequence.
Forward and Backward Scratches–Forward and backward scratches are also fairly simple scratches but unlike the baby scratch they are performed using the fader to cut the sound in and out. As an example, to perform 2 forward scratches you would just do two baby scratches with your record hand using your fader hand to cut the sound in when you move the record forward both times and out while you’re pulling the record back both times so that all you hear are the 2 forward strokes. To do backward scratches you would do the same thing, but cut the backward strokes in and the forward strokes out.
Tear Scratch–The tear is much like a baby scratch in that you do not need the fader to perform it, but unlike a baby scratch, when you pull the record back you pause your hand for a split second in the middle of the stroke. The result is one forward sound and two distinct backward sounds. This scratch can also be performed by doing the opposite and placing the pause on the forward stroke instead. A basic tear is usually performed with the crossfader open the entire time, but it can also be combined with other scratches such as flares for example by doing tears with you’re record hand and cutting the sound in and out with your fader hand.
Transform Scratch–Most famously associated with DJ Cash Money who is credited with coining the term “transform” or “transformer” scratch, this scratch is achieved by moving a sound with your record hand while repeatedly tapping the fader to cut the sound in and out in sequence with your fader hand as the sound plays. A transform scratch should begin with the sound off tapping the fader once you want the effect/sound to start. Imagine the crossfader as a button, and your thumb as the spring (or vice versa if you scratch hamster style). What you would be doing is tapping the button repeatedly as the sound plays giving a stuttering or tremolo type effect.
SCRIBBLE SCRATCH-The scribble scratch is very similar to the baby scratch but the movement is smaller and faster. To do this scratch you need to tense your forearm muscle whilst your hand is on the vinyl. This should result in a hand movement that can only be described as a bad case of the shakes. The key to this scratch is to make sure that the vinyl only moves a small amount under the needle and at a reasonable pace.
THE CHOP OR STAB–A good scratch to start you off using the fader is the chop also known as the stab. The hand movement used for this scratch is the same as the baby scratch mentioned earlier. The difference though between this and the baby is made by cutting of the backstroke using the crossfader. The fader should start with the sound on (termed open) and the forward stroke completed as normal. The cut comes just before you start the backstroke where you should close the fader. The key to this scratch is the timing of the fader action. The overall sound created should be a short sudden scratch.
THE CHIRP To complete this scratch requires a little more hand co-ordination skill. Start with the fader open and make a forward stroke as normal but fade out as you get to the end. The reverse is carried out on the backstroke i.e. start fading the backstroke in. As the name suggests this should create short snappy chirp sounds. This scratch is an old one but definitely a must and can be done at various speeds to add variation.
Airplane Scratch/Phazing–Although I haven’t heard this term used very often, what I have heard referred to as an airplane or aeroplane is taking two identical sounds and playing them simultaneously on both turntables with the crossfader in the middle position. Although you’re trying to match them up exactly, the beats will always be a little bit off (but not enough off for too much of a noticeable delay) so the end product doesn’t sound the same as just one of the channels playing the beat on it’s own. The result is a flange/phaze sounding effect. I have also heard this technique referred to as phazing.
Hydroplane–A hydroplane is performed while the record is spinning and you lightly apply pressure to the surface with one or more fingers without stopping the record. The idea is to create light friction between your fingers and the record and if you have the right touch, a bassy friction sound is the result.
Looping–Alternating between two different copies of the same record, this technique is achieved by using the crossfader cutting in a phrase of music from one record, then cutting in the same phrase of music from the other record while at the same time pulling back each cut out record to the phrase’s beginning point before it is cut back in again. By doing this you end up playing the same sound over and over again much like a sampler looping a beat (or any other sound for that matter). In many ways, looping is the foundation of almost all hiphop beats even though these days most people of course loop beats with samplers rather than turntables. Grandmaster Flash is primarily credited as the first dj to “loop the break” using two copies of the same record.
Over de ontstaansgeschiedenis van de hiphop-cultuur lopen de verhalen sterk uiteen. Wat de verhalen wel gemeen hebben is dat deze muziekvorm met zijn 4 elementen ontstaan is in de Afro-Amerikaanse getto wijken van New York in de eind jaren ’70
Aanhangers waren vooral jongeren uit deze getto’s die weinig mogelijkheden hadden in de maatschappij. Dit was een van de meest zuivere culturen die ooit ontstaan is.
Een van de verhalen begint eind jaren ‘70 met Kool Herc, een immigrant van Jamaicaanse afkomst. Op ‘blockparties’ (buurtfeesten) introduceerde hij het zogenaamde ‘Toasting’. Hij kondigde zijn platen aan met humoristische rijmpjes over reggaemuziek heen. Voor de muziek gebruikte hij twee draaitafels waarmee hij wisselde tussen verschillende liedjes. Hierdoor ontstond een geheel nieuw geluid. Het rijmen kreeg de term MC’ing, waarbij MC voor master of ceremony staat. Later legde Kool Herc zich volledig toe op het DJ’en – het bedienen van de draaitafels – en liet hij het rappen over aan Coke la Rock en Clark Kent. Het eerste rap-team was geboren en kreeg de naam Kool Herc and the Herculoids.
Alhoewel Kool Herc de grondlegger was van de huidige rapmuziek en turntablism, was hij niet de uitvinder van het ‘scratchen’. Bij scratchen wordt een plaat tegen de normale draairichting in gedraaid en geeft daardoor een typisch ‘krassend’ geluid wat veel gebruikt wordt in rapmuziek. Het verhaal gaat dat Grand Wizard Theodore het scratchen per ongeluk heeft uitgevonden. Toen zijn moeder hem riep omdat hij zijn muziek te hard aan had staan tijdens een oefensessie hield hij de draaiende plaat tegen en hoorde toen het ‘scratchende’ geluid dat de plaat maakte…
How to make a phat mix tape?
You’re spinning on several parties and peeps ask you when you going to release your first mix tape. You start to think, where do I start? First of it all depends on your record collection. If you just started to build up your record collection the choice of tracks will be almost the same as when you spin live. So when you start to make a new mix tape you better get your self some new tracks. Listen to new releases on the Internet, radio or record store and check the records of artists that you find dope. I usually put about 30 tracks on a 1-hour mix tape. But it all depends on your mix/scratch skills. If you’re a starter then try to find some local rappers to do shout outs or a rhyme on your tape.
When you have your selection of records for your mix tape mix them several times and select them on BPM (Beats Per Minute) starting with the slowest. You can imagine when you mix a 104 BPM record with a 92 BPM record you must speed up the mix and voices of the MC’s will be pitched up a lot (I don’t like that). Don’t put 2 tracks of the same artists in the mix unless you make a sort of dedication to that rap crew.
Try to find ideal spots in a track for mixing. Example: You have a track that starts with only the beat and you have a track that has a bridge with only the base and the samples, you know what I’m saying…
If you’re an advanced mixing DJ you probably have some 12"double so you could mix the instrumental through a track, do some beatjugles and backspins.
Try to make an intro with some scratches. Just put on the first track (instrumental) and scratch your DJ name, don’t do this to long though, a long intro is mostly boring and remember that someone that bought your mix tape has to listen to it over and over again. An outro is also cool but just like the intro don’t make an outro of 5 minutes.
Get your self some paper stickers and mark where the first beat or sample starts (do this on the label of the record). Also mark witch track you going to mix, most 12" got a “clean” and a “dirty” version on it. By the way check if the dirty version is the dirty version, I got some records where it’s the other way around, record companies makes mistakes to!
Make sure your needle and your records are clean and free of dust.
Last but not least, watch your levels, no record has the same output level! Remember that a mix must be fluent, so large different in levels is annoying.
“Live” mix tapes
When you got 2 turntables (I prefer SL1200), a DJ mixer (I prefer Vestax) and a tape recorder this is your only option. Disadvantage is when your record gets out of sync or skips you having to start all over again. Try to mix after the first or second couplet, this will keep up the listening enjoyment for your “costumers” and keep the mix on the move…
When I started all my mix tapes were mixed live and soon I made sets of 5 records to mix and put a little skit between 2 sets. So when the mix went fucked up I just had to mix the last set again. Another disadvantage is the sound quality, the master tape sounds fine but when you dub it the quality becomes worse.
“Multitrack” mix tapes
Now a day everybody got a computer and a soundcard. With simple music applications, such as Cool edit, you can make sure that every record you mix is on point. A multitrack MD record isn’t also expensive anymore.
An advantage is that you can mix one record at the time and when it goes wrong, you just rewind and mix that record it again. Some headz say this isn’t the real way to mix a tape but it gives you a lot of options you don’t have when mixing a live tape. Remember that now a day most mix tapes are made this way.
Another advantage is the sound qualty keeps good and you can burn it on CD.