![]() ![]() Punch phrasing (or clock theory): This technique involved isolating very short segments of music, typically horn hits, and rhythmically punching them over the sustained beat using the mixer.This, in turn, allowed Flash to turn the vinyl counterclockwise to re-arrive at the top of the break. The spherical needle, although making the song sound worse, would stay inside the groove. He realized that the stylus came in two classes: elliptical, which sounded better but would not stay in the groove, and spherical. ![]() Another item that played a key role in the successful implementation of the quick mix theory is the needle/stylus. The end result of that was the creation of what we today call the Slipmat. The combination of these two materials cut into the size of a record and placed on the turntable (at that time referred to as a "wafer") allowed the record to move fluidly. In addition to Grandmaster Flash's on-time BPM-perfected technique, additional items were needed to pull this off. Using the backspin technique (also referred to as beat juggling), the same short phrase of music could be looped indefinitely. When the break finished on one turntable, he used his mixer to switch quickly to the other turntable, where the same beat was cued up and ready to play. Grandmaster Flash perfected this technique where he could play the break on one record while searching for the same fragment of music on the other with the aid of his headphones. Kool Herc began experimenting with the use of two identical tracks to extend the ‘break’, or instrumental section, resulting in what was known as ‘break-beat’.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |