In the 1970s, hip hop musicians and club DJs began to use this specialized turntable equipment to move the record back and forth, creating percussive sounds and effects–"scratching"–to entertain their dance floor audiences.
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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. It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests. The first direct-drive turntable was invented by Shuichi Obata, an engineer at Matsushita (now Panasonic), based in Osaka, Japan. Early belt-drive turntables were unsuitable for scratching, 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. Modern scratching techniques were made possible by the invention of direct-drive turntables, which led to the emergence of turntablism.
Other DJs, like Grandmaster Flash, took the technique to higher levels. In the mid-1970s in the South Bronx, a young teen DJ named "Grand Wizzard Theodore" (right) invented the "DJ scratch" technique. Radio personnel demanded robust equipment and manufacturers developed special tonearms, styli, cartridges and lightweight turntables to meet these demands. The rationale was that any "dead air" on a radio station was likely to prompt a listener to switch stations, so announcers and program directors instructed DJs and announcers to provide a continuous, seamless stream of sound–from music to an announcer to a pre-recorded commercial, to a "jingle" (radio station theme song), and then immediately back to more music.īack-cueing was a key function in delivering this seamless stream of music. All this was done in order to present a music show on air with the least amount of silence ("dead air") between music, the announcer's patter and recorded advertising commercials.
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The older, larger and heavier turntables needed a 180 degree backward rotation to allow for run up to full speed some of the newer 1950s models used aluminum platters and cloth-backed rubber mats which required a third of a rotational turn or less to achieve full speed when the song began.
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This permitted the announcer to time their remarks, and start the turntable in time for when they wanted the music on the record to begin.īack cueing was a basic skill that all radio production staff needed to learn, and the dynamics of it were unique to the brand of professional turntable in use at a given radio station.
This was done to permit the operator to back the disc up (rotate the record or the turntable platter itself counter-clockwise) in order to permit the turntable to be switched on, and come up to full speed without ruining the first few bars of music with the "wow" of incorrect, unnaturally slow-speed playing. It was known as back-cueing, and was used to find the very beginning of the start of a song (i.e., the cue point) on a vinyl record groove. ( August 2019) ( Learn how and when to remove this template message)Ī rudimentary form of turntable manipulation which is related to scratching was developed in the late 1940s by radio music program hosts, disc jockeys (DJs), or the radio program producers who did their own technical operation as audio console operators. Unsourced material may be challenged and removed. Please help improve this article by adding citations to reliable sources. This section needs additional citations for verification.
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