In the studio or during a live performance, sound engineers use the faders of a mixing console to raise or lower the level of the audio signal. DJing and turntablism is today a virtuoso performance art largely through having perfected complicated variations of these same fader movements to modify sounds in various ways. As a result, equipment manufacturers created special faders (of both vertical and horizontal alignment) that could withstand the enormous stresses of the rapid movements. This is the context for Dynamic Motion, a system for conveying the large variety of fader movements which raise or lower the volume. Having a fader ‘language’ such as this gives us a new perspective and encourages new creative uses of volume manipulation.
Dynamic Motions can be separated into (1) ‘fading’ and (2) ‘cutting’. The difference between them can be seen in the envelope graphs below. The volume is measured along the y-axis and the physical position of the fader along the x-axis.
Fading is usually produced by using the vertical line or channel fader which has a gradual curve. It offers a gradual modulation of the volume depending on where the fader is located. Cutting is usually performed using the crossfader (a turntablist generally has this set at sharpest cut meaning the signal is either open or closed with no gradual curve). Different cutting and fading gestures and combinations of these are explained in further courses. Let us begin by considering the ‘parameters motions’ that are measured under the system of Dynamic Motion.
4.1 Motion Direction
If the crossfader is at the very left side, the sound volume is at its minimum value (closed signal). If you move it a little to the right, the sound volume is opened and the intensity reaches its maximum value (open signal).
The line fader is more gradual. It reaches maximum volume only by shifting the slider to the very top. When you shift it down again, it reduces the amplitude of the audio signal. Every movement of the crossfader and line faders are classifed as ‘motion types’. The smallest units of these are called ‘single dynamic motions’. A combination of ‘single dynamic motions’ (with identical time values) produces an ‘integral dynamic motion’. In order to describe these motions we must notate the two variants that infuence the sound material: volume and position of the fader. The way that ‘acoustic motion’ and ‘dynamic motion’ interact, forms the basis of using the turntable and mixer as a combined musical instrument. We use a quarternote for the sound material in the following examples.
4.1.1 Open Motion
In our first example the crossfader is moved to the right, thus opening the signal (the ‘dynamic motion’). At the same time, the ‘control disk’ is moved (the ‘acoustic motion’). After performing the ‘acoustic motion’, the signal will remain open and both hands remain in the fnal position.
As you can see, this cutting technique is denoted by a semicircle pointing to the right and drawn directly above the symbol for the ‘acoustic motion’ to clearly show that they happen at the same time.
Video: Open Motion
4.1.2 Close Motion
The crossfader starting position is open signal (ie allowing sound through). Once the ‘acoustic motion’ is played according to its time value, the thumb moves the crossfader to the left, thus closing the signal. The thumb stays on the crossfader and the index finger is moved away, (see video example) to allow for the transition into another playing technique.
In the notation a semicircle pointing to the left is used to describe this motion.
Video: Close Motion
4.1.3 Open & Close Motion
This cutting technique is used to open and close the signal within the time value of the ‘acoustic motion’. As the disk moves, the crossfader is opened with the forefinger. At the end of the ‘acoustic motion’ it is closed with the thumb. Because it is a combination of the two ‘single dynamic motions’, this is what is known as an ‘integral dynamic motion’. The ‘motion value’ of the ‘integral dynamic motion’ corresponds to the ‘motion value’ of the ‘acoustic motion’.
We notate this ‘integral dynamic motion’ using the symbol of a circle (a combination of the symbols for the ‘open -‘ and ‘close motions’ we saw earlier). The staff on the right shows the single components of the pattern.
Video: Open & Close Motion
4.1.4 Close & Open Motion
This cutting technique describes the closing and opening of the sound within a predetermined timeframe. Just like the ‘open & close motion’ this is classed as an ‘integral dynamic motion’ because it is made up of a combination of different ‘single dynamic motions’ (ie. two movements of the crossfader). The crossfader begins in an open signal position, then it is briefy closed with the thumb (when using the left hand) and immediately opened again with the index fnger – this takes place exactly in the middle of the ‘acoustic motion’ (thus cutting the sound in two).
In order to create a rhythmical sound that can be denoted by symbols, the duration of these two ‘single motions’ must match the total duration of the ‘acoustic motion’. A cross is used to symbolize the combination of closing and opening movements and is used whenever a bisection occurs. To write this you add the symbol directly above that of the ‘acoustic motion’. Again, the breakdown on the right shows the individual components of the technique.
Video: Close & Open Motion
4.1.5 The Transformer
In addition to the ‘single -‘ and the ‘integral dynamic motion’, other special forms exist. One of the most important of these involves the opening and closing of the crossfader using a specifc fnger technique known as the ‘transformer. The crossfader is tapped open with the index fnger, thus allowing the signal through. The pressure of the thumb on the other side of the crossfader acts like a spring, sending the crossfader back the other way to immediately close the signal.
This technique is denoted by a circle with a line through it (to distinguish it from an ‘integral dynamic motion’).
Video: The Transformer
4.1.6 Reverse Transformer
Where the ‘transformer’ involves punching the sound in with the forefnger and then closing it off with the thumb, the ‘reverse transformer’ instead begins with the signal open and, as the disk is moved, the sound is cut as the thumb closes the crossfader. The disk motion finishes once the signal is closed, then the crossfader is opened again by the index finger.
This creates a different sound to the other techniques and is denoted by a combined symbol (because it is a hybrid technique) – a circle with an X inside it.
Video: Reverse Transformer
Each of these cutting techniques allows the turntablist to create interesting rhythms through the manipulation of the dynamic structure of the sample. They represent the basic repertoire of fader techniques and, by changing the volume, they fundamentally alter the shape of the sound material, especially when using combinations.
4.2 Motion Duration
The duration of a ‘dynamic motion’ determines the length of time for which the sample is audible. Normally it is equivalent to the duration of the ‘acoustic motion’ (the movement of the ‘control disk’), which is why the time value of the ‘acoustic motion’ matches the action of the crossfader. As the ‘motion duration’ varies, so do the methods for manipulating the sound material.
In the following example a quarternote is cut four times equally by applying the playing techniques discussed above. The following graphical waveforms show us the divisions:
On the left of the diagrams, the breakdown of the patterns is shown in the stave. The symbols denoting the cutting technique pertain to all subsequent Notes until another technique is denoted. In addition to the ‘anatonic curve’, the tie symbol links the ‘single motions’ and indicates that it is an individual ‘acoustic motion’ and not a ‘group’.
This type of transcription methodology is valuable because it is recognizable as a common musical language which allows collaboration with other musicians and instruments. In addition, it allows you to manipulate one ‘acoustic motion’ using different cutting techniques. Also, it successfully describes the dissection of the sound material according to the rhythmic structure. In order to make things clearer we also write the number of ‘cuts’ or duration (1/16 or 1/8 for example) above the symbols. The resulting sound will depend on the cutting technique used. From the graphical waveforms you can see that both the opening and closing movements have very different amplitudes, even if performed in the same ‘motion duration’. To get an imagination of the performance and the acoustical difference of the fader techniques please check this video.
It is interesting to see how irregular divisions of the sound material by ‘dynamic motion’ work. There are two variants that will be discussed in more detail with regard to the ‘transformer technique’. The frst example shows an irregular time division of five cuts of equal length to a quarternote, making it a ‘dynamic sixteenth quintole’.
Video: E
At the beginning you can see the breakdown in which the time division is clearly readable. The ‘dynamic sixteenth quintole’, just as in traditional notation, is indicated by fve ‘acoustic motions’ (or Notes) and the fgure ‘5’ underneath. However, since it is the time division of a quarternote using five equal time values, all ‘acoustic motions’ also have to be connected by the tie and ‘anatonic curve’, to indicate that it is not a ‘grouping’. It is much easier to play using this transcription method. You can see clearly that the odd time division is a result of the ‘dynamic motion’, even if you only play a single sample.
It is interesting to note that different value distributions affect the interaction between ‘acoustic -‘ and ‘dynamic motions’, as shown in this example.
Video: F
The eighth note triplet (‘motion code’ 3-2-3) is divided into four sections of equal length. The number of sections is named after its pattern: an eighth-triplet-quartole. The fgure ‘3’ below the stave describes the irregular ‘motion value’ of the ‘acoustic motion’ group. The symbol above this pattern indicates that the total time value of this ‘grouping’ is cut four times, which corresponds to the true value of a sixteenth of ‘motion duration’.
The below notation shows the same three ‘acoustic motions’ (Note, Eton, Eton) but this time without any crossfader movement. Comparing the two waveforms reveals the effect of the transform (x4 ‘cuts’) on the ‘acoustic motions’.
There are two other notational examples in which different irregular divisions of the ‘acoustic -‘ and ‘dynamic motion’ combine (see fg. e).
The remaining ‘motion criteria’ (intensity and characteristics) describe fading the volume up or down (by using the line fader).
4.3 Motion Intensity
Letters are used to identify the exact volume level at which the musician should play the samples represented by the D clef. The below diagram shows how the D-line systems (lower, middle, upper) are divided into percentages to show the volume intensities.
In all the following analyses, we only use the middle system. The amplitude at the top line (Q) is set to 100%. Starting from this value, there is a 10% reduction with each step.The methodology is best understood by using a continuous tone with a decreasing amplitude, as below. This effect is also know as Echo
In the notation the ‘dynamic system’, or D-system, is always below the ‘acoustic motion’ (or S-system). Both line systems are connected by music brackets and bar lines are drawn through. The notation and speed are related to each other as on any other musical instrument. The position of the Note on the ‘dynamic motion’ line system defines the level of volume. The first Note is played at the amplitude intensity of 100% (Q). Over the subsequent three notes, the amplitude decreases all the way to 0% (A). This simple example leads us to the term ‘fading’, which is a type of ‘motion criteria’ through which it is possible to generate different forms of ‘motion characteristic’. In terms of notation, it works the same way as ‘acoustic motions’ since both rely on the movement of a controller (record or fader) – the basis of turntablism.
4.4 Motion Characteristics
The ‘motion characteristics’, just like the ‘acoustic motions’, are divided into two basic forms: ‘linear -‘ and ‘non- linear’. The ‘linear characteristic’ always has the same volume, whereas the volume of the ‘non-linear characteristic’ can vary.
4.4.1 Linear Characteristics
The ‘linear characteristic’ of a ‘dynamic motion’ is a constant amount of volume played with the ‘acoustic motion’. The positioning of the symbol within the D-line system gives the indication of the relative level. This one depends on a predetermined classifcation of lines and spaces.
4.4.2 Non-Linear Characteristics
‘Non-linear characteristics’ relate to a varying amount of volume within a specifed period. Just like in ‘acoustic motions’ the same additional notational symbols are used. The volume level is decided by the positioning of the ‘dynamic motion’ within the D-line system and the ‘motion point’ defnes the end level.
In practice there are different ways to play the above notation. The player can either use a conventional fading motion, as well as other cutting techniques which include using the ‘hamsterswitch’. For a ‘linear decreasing’ of the volume the index finger closes the signal by lowering the line fader.
For a ‘linear increase’ the thumb opens the signal, raising the line fader. There are various transcription methodologies, but they have exactly the same effect on the sound.
The ‘non-linear decrease’ or increase of the motion intensity is an irregular form of volume change within the specifed speed. The differences can be referred to as an exponential or logarithmic increase or decrease in the amount of Motion Intensity. You can see the changing levels of volume on the envelope graph and how they are affected by the manipulation of the line faders.
The variations can not be simplifed by cutting techniques like the instrumental course. The fader must simultaneously be moved with both, index fingers and thumbs, in order to obtain the required type of volume curve.
Of course it is also possible to combine all the individual variants. Depending on the combinations and numbers of curves the result different types of waveforms that lead to an interesting sound output. Other forms of ‘non- uniform motion characteristics’ can be characterized with the aid of the slur for the transcription. In the traditional way this special symbol describes a merging of more, directly successive pitches without a pause. Based on this feature each type of ‘non- uniform motion’ can be described in every detail. Due to the positioning of the individual ‘dynamic motion’ within the system line, intensities get determined, which you can hear during fader movements.
Using the slur, you identify that the strengths fow into each other. The resulting wavelike course of motion can be detected in the adjacent envelope graph. see. b
4.5 Grouping
By switching from all these different cutting techniques in one or more ‘acoustic motions’, a large amount of possibilities are available for the manipulation of the dynamic architecture of the sample. A few acoustic demonstrations will be shown in the examples. A popular form of such groups in turntablism is the “3-click fare”. The dynamic structure of the ‘acoustic motion’ is infuenced by four successive cuts.
Video: Grouping
For that you start in an open signal and play parallel to the ‘acoustic motion’: ‘close’, ‘transformer’, ‘transformer’ and ‘open’ the predetermined time value of a quarter. As a result, the sound material is divided into four sections – the audible result can be read in principle, based on the graphical waveform.
The notational representation, as well as the breakdown, reveals the abbreviation of this ‘grouping’ by a single symbol which is referred to as double dotted close. This allows a simplifed representation of a fixed sequence of certain cutting techniques. Once again we put the same action on crossfader, but this time in correspondence with a 4-2-3-4 group of acoustic motions.
Video: 4-2-3-4 Group
Each of the performed motions on the control disk corresponds to a ‘cutting technique’, which can be seen based on the breakdown. The illustration of the graphical waveform helps to recognize the resulting acoustic consequence. As you can see below there are further variations of groups. It helps to draw dots above the symbol, to shorten the cuts.
These ‘groupings’ are the merger of all the prior discussed techniques, which could still be broken down with the aid of the remaining fngers in another special playing techniques. Based on the volume you can compare the shaping principle of ‘groupings’ in some way with the development of musical patterns. Like a melody arises from the sequence of cuts a “tonal movement unfolding in time”, which produces a unique sound. Therefore it is also possible for an experienced turntablist to hear and identify sectional groups, regardless of the sound material.