Its sorta hard to explain!! but i had a butchers for something, and there was actully one good explination on here!!
unlike what you think its like! it is not a scribble!! its two handed/fingered technique!! i was just about to write some complete crap down which probably wouldnt make sence! but someone else has saved me the effort of explaining!! when you do it, use the natural cussioning in the pad of your finger to judge the amount of movement you need to actualy jog/alturnate your fingers once you have some speed going, it will tae some really quite boring practice but it does sound mint!,
this is what i found!! ok!!
By the way to listen to the samples you have to type them in the internet explorer address box instead of clicking the link as geocities has some technical problem regarding file sharing!!!!
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http://www.geocities.com/dj_veteran/wavetwisters.rm
The "Turbo" Skratch: this technique was first shown to me in a slightly different form around 97-98 (yes that long ago believe it or not) by a friend I used to session with, I didn't really pick it up and mess with it until around 98/early 99 and only bothered to try styles with it in the last year or so. But enough about that, lets get down to business. The technique like people have already guessed is a *two* handed, open fader scratch. The turbo itself is unlike any other fast sounding scratch (i.e. uzi) for the simple fact that - 1. it doesn't break up as you move the scratch forward or backward like a uzi (
http://www.geocities.com/dj_veteran/Uzi.rm )as you'll notice the sample of the uzi is a continuous sound randomly moving back and forth to create a harsh vibrating sound. The turbo on the other hand functions more like.....well like a good way to explain it is like somone running on the spot on a stationary treadmill. The technique, like running on a treadmill, alternates hands like your feet would alternate when you run......left...right....left....right...etc. In this case you just treat the vinyl like the treadmill surface. When you do the scratch it's not necessarily a "patting" method like people have said (although close), here's the step by step.
- Using your middle fingers (that's how I do it) you press directly down quickly and the vinyl should come towards your self slightly, you can see how brief the pull is in the example file I have made. It's almost a automatic pull when you press down on the vinyl. Basically you want to "jog" the sample on the spot. So basically every press down creates a short tear and then when you bring your finger off the vinyl your other finger should be on the way down to catch the record release coming back forward again. So every time the vinyl tries to play again you come down on it with the next finger and on and on. So if the press down would be the tear and the "ahhh" is the release of the sample it would read like <ahhh-tear-ahhh-tear-ahhh-tear> etc... confused yet??? haha believe me, when the video comes out on
http://www.phonografitti.com you'll be like "ohhhhhhh" but hang in there, the audio should be enough help you sort it out.
Example 1...
http://www.geocities.com/dj_veteran/Example1.rm
Example 1. - in example one I used alternating stabs to wind down the scratch then went from the end of the "ahhhhhhhh" sample and started the turbo slowly then increased the frequency of the "presses" running the sample back to the beginning of the "ahhhh". The faster you *jog* the faster the turbo.
Example 2...
http://www.geocities.com/dj_veteran/Example2.rm
Example 2 - in example two I utilized the same techniques but here's the thing that's different, towards the end I do the technique on the same spot of the sample *but* work from the inside of the vinyl to the outside which lessens or intensifies the turbo depending on finger placement, which is why it pitches up and down a little bit at the end of the file. voila.
