Scratching is a unique performance technique where a vinyl record is moved forwards and backwards so the needle would "scratch" the vinyl playing. It creates a rhythmic and often melodic sequences that when paired with the crossfader, to duck out the volume, interesting and unique routines. According to this article, https://www.theguardian.com/music/2011/jun/13/grand-wizard-invents-scratching, it originated from Grand Wizard Theodore who, when he was 12, accidentally scratched his record when his mother shouted at him to turn his music down. It then became a staple for hip hop music, back in the day when it was the DJ on the forefront of the stage, with the rappers complimenting them with their rhythms and rhymes. Here is a video of Grand Wizard Theodore scratching.

Sound proofing is so important when it comes to producing but more importantly, mixing and mastering. Accurately hearing the sound that is being created is vital to achieve a professional sounding mix. According to this website, https://www.soundproofingstore.co.uk/how-to-soundproof-a-home-music-studio-practice-room, the best way to soundproof a recording or producing studio is to build a room within a room. This is great because in a normal room, the sound vibration will travel through the wall and around the rest of the building. If a room is built inside a room, the walls are not connected to the main structure, so the sound can not escape. However, this method is rather expensive and time consuming, so is not always accessible. A more affordable way is to install bass traps in the corners of your room. This website, https://arcacoustics.com/2016/10/24/where-should-i-locate-bass-traps/#:~:text=It%20is%20commonly%20known%20that,the%20most%20sound%20energy%20possible, explains why bass traps need to go in the corner of your room. It is because sound waves have the highest velocity in the corners and it is also where most of the bass frequencies go, which is one of the key factors that can ruin and muddy your mix. So by adding insulation there, the sound waves are absorbed and don't have a chance to reflect off the walls and distort what you are hearing. In my own studio I need to insulate it. I have included photos of where sound insulation should go in relation to my current speaker location.

Brian May was the lead guitarist in the rock supergroup, "Queen". He had a very unique way in which he played his guitar to give it an interesting sound. Instead of using a plectrum to pluck the strings, he used a sixpence coin. In an interview with BBC Radio's Raised on Radio, found on this website https://loudwire.com/why-queen-brian-may-uses-sixpence-coin-pick/, he explained how he "used very bendy picks because [he] thought it was good for getting speed". He then changed to a harder, more rigid coin so he can "feel what's happening at the string in your fingers". He further talks about how the tonality of the sound can be altered using a coin, with it having a "lovely, serrated edge, and if you turn it at an angle to the strings, you get a lovely kind of splatter." This technique came to him after experimenting, he tried something new and it worked so well he stuck with it for over forty years. Here is a video of him demonstrating using a sixpence.

A.M.C is a true drum and bass pionner when it comes to DJing, with, https://edm.com/music-releases/amc-6-deck-dj-set, describing him having, "unmatched technical prowess, attention to detail, and impeccable timing, A.M.C's set illustrates exactly why he leads the drum & bass pack as a DJ and performer". His quick, chopping transoitions set him apart from another DJ. Recenlty, he has really shown his talent by performing a six deck mix, which has never been seen before in the scene, with most people using four. He saved his best blend of the set untill last, by cueing the song "Killer's Don't Die" by DJ Hazard on all six decks and juglling them to create a unique version, which sounds amazing. According to this website, https://en.wikipedia.org/wiki/Beat_juggling , beat juggling is a "DJing and turntablism technique in which two [of the same] records are used to prolong an existing beat, or to create a new one." This creates choppy, sample-like transitions that sound really unique and catch the crowd off guard. In my own sets, I am going to practise juggling, as it is a technique not utilised enough in modern era.

Flume is an Australian producer, who has released world famous songs such as "The Difference", "Say Nothing" and most famously, his remix of Disclosure's "You and Me". His style is so unique, it is not defined by one genre. This website, https://liveaspects.com/what-genre-is-flume/, describes how he takes inspiration from future bass ,rap, hip-hop, and indie pop. Flume himself has described his style as "experimental electronica with a strong hip-hop influence". The most noticeable technique that he uses is his glitchy, off-beat instrumentation. For example, in his tune "Never Be Like You" the synth chords play a really syncopated rhythm and in his "You and Me" remix the drums are swung and come in late, which give the song it's signature groove. In my own production, I would love to use the same gritty synth technique. A video below from Cable Guys describes how to do it. It says to take a sustained pad sound, add a low pass filter with an LFO and modulate the LFO speed. To achieve the best recreation, turn off BPM sync and just use the Hz value, as it makes the sound really off beat. Using these tips, I have made my own very simple "Flume Type" idea.

Here you can see where I have automated the LFO rate

Sidechain compression is when the level of one instrument or sound triggers a compressor on another sound. This website explains the history surrounding it, https://www.ableton.com/en/blog/sidechain-compression-part-1/. It was created by a film audio engineer Douglas Shearer who needed a way to tame the sibilance, harsh "s" sounds, in his projects. Today, side chain compression is used in almost all genres, as a production and a mastering technique, with it most often being tied to the kick drum. In production, it can be used to create a pulsing effect on an instrument. For example, in EDM when the volume of the synths ducks out with the basic 4x4 kick pattern which gives the song it's distinct danceability and groove. From a mixing perspective, sidechaining is useful when controlling the low end. Both the kick and bass instrument occupy the same frequency range, so by using sidechain compression to duck the bass when the kick hits allows for a clean mix, whilst still keeping the melodic transient of the bass. Here is an example of sidechain compression on an EDM synth chords and kick drum to give it the pulsing effect. The first section is without the compression, the second is with. There is a noticeable difference, with the second being much more exciting and danceable.