The concept behind Jamie's instrument was to explore the unconventional performability of a vinyl turntable, which focuses on the use of sound sources other than wax vinyl and digital processing.


Since its invention, the turntable has undoubtedly become recognised as a performable instrument, rather than just a means of reproduction of pre-recorded sound, most evident in 1970's hip-hop culture with the scratching of vinyl, developing into a broad scope of 'turntablism'.

Jamie's instrument began development after being inspired by DJ Kentaro and DJ Plus One's performance at the DMC world finals in 2001, who explored the sonic result when the stylus was placed on the paper disc in the middle of the vinyl. Both DJs achieved fascinating textural results when spectrally processed. It was this method that inspired the foundation of Jamie's instrument, which aims to further develop what turntablists had begun to expose, with the aid of todays digital audio processing.

The source material consists of a collection of vinyl records, some of which are used to playback that which is engraved in them and others are just used as a physical platform to host a collection of materials, used to stimulate the stylus in an unconventional manner (such as paper, as previously mentioned). The audio is then input into Ableton where a variety of spectral, granular and spatial processing occurs, the parameters of which are mapped to a simple MIDI controller. A small pin is connected to a contact microphone to act as a substitute when the turntable cartridge is at risk of being damaged, as well as to create a 'wrong' sound when playing back vinyl. The instrument can also incorporate a Pure Data patch based on DJ Sniff's Cut 'n' Play performance (2007) - a looper and sampler that consist of multiple sample banks that record and playback input audio, using the crossfader on a DJ mixer as the trigger to record, playback, loop and overwrite selected sample banks.

The instrument inherits certain audible aspects due to the nature of the turntable. Firstly, the instrument is subject to continuos rotation, so a degree of rhythm and/or consistency can occur when playing long textural statements. Secondly, the instrument is subject to static and surface noise, somewhat characteristic traits. The instrument can produce warm, crunchy warping textures, sharp vinyl cuts and thick sub bass frequencies.