Editing Turntablism (section)

===Techniques ===
More sophisticated methods of scratching were developed during that decade, with crews and individual DJs concentrating on the manipulation of the record in time with the manipulation of the cross fader on the mixer to create new rhythms and [[sonic artifact]]s with a variety of sounds. The evolution of scratching from a fairly simple sound and simple rhythmic cadences to more complicated sounds and more intricate rhythmical patterns allowed the practitioners to further evolve what could be done with scratching musically. These new ways of scratching were all given names, from [[flare (scratch)|flare]] to [[crab (scratch)|crab]] or [[orbit (scratch)|orbit]], and spread as DJs taught each other, practiced together or just showed off their new techniques to other DJs. Alongside the evolution of [[scratching]], other practices such as drumming (or scratch drumming) and [[beat juggling]] were also evolved significantly during the 1990s.

Beat juggling was invented by [[Steve Dee]], a member of the X-Men (later renamed [[X-Ecutioners]]) crew. Beat juggling essentially involves the manipulation of two identical or different drum patterns on two different turntables via the mixer to create a new pattern. A simple example would be to use two copies of the same drum pattern to evolve the pattern by doubling the snares, syncopating the drum kick, adding rhythm and variation to the existing pattern. From this concept, which Steve Dee showcased in the early 1990s at DJ battles, Beat Juggling evolved throughout the decade to the point where by the end of it, it had become an intricate technique to create entirely new "beats" and rhythms out of existing, pre-recorded ones (van Veen & Attias, 2012). These were now not just limited to using drum patterns, but could also consist of other sounds – the ultimate aim being to create a new rhythm out of the pre-recorded existing ones. While beat juggling is not as popular as scratching due to the more demanding rhythmical knowledge it requires, it has proved popular within DJ battles and in certain compositional situations (van Veen & Attias, 2012).