The untold story of our first DDJ controllers

Back in 2011, the year we launched our first DDJ controllers, there was perhaps just as much talk about the music a DJ played as there was how a DJ played it. This can appear strange on the surface. After all, aside from CD decks, DJs back then had basically the same tools to choose from that we do today—vinyl, USBs, digital vinyl systems, controllers, laptops. But the reason for all of the talk was that DJs, gear brands, venues, and even audiences were very much still trying to wrap their heads around all of these new technologies and figure out the future. 

“We have so many possibilities, so many types of controllers and features, that you have to find the right set of equipment,” Richie Hawtin told DJ Tech Tool’s Ean Golden at the 2011 NAMM show, capturing the mood of the time. “I don’t think there’s one thing…We are in the century of customisation, of personalisation, in hardware and performance.”  

With all of this possibility came instability. Picture a venue’s tech team back then trying to support a DJ lineup where everyone played from different setups. The changeovers could be a mess of cables, laptops, and pained facial expressions, sometimes resulting in “dead air” on the dance floor. The relative newness of the technology, along with less powerful laptops, naturally meant that the hardware and software failed more frequently than today.

This was also a period of adjustment for those on the dance floor; not everyone welcomed the presence of glowing laptops at parties. There was a perception that some DJs seemed more focused on their screen than the dancers in front of them. 

Around 2011, product designers at Pioneer DJ were also trying to make sense of this moment. In January of that year, we released our very first controllers: the DDJ-S1 and DDJ-T1, built for use with Serato and Traktor respectively. But it would prove to be a bumpy start for the DDJ range.

“We released the DDJ-T1 and DDJ-S1 with layouts inspired by our well-established DJM and CDJ series, both of which had already earned strong support in the market,” said Takafumi Nitta, a former product planning lead who is now a marketing director. “Although we entered the market later than others, we launched our first DDJ series controllers as our initial response to the growing demand. However, the public response to these controllers fell short of expectations, and they did not achieve the level of success we had hoped for.” 

With the benefit of hindsight and from the perspective of today’s relatively steady market, it’s clear that this was a pivotal couple of years for DJ technology. The period between 2000 and the mid 2010s will be remembered as a time of incredible innovation, but also one of rapid change and upheaval. DJ controllers were central to these developments. So in telling the origin story of our (now much-loved) DDJ range, we wanted to also tell the story of the crazy decade that preceded it. 

In that same Richie Hawtin interview, Ean Golden pointed out that it was almost exactly 10 years since Hawtin and John Acquaviva had introduced Final Scratch, the first digital vinyl system (DVS) to hit the market, which they helped develop alongside the Dutch company N2IT. Information about new DJ technology travelled much slower back in 2001, but those who heard about or saw Final Scratch—or indeed, the new Pioneer CDJ-1000, with its revolutionary jog wheels and vinyl mode—were frequently blown away (or, as Hawtin remembered, people were left feeling deeply uneasy about the massive changes that were clearly afoot).

The first version of Ableton Live had been launched the previous year, creating the possibility for a new type of DJ performance that drew from the principles of music production and live performance. 2001 also saw the release of Numark’s DMC-1, which is recognized as the first DJ MIDI controller, designed for use with early PCDJ software systems. 

The effects of these developments (and we haven’t even yet mentioned the then-burgeoning MP3 format) may have only created ripples in the DJ market at the time. But in the coming decade their collective impact would be seismic. 

“In the early 2000s, the music industry was undergoing a major transition—from CDs to digital file formats like MP3s,” said Takafumi. “During this period, software applications such as Traktor and Virtual DJ emerged, enabling DJ performances using a personal computer.

“At the time, professional DJ equipment remained expensive and difficult for beginners to access. In contrast, DJ software was more affordable and quickly gained popularity, particularly among entry-level users. However, operating these applications with a mouse was not intuitive, and demand gradually grew for external controllers that could offer a more tactile and expressive performance experience.” 

“Looking back now, it seems like a time of incredible change, upheaval, and innovation,” said Ean Golden, founder of DJ Tech Tools. “The early 2000s in DJing were really exciting and fresh! There was a tremendous feeling of possibility and creativity. For the longest time, we’d been restricted to vinyl and some fairly primitive CD players. Suddenly, we could loop, change speed without affecting pitch, and carry thousands of songs around easily.”

While Final Scratch, Ableton and the CDJ-1000 were key milestones in the early 2000s DJ tech boom, several other products also shaped the emerging landscape. One of the most influential was Serato Scratch LIVE, released in 2004 as a collaboration between software company Serato and hardware manufacturer Rane. Scratch LIVE became known for its accurate vinyl emulation and user-friendly interface, while the robust integration with Rane’s hardware—like the SL1 audio interface—helped accelerate the adoption of digital DJing, especially among the hip-hop community. 

Mixvibes, a French company founded in 1999, also made contributions with its own DVS solutions and DJ software. Their affordable DVS offering, released in 2003, expanded the market, appealing to both club DJs and hobbyists. Another intriguing and influential product was Miss Pinky, introduced around 2003. This independent, budget-friendly DVS solution appealed to experimental DJs and live performers due to its flexibility and Ableton Live integration. 

By 2006 and into 2007, DJ controllers had become a rapidly developing new market. Brands like Numark, Allen & Heath, M-Audio, Faderfox, Behringer, and Denon all released MIDI controllers. However, it was Vestax’s VCI-100, introduced in early 2007, that would become the most influential product of this wave. The VCI-100’s robust, metal build and intuitive layout made it feel professional and performance-ready, setting it apart from many of its plastic contemporaries. 

“When I first switched to DJing with controllers,” said Ean, “there really weren’t any dedicated ‘DJ controllers’ yet—aside from Faderfox, which I found small and toy-like compared to turntables. Instead, I was using basic MIDI keyboards like the Oxygen8. I loved their big, expressive keys that felt great under the fingers.

“The idea that I could map and design my own DJ layout—no longer constrained by a product’s fixed design—was thrilling. The first dedicated controller I encountered was Vestax’s VCI-100. It was exciting but its buttons still felt small and ‘un-musical.’ It took me just four days to tear it apart and install arcade buttons—that single mod set DJ TechTools on an upward trajectory and kick-started a vibrant community of non-DJs who wanted to play music with controllers.”

The practice and community Ean is referring to came to be known as “controllerism.” The term was coined by the musician and instrument designer Moldover in 2005 to describe the performance practice that treats controllers as expressive instruments, reshaping digital audio in real time with MIDI. The movement was made possible by the convergence of several technological advancements: improved laptop processing power; the arrival of cheap, programmable MIDI controllers; and the emergence of online forums where people could trade gear hacks, techniques, and mappings. 

“Controllerism began organically: a handful of us were manipulating songs via controllers without a name for it,” said Ean, whose site, DJ TechTools, was setup in 2007 in support of this growing community. “Moldover suggested ‘controllerism’ in conversation, and I first wrote it up in my ‘Digital DJ’ column for Remix magazine. The term resonated, especially in contrast to turntablism, which is rapid manipulation of the playhead. Controllerism replaced platters with buttons, jumping around a song using cue points.

“From there, controllerism expanded into all kinds of sonic manipulation, but its purest essence remains a nod to turntablism, translated into the digital space. Some argue that a platter is superior, because it integrates time, speed, and pitch in one motion. But buttons allow for rapid triggering of song fragments, turning those fragments into musical ‘notes,’ which was novel and compelling at the time. With controllerism we had a new frontier of expression with unlimited creative expression via software programming (mapping) and simple hardware modification (of DJ controllers).”  

DJs from two music scenes in particular seemed to embrace the possibilities of laptop and controller performances: techno and turntablism. DJs like Sander Kleinenberg and Sasha, who were associated with the late ’90s progressive house boom, would prove influential—in particular Sasha’s tours with his custom-built Maven controller.

In the techno world, meanwhile, Richie Hawtin blazed a trail that many others would follow, both through his live performances and the influential mix CDs in his DE9 series. Notable adopters of platforms like Final Scratch, Traktor and Ableton in the 2000s included Magda, Chris Liebing, Loco Dice, Dubfire, Adam Beyer, Carl Cox and Marco Carola. Techno’s sparse, loop-based arrangements were ideal for layering and rearranging tracks live using the emerging technology. 

The appeal for turntablists was different but no less profound. Aided by platforms like Serato and Traktor, scratch performances on timecode vinyl quickly reached the standard of classic turntable routines—but with a host of additional benefits. “I lived it, I did that, I got my records, and I’m sick of carrying them,” the late DJ AM once said on the appeal of digital crates. Cue-point memory, instant clones, beat-tight loops and portable libraries let turntablists extend the language of scratching far beyond what two vinyl decks could do, with notable early adopters including Jazzy Jeff, A-Trak, DJ Craze, and Rob Swift. 

Yet, the rapid proliferation of laptops and controllers also triggered a cultural backlash within some corners of the music community. The terms “laptop / Serato face” or DJs “checking their email” became popular slurs, reflecting skepticism around the new technologies. Many traditionalists felt digital setups removed crucial elements of physicality, interaction, and spontaneity from DJing. Forums and comment sections from the late 2010s were rife with heated debates about authenticity and craftsmanship, revealing a cultural division that required years of normalization to fully overcome.

“Looking back, it was a time of exploration and experimentation as we worked to define our approach in the evolving controller market,” Takafumi said, as he remembered the launch of the DDJ-S1 and DDJ-T1.

The DDJ-S1 was a two-channel controller for Serato ITCH, while the DDJ-T1 was a four-channel unit designed for Traktor. The products had a familiar feel to other Pioneer DJ gear, which DJs welcomed, but they were mostly too big to fit alongside the equipment in an installed DJ booth—and anyway weren’t designed for professional use, something the bundled lower spec software versions and lack of booth outputs made clear. 

“In search of a new direction, we introduced the DDJ-ERGO-V, designed around the concept of enjoying DJ performances through both sound and light,” Taka remembered. Launched later in 2011, the DDJ-ERGO-V, built for Virtual DJ LE, was a controller very much intended for hobbyists to have fun with. It will probably be remembered as “the controller with flashing lights” thanks to its distinctive jog wheels. “Pulse Control uses lights to highlight what features are in play, how accurate your beat matching is and which track is loaded,” is how we described it at the time. 

The search for the DDJ range’s direction would lead the team towards a new discovery. It had been assumed that the primary users of controllers were hobbyists who valued affordability and ease of use above all else. But research from the US revealed a different story.

“The main users of higher-end controllers were not hobby DJs, but mobile DJs performing at bars, corporate events, and weddings,” said Hitoshi Kudo, a former product planning lead who is now a new business development manager. “These professionals relied on DJ controllers not as a compromise but as a deliberate choice, seeking tools that matched the performance of pro-grade gear like CDJs, while offering unique advantages… They were not choosing controllers because they were at an affordable price point, but rather because they empowered creativity, flexibility, and professional performance.” 

This insight shifted the team’s design strategy, which would culminate with the next generation of controllers. This run of products, which began with the DDJ-SX in 2012 and ended with the DDJ-SZ in 2014, set a standard for all controllers that have followed. “The DDJ-SX marked a major step forward in controller design, establishing the foundation for the user interface now seen across our DDJ series,” said Kudo. “Built for professional use cases, the DDJ-SX introduced a new layout optimized specifically for Serato DJ, unlocking the full potential of the application.

“While earlier models like the DDJ-T1 and DDJ-S1 adopted layouts similar to our CDJ systems, they were unable to fully support key software features. With the DDJ-SX, we made a clear departure from that approach and focused on a controller purpose-built for advanced performance.” 

The SX’s layout was optimized to maximize Serato DJ’s capabilities. It featured the now-standard 4 x 2 grid of performance pads, which here enabled Hot Cue, Sampler, Roll, and Slicer functions. There were also dedicated controls for built-in FX within the software, and a new premium aesthetic with metal elements for durability. 

“While the SX was the king of controllers, the SZ would really cement the concept of a controller as a ‘professional’ piece because of the larger jogs, and a true ‘CDJ + DJM’ feel in layout and function,” said Pulse, a product planner based in Canada. “Not only that, but dual computer support was also a relatively new concept in controllers. With the ability for DJs to go ‘back-to-back’ (or simply transition without interruption), this unit could easily replace a conventional player/mixer setup for smaller venues, and I feel that it also helped DJs and venues take controllers more seriously as an alternative. Yes, there was certainly concern about ‘Serato face,’ but the larger controllers kind of mitigated that by having a lot of performance space. DJs could focus on the mix and less on the waveforms on screen.

“This shift in product development philosophy resulted in one of the most successful products in our history,” Kudo continued. “The DDJ-SX taught us the value of stepping away from internal conventions and assumptions—and instead, listening deeply to the evolving needs of our customers. Behind this success was also a transformation in how we developed products. Rather than handling all processes in-house as we had in the past, the DDJ-SX was developed through extensive collaboration with external partners. Most notably, we worked closely with Serato to co-develop both the hardware and the software in parallel, delivering a deeply integrated solution that felt unified from the ground up.

“The DDJ-SX reminded us of the importance of shared vision, collaboration, and perseverance. Even when faced with challenges, we learned to explore new methods and keep pushing forward. This success became the foundation for an expanded DDJ lineup—upward and downward—each of which found strong reception in the market.”

The “downward” expansion Kudo mentioned here came with units like the playful WeGO series, a forerunner to popular later units like the DDJ-400. This entry-level controller, which was bundled with Virtual DJ LE, took some cues from the ERGO-V, with multi-color LEDs on the jog wheels and the choice of five differently colored trims, from lime green to rose red. “The decision to offer five color options was a bold move at the time,” said Ayumi Satoh, a former product planning lead and current marketing manager, “catering to different lifestyles and allowing users to express their individuality through the look of their gear. One of the most distinctive features was JOG FX, which allowed multiple effects to be combined and controlled simultaneously via the jog wheel.”     

Last year, we looked back on 15 years of rekordbox, telling the story of the software that sits at the heart of our product line. Among the most significant chapters of that story began in October 2015 with the release of Performance Mode in rekordbox 4.0, transforming it from a music organisation system into a fully fledged DJ platform. With the DDJ range now in full swing, it was natural that a new wave of controllers would be designed alongside the new rekordbox. 

“As DJ software gained broader acceptance among performers, we decided to take on the challenge of developing our own DJ application,” said Kota Hirayama, a former product planning lead and current business planning manager. “This effort led to the creation of rekordbox DJ’s Performance Mode. Collaborating closely with the rekordbox product planning team, we faced the challenge of building an application without a fully established in-house software development framework. It was an ambitious and pioneering project for us.” 

The result was the DDJ-RZ and its professional-level counterpart, the DDJ-RX. These four-channel controllers combined some DNA of our flagship CDJ-DJM setup with the new possibilities offered by Performance Mode. “In differentiating rekordbox DJ from the already successful DDJ-SX series, we focused on one of the most beloved features: Performance Pads,” said Kota. “We introduced unique functions exclusive to rekordbox, including Sequencer and Pad FX, expanding the possibilities for creative live performances.

“Additionally, we placed great emphasis on visual consistency across both the application interface and hardware design. From layout to aesthetics, we meticulously aligned every detail to deliver a seamless, unified experience that became a hallmark of the rekordbox DJ platform.” 

In the 10 years since then there have been many more milestones in the development of the DDJ range. The DDJ-SB2 continued the big success of the original SB by offering a simple but powerful Serato controller, as units like the DDJ-400 also became smash successes in the hobbyist world. Flagship controllers like the DDJ-1000 and the DDJ-FLX broke new ground in the professional space. And the DDJ-REV-7 introduced motorized jog wheels for premium scratch performances. But it was the hits and misses of the DDJ range’s first five years that formed the foundation for everything that came later. 

“The biggest change brought about by the introduction of controllers, in my opinion, is how much easier it became to get started,” reflected Ayumi. “These models have become the first DJ gear for a wide range of users, from teenagers to adults picking it up as a hobby. Their compatibility with tutorials on platforms like YouTube and TikTok has also played a key role in their success. The structure of ‘watch, learn, and instantly try it yourself’ has led to a new wave of DJ players. This marks a major turning point for DJ culture. It’s fair to say that the route of ‘starting at home, sharing on social media, and getting invited to events’ has now become a standard path.”

“Entry-level models like the DDJ-400 and DDJ-FLX4 became explosive hits thanks to their ability to offer a professional feel at a relatively low price point compared to earlier products,” Taka said. “As a result, we were able to significantly expand the base of aspiring DJs, which in turn contributed to the growth of the DJ market as a whole. “I’ve also heard that many of today’s most exciting DJs and artists got their start on DJ controllers. It makes me incredibly happy to know that we were able to play a role in the growth of both the DJ market and DJ culture.”