The 10th Anniversary DJWORX Prize Giveaway!

Want to feel old? We’ve been doing this DJ technology reporting lark for a full decade. That’s 10 whole years of bringing you the latest news and most in-depth reviews, all beautifully wrapped in layers of respected opinion and industry leading photography. Oh… let’s not forget all the stuff we give away on behalf of our friends and supporters. And it’s all done without once asking you for anything in return except your continued readership, a segue that brings me rather neatly to this very special DJWORX themed giveaway to commemorate a full decade of skratchworx and DJWORX.

Followers of DJWORX on Facebook (you’re missing a lot if you don’t) will have seen regular teasing of some very cool DJWORX bags courtesy of our very good and long time friends at Magma. Well they’ve stepped up to the 10 year plate in fine style and given us 10 (one for each year) of their large Root DJ Backpacks, emblazoned with the DJWORX logo in gleaming orange. There are only 10, and there will be only 10. DJWORX is not a shop.

Inside those bags is a selection of free stuff from Serato (orange time codes, slipmats, t-shirts and USB keys), Native Instruments (Maschine t-shirts and Traktor DJ cables) and Vestax (goodie bags with slipmats, stickers etc), as well as an “I’m a DJWORX DJ” t-shirt too. And of course, you’ll get a copy of the limited edition picture disk vinyl seen earlier this week.

To enter, we have one question for you to answer:

“In your opinion, what has been the most memorable thing to happen in the last decade of DJ technology and why?”

So we’re  talking post CDJ and post Final Scratch, but pre-Scratch Live and a long way pre-controllers. We’ve deliberately been vague by using “memorable”, because otherwise we’d be inundated with the same responses. Use your imagination and tell us what thing you remember the most about the last 10 years, be it a new product release, an important story, a particular review or article… just use your imagination. To help, you can trawl through the skratchworx archive (yes I know about the silly PHP error at the top), and the DJWORX archive at the bottom of the homepage as well.

The Rules — READ THEM

Here’s the bit that most of you won’t like. While the entry is open to anyone in any part of the world, we actually want you to earn these special prizes. This isn’t for the casual turn-up-and-comment to win freebies lurker, but is definitely for the ones who are real supporters of skratchworx and DJWORX, and really want to contribute to the community and the site too.

To enter, leave a comment below this story, with the most memorable thing on the top line, and then the reason why you feel it’s memorable in a detailed comment. We’re pretty strict on this format, and want to know exactly why you feel your particular chosen event, new product release, story, or other thing stands out over the least decade. Be warned though — single word grunts aren’t going to cut it. You do want this stuff right?

UPDATE: It doesn’t matter if someone else picks the same thing as you. It’s how intelligently, eloquently and indeed humorously you state your case.

Not just that, you must have a Twitter account that’s following @DJWORX, and a Facebook account that likes DJWORXHQ, and join the mailing list too.  If you win, you’ll be asked for usernames so you’d better have them. Like I said, this is for the fans and the people who really want this gear and are prepared to put in some effort to get it.

We work incredibly hard for you lot, and just this once would like you to put some effort in as well. Lurkers can get their hands of free stuff in the 12 Days of Worxmas soon enough. But for now, to commemorate our 10th anniversary, the real supporters get the booty. And if these hoops mean we get 5 entries, then those 5 people damned well deserve the prizes.

As far as a timescale goes, the 7″ picture disk is in production, and as soon as they arrive, they competition will close, so it’s about 4 weeks. Our decision is final, and the winners will be picked by the team.

Off you go then — answer the question and you could win one of these splendid bags. Here’s a question again:

“In your opinion, what has been the most memorable thing to happen in the last decade of DJ technology and why?”

Good luck to all!

  • the record looks great mark, might have to enter this just for the 7″

  • I’ll happily send you one. You’ve helped and sent me ones over the years.

  • nice!

  • How do i sign up…. ?

    • Click the link in the Facebook story.

  • How do i sign up…. ?

    • Click the link in the Facebook story.

  • How do i sign up…. ?

    • Click the link in the Facebook story.

  • Seekar

    The death of the Technics 1200s.

    For me the most memorable event in DJ tech in the last 10 years was actually an un-event of sorts. Even though I never owned a pair, despite lusting after them terribly, the Ones and Twos were synonymous with DJing and are what many of us envisage when you close your eyes and think ‘turntables’. It also served as a sign of things to come. Turntables, as the primary means of controlling music for DJs was on the way out. As a side, when I finally had the scratch to buy myself a pair of decks I ended up going for TTXs after the reviews on this site!

  • I’d have to say the DVS war after Serato took the market away from Final Scratch and other early DVS companies.

    Serato definitely solidified itself in the Digital Vinyl game and for a long time it was really the only top tier choice for people in the DJ game. I dig it and all but for many years it just wasn’t up to par with real vinyl and being from a turntablist background, I along with many others, felt that frustration. Serato took a huge step in the right direction but it was the point where Native Instruments started taking a huge hold on the market with Traktor by taking Serato head on in the DVS war. This bit of healthy competition drove both companies to step their games up significantly and pushed the current status of DVS systems to the new heights. I love love love the current feel of a nice tight system like Traktor, I’m a huge vinyl buff and the fact that I can cut like a maniac on Traktor with the most intricate of cuts, from the slowest crawl to the fastest maniacal cuts, and not have a sense of digitalization in the sound… that’s that shit I DO like. I’m really happy where the DVS technology is at right now and I’m excited to see who’s going to be the next to push it to the next level. Sure we’ve got controllers for days and IOS apps up the ying yang, but when it boils down to the DJ, vinyl will always be the heart of this culture and the fact that we can leave our valuables wax at home and spin in confidence on these strong systems now, makes me a very happy camper!

  • Christiaan Gombert

    The release of Traktor DJ Studio 3 with four-deck support.

    I guess it was back in 2005 that the guys of Native Instruments gave us a Traktor version with 4 decks. This gave a hole other dimension to digital DJ’ing. It wasn’t just about mixing two tracks into each other, and going A-B-A-B-A etc.. all mix long. Now you had the oppertunity to make loops on a third deck without having to worry about making room for the next song. And also with the new build-in effects, digital DJ-ing was now ready for the big stage.

  • MrMatic Boabmatic

    Rane TTm57 Mixer

    This was the first product that really integrated completely with DJ software, it had dedicated controls for the sole purpose of working with Serato Scratchlive features.
    It was the first of its kind and still is a stand out product in this genre even though it was released in 2006.

    It became regarded as an industry standard much like the technic1200’s. It also was the catalyst for all the other dedicated mixers and controllers that followed this format of integrated hardware controls for DJ software.

  • Yeah bring it on!

  • Yeah bring it on!

  • Yeah bring it on!

  • Rock Well

    Backtrack’s PDX 2000 DIY mod.

    At a time when it felt like big companies were all that was left in the DJ kit world and none of them cared at all about the turntablism scene, it was so refreshing and inspiring to see a talented, enterprising individual showing us that the scratch community is more than capable of taking matters into their own hands.

    • can you link us to this? I can’t find it 🙁

  • Ian Lewis

    Tonium Pacemaker DJ

    My most memorable moment is actually one that ended up leaving a little disappointed – My discovery of the Tonium Pacemaker. I remember (who doesn’t?) getting my monthly HTFR catalogue through the post and seeing this diminutive thing, and my jaw literally hit the floor. I couldn’t belive that a device no bigger than an iPod could replace all the gear i had on my deckstand at that time. I was at that stage in my DJ career where i was considering the switch to laptop and ScratchLive, and out of the blue this little box of wonders appears! Of course I headed straight off to Scratchworx to get the lowdown. Even Giz and colleges were waxing lyrical about it. I held off hitting the BUY button (they existed in 2009 right?), waiting to try and get my hands on this thing and test drive before buying. I could see myself now, throwing out mixes on the bus to work, rocking up at parties with nothing but a little media player, and still being able to perform my sets. But there was a little voice in the back of my mind. “not now – just wait”.

    I’m glad I did. A change of day job meant I had the money, and after a test drive I snapped up ScratchLive. Best money I ever spent! I think I always knew that I really wouldn’t enjoy playing on this little thing as much as a “proper” set up, but what the Pacemaker did was stir up a little something inside of me, a whisper that said “This is the future, be ready”. I guess we had no idea then how important the standalone precursor to iPhone and iPad DJing would be.

    It may not have caught on, and that respect I’m a little bit sad, as it had such amazing potential. But it prepared us for was to come: the miniaturisation, the all-your-tunes-all-the-time mentality, the power that we can hold in the palm of our hands everything we need to do what we love. It didn’t quite get it right (what first timers do, I’m looking at you, Newton), but it gave us a little glimpse into the future.

    Now, the world is full of tiny controllers powered by tiny computers. Maybe it wasn’t so much the Tonium itself that got me all excited. To borrow a turn of phrase, maybe it was just the Nextlevelness of it all!

  • DJ Baja Panties

    Introduction of Numark NS7 and V7

    “So we’re talking post CDJ and post Final Scratch, but pre-Scratch Live and a long way pre-controllers…” Gizmo

    I know you said long way pre-controllers but you also said in the last ten years and these blurred the lines between turntable and controller with their spinning platters… These things were revolutionary for DJing when they were released. The last ten years led to their development.

    HIp-Hop Legends on the V7’s:

    The NS7 and V7 controllers (along with the Denon 3700/3900s) were/are way ahead of their time. The game went from Turntables and Needles skipping to a lighter/portable setup that had the same build as the 1200s. Not too mention Cues, bleep/reverse, plus strip search in a setup that work through HID with software. Granted Itch was finicky, when it works it’s flawless. I still believe these would have become industry standard had it not been for their lack of Traktor and SSL support. The introduction of Serato DJ, if stable, will definitely show what these and the NS7 I & II can do in the hands of a true turntabalist. Basically these are early precursors to the coming hardware revolution for DJs. Yes, the CDJs are standard in many clubs but for the more traditional folks, the Numarks gave them the Vinyl feel with the portability and power of a DVS system without having to carry a Sound Card. These setups changed the game because of their build quality and features. One of the reasons why they have diehard fans and are usually featured in your photos and by touring DJs. These also signaled the beginning, demise of Traditional Turntables such as the 1200s for DJ sales, in favor of the controllers that have been released the last 3 years. The new Reloop TT’s with built in Cues that was just released and the Ooohs and Aaahs that folks gave for seeing the miniature TT’s used by Biz Mark show just how strong the impact was by the NS7/V7’s in the last 10 years.

  • KTD

    First time that avoiding Facebook is going to have a negative affect. Work, djing, wife and two kids is enough for me. My most memorable moment over the past ten years is when gizmo left me in the lurch for his Facebook groupies. 😉

  • I discovered skratchworx sometime in 2008 and though am not much of a DJ, I immediately got hooked. I just love DJ gear and the technology that comes with it. For me the biggest story to come out of this was the release of the NS7. This was one piece of gear that integrated both the time tested ways of 2 decks and a mixer and the bells and whistles that come along with software in one compact solution; no messy cables or accesories. And the icing on the cap; real rotating platters with real vinyl and slipmat, albeit with reduced platter size. That was a dream setup.

    I regularly dig in to the skratchworx archive and another interesting story was the TTX USB review. I like the opening literature bit, seems like it came straight from a fiction novel. For some reason every time I hit skratchworx I remember that story. And you pulled off something similar when that Philips, or was it Panasonic, mix boom box was released. Very creative.

    I’ll be here when you hit another decade. Keep the Worx rolling!!

  • Craig ‘Feffen’ Motisi

    For me the biggest event isn’t actually a piece of DJ
    equipment, it was Computers in the club.

    Ive been an IT tech for the past 15 years. Since I was a kid
    always wanted to DJ but never had space money etc etc etc. I started noticing
    around 2005 a bunch of guys I know who were DJs began coming to me for tech
    support. I started digging into the technology they were using and was amazed.
    Digitally control MP3 files and the ability to scratch them. I was sold. Computers
    greatly lowered the price barrier to become a DJ. Ive since learned this is
    both the best thing and the worst thing to happen to DJing. Computers in DJing
    has allowed me to 1 become a DJ without the high price of buying storing and
    maintaining vinyl, and 2 to start up a small business helping DJs with their
    libraries, tech issues, general training on new technology. Computers have
    shifted my original job into a more music oriented field. I couldn’t be happier
    because of it. Scratchworx has been a big part of running this 2nd business.
    Im usually ahead of the curve in the tech dept in knowing whats on the horizon
    because of you. Just wanted to say thanks for the 10 years.

  • Larry Gamez

    Easy answer for me. The birth & rise of the dj controller. It’s the gift and the curse. It has easily lowered the cost of entry to becoming a DJ but that has also flooded the market.

    I started on 1200’s and many in my DJ circle complain about losing work to folks spinning on “toys”. Instead of complaining about the new technology, I’ve embraced it wholeheartedly. I have pro level setups, that fit in backpacks. That’s something that was unbelievable a decade ago.

    Can’t wait to see what the next 10 years bring.

  • Antonio Altieri

    “In your opinion, what has been the most memorable thing to happen in the last decade of DJ technology and why?”

    For me the answer is simple: Hercules Dj Consolle Mk2…
    The first Dj controller I ever saw. In that period I was switching from 1200s to cdjs and I was sure that that type of technology would have no future. I try one of that, the sync button, traktor midi map, effects, very small size unit and very portable… but using that I felt “I’m not a Dj”, but I was wrong… some years passed and now I hown a Kontrol S4!!!
    Growing of technology show us new frontiers of Djing: stunning midi controllers, evolved softwares, iPad taking place in Dj boots, etc… I think this will be the future of Djing but never forgetting the past: using turntables with timecode vinyl with the S4 or /with other controllers gives you the best emotions you could receive from a modern Dj consolle…


  • kappesante

    the most memorable thing on the top line

    and then
    the reason why you feel it’s memorable


  • CutSelekta

    All i need and want is 2 turntables and a basic 2 channel mixer in order to DJ. Therefore the Innofader has been the most rememorable thing in the past 10 years in DJ technology. We did have the PRO X-Fade before the Innofader but Audio innovate took the technology a step further and right now basically every mixer is compatible, even the Pioneer DJM 800 and mighty Rane TTM series. Behind this incredibly smooth adjustable non-contact fader is company with an excellent track record of great customer service.

    What more do i need now? Yes you guessed it right, a lovely 45 rpm little DJ Worx picture disc (preferably 2 for backspinning) to rock sucker DJs on 2 turntables with. Oh yeah and i will post the mix/scratch/backspin session on Youtube if ill be 1 of the lucky winners 🙂

  • Brett Levine

    Rather than call out a single controller, I will say that the DJ midi controller itself is the single most memorable thing to happen in the world of DJ technology. Rather than be fanboy based – and I spin with Traktor – it’s important to see how the move from standard midi to HID, for example, has changed the ways we can all spin. So that’s it – the controller shift – which has saved a lot of backs, caused a lot of debates, and generally altered the perception of how one might go about entering the DJ world. It is important to remember that the VCI-100 was launched in 2006, which isn’t even 10 years ago. Word.

  • Marco Garcia

    For me the most memorable thing has been the development of DJ software, to be more specific Atomix MP3/Virtual DJ software. Atomix was the 1st to introduce many of the features found in other DJ software. Atomix has pushed other companies to step up their game even after they resisted ideas like Sync, MIDI, effects plugins and Video. I started on some 12s when I was a kid now I’m an old man rocking the controllers. I still have my 12s, those bastards never died on me, not even after Panasonic wrote their eulogy. I will be dusting off my old babies for my Halloween party.

  • Scott Frost

    The memorable thing for me is the slow death of vinyl. The smell, the culture, the excursions, the crate digging the walking by a record shop and stopping while your gf kept going because you heard a new track being played out of the store speakers that were put outside that you had to go in and buy to play 1AM because you knew it would pack the dancefloor.

    It wasn’t about cd players or midi, or even 1200s, it was about discovering music, now music is disposable. Before you’d spin that record you bought to death, cleaning it, trying to wipe out the scratches because some drunk girl bumped the dj booth and made the record skip (but if she was cute you would overlook it).
    Now you play a song 1 dozen times then move on to the next one, if you replay that song 2 months from now you get looked at like “what the hell is he playing…”.
    Maybe it’s more so the whole culture than just the music, but at the end of the day it all started for many of us with the music.

  • Pete Sasqwax

    I know people are going to take this the wrong way, but for me, it’s Ableton Live. Way back when I first got into hip-hop, the one thing that captured my imagination was the way Bambaataa would take ALL genres and combine them all live into this whole new style of music. Hip-hop wasn’t on a record – the very idea of a hip-hop record was a total oxymoron – hip-hop was MADE from records. A bastard genre that took all the detritus and made something fresh and new – and ours. The concept of that blossomed through the pause button 4 track productions that I began to hear and that sense of make something unique of a whole slew of elements liberated from other genres really took off in my mind. My initial idea of how this could be done in a live setting involved a lot of other DJs and an insane amount of practice between the group – 1 would need to double up the drum break, another would need to do the same with the bassline, another would do the mids etc. It just wasn’t feasible to entertain for a teenager living up in the largely hip-hop-free confines of a modest South Yorkshire town that I would find enough people to do this. When the loop pedals took hold, that opened up a possibility and I was hooked on that for a minute but I wanted the freedom to be able to jump into something new without needing to build it up bit by bit all over again and I just couldn’t fathom how to do that with a loop pedal. Then I got an early version of Live and it blew my mind. I was looking at it from the perspective of a production tool, but I never really took to that aspect of it; what I saw was the ability to create a four track style of mix in the same way that Bam’s music sold me hip-hop all those years ago – but live and constantly evolving. I mapped out channels for drums, bass, mids, atmospherics, vocals and the whole lot until I had 8 channels good to go, then I sampled for weeks – starting with classic drum breaks and things I knew other people had used, then working in to exploring my own record collection and seeing where I could take things from in there. I chopped them up, created variations of them and made a huge library of music that only I had – then I took that stuff out and did live sets with it, alongside my 1210 and trusty 05pro. It was the most fun I’d ever had and the closest I’d ever got to fulfilling the sound in my head that Bambaataa had set me off looking for all those years before… Naturally, I was – as we all are – Looking for the Perfect Beat. I’m not saying I’ve found it, but the I’ve come has been in the experiments that were made possible by the introduction of Ableton Live.

  • Gulli Johansen

    All in one controllers must be the most memorable you could carry all you setup in a laptop bag including music. No more back breaking cases to carry.

  • Abilio Rosado

    the best thing is the controller and mixer together in one piece.
    Because we can control mp3 files in the computer and, if we don’t have a computer available, we can use it as an analogue mixer as well. Pluging in turntables, CD or mp3 players it will work fine.

  • Jeremy

    I was going to say the rise of digital djing in general but maybe the biggest change (rather than most memorable) has been the insatiable desire for new gear that digital dj culture has created.

  • Scak

    being a skratch head from back in the mid 90’s i gotta say its the advancement of the fader… from contact to none contact faders this has made a big difference and i can only imagine what the next 10 years holds for us… but one thing I’m sure of is that SkratchWorx aka Djworx fam will be the first ones to let us know the newest and latest gear for the heads… peace ya’ll… happy 10 years and many more to come =p

  • Allan Humphreys

    It’s a hard one for me as I think that both Ableton Live and Stanton Scratch (later Traktor Scratch) revolutionized how we looked at DJing and both embracing the reality of digital media. Each had a very different approach to DJing as well, with Ableton opening up the world of endless possibilities of clip launching and live remixing, whilst Scratch took a more traditional approach of emulating (or better still, working with) the existing paradigm of two turntables and a mixer. My hat also goes off to the early adopters / trail blazers of these mediums ie PvD, Sasha and Hawtin – without their support, thirst and passion for this technology may of meant that what we use today may never have seen the light of day?

  • DjVertigoMTL

    For me, the creation of Skratchworx is the most memorable thing to happen to Dj technology.

    I say this not to kiss arse 🙂 I truly feel this way. I think you have developed such a trusted brand when it comes to new and shiny Dj tech. I won’t even consider buying a product without a good review from this site. Instead of heading to a forum where half the discussion is Mac vs PC, or Serato vs Traktor, I can always come here and find an honest and unbiased review. Even though companies pay to advertise on this site, I know it wouldn’t stop you from giving them hell because they made a mistake with a product.

    Now to move onto companies that might not have had the exposure they deserve without this site. My oldest memory is Uberstand; with your review I placed an order right away, even with the high price tag at the time, I still use it to this day. Look at the Uberstand now, bought out by the bigger Stanton, I wouldn’t be surprised if that is their highest selling product right now.

    Headphone reviews, there is no other site with such comprehensive reviews for Dj headphones. I would say I have bought at least 3 pairs based on the reviews here, I’m sure I’m not alone here. Giving lifestyle brands such as AIAIAI and Beats a chance in the “sometimes” harsh Dj community is something I applaud and respect.

    To sum it up, thank you for giving us a place to read, and also give our opinions about Dj technology for the last 10 years. Here’s to another 10!

  • William

    The most memorable thing is the ability to play music. It is just so easy to start playing music almost immediately. It might take years to get it right, but there are so many ways to begin as a dj. You don’t necessarily need a big budget(if any), or an instructor(just use free blogs & sites i.e. djworx), or fancy equipment. From just a computer and a keyboard, to a dvs system, to controllers and even ios & android apps, being able to begin mixing music you like has never been so easy. Some might hate it, but I love it!

  • Anselm

    Final Scratch. The way you can take a song you got from any source or even created it yourself… any audio source can be put on the platters next to the mixer and be used for mixing in the way you are used to it. Final Scratch started to make the DJs switch to digital systems without having to change the personal workflow. It prepared away for nowadays dj products like Serato, Traktor and the whole controllerism scene as it allowed the masses to come closer to a new medium: the Laptop or computers in general.

    It would have come different if the Turntables and anything else hadn’t been, if we hadn’t learned the ability to record sound and anything else. I think I may easily presuppose these developements as the djs wouldn’t even exist. But the shift from analogue to digital means a lot in the creative dj: creating edits – just to mention one – gives us various different tools for the sound of epic nights.

    Without that easy transition from vinyl to the digital worlds… it would be a lot harder to get into the world of djing. I like the fact anybody can dj, nevermind a good dj needs a lot more abilities. Accessibility is the cue. Cause that dj thing is the most interesting thing in my life. And I know that others wanna do it too, if just for personal pleasure. To install some easy software and start right away… Things have developed a lot from those days. It’s a great time. Thanks to the guys from Stanton and Native… you did it.

  • White Wulfe

    If I had to choose, it would probably be Traktor DJ Studio 2.6, with a secondary being Native Instrument’s sale on the Traktor Scratch Pro/Audio 8 bundles. I know this may not be the most memorable within the industry to some, nor the most revolutionary, but they’re still quite memorable to me.

    When I first started out, all I had access to at the time was WinAMP (and later on, a copy of Traktor DJ STudio 2.5.3 that a fellow dj happened to give me since he only used CDs and didn’t need his copy), because the cost of entry was fairly high, at least according to any attempts at research I was trying to do at the time. Pretty much everyone I talked to did the whole “two technics 1200s and a $1000+ mixer is required” speech and didn’t seem to care much that someone making a whole $6 CAD per hour couldn’t afford that $2,500 CAD lump of gear (at the time, 1200s were $700 local or more, since I lived in a small city – Red Deer had horrible markups, so it was either pay those, or do the shipping route).

    Along came Traktor 2.6, and for me it brought about not only an affordable way to get a similar layout to the various mobile djs I had tried to shadow over the years, but it also introduced internet streaming right into the software itself (with no workarounds, at least for open source servers). Given that I had been using either WinAMP (no crossfade capabilities, no cueing, no easy and reliable multiple deck setups) or cracked versions of SAM Broadcaster, it was a relief. Sure it wasn’t the two physical decks I wanted to get my hands on, but at the time I was more interested in putting thousands of dollars into racing cars around pylons (autoslalom) as opposed to spending money on what was more or less a hobby at the time. No matter what though, them being the first company to incorporate internet broadcasting directly into the software was quite the large pull for me.

    Fast forward a few years, and I’m making a much better wage, and finally got my hands on a pair of actual decks. Sure they weren’t the best (Numark Battle Pak v2 I believe), and the mixer was basic beyond belief, but it gave me an additional outlet. I distinctly remember walking twenty minutes from the shop to the LRT (light-rail transit, so think the London tube, montreal’s underground, etc) carrying this big assed box around, and the transit cops (as well as bus drivers) giving me some pretty weird looks. But I was damn proud of those turntables, and they served me well for years. I tried to do the whole vinyl only thing, but I kept finding myself missing the conveniences that DJ Studio 2.6 had, even though at the time I was actively resisting the whole digital/hybrid workflow due to some conceived notion that hardware alone made for a better dj. Only problem though was that the supposed only software to use in town was priced at $900 CAD!!

    Well, all that changed when suddenly Native Instruments announces that their bundled Scratch Pro WITH an Audio 8 was going for 50% off, I knew which camp I was going with – $330 versus a $900 investment was a no brainer for me. So I was going against the grain, I knew fully that I wasn’t going to be going any further than enjoyment in the bedroom anyways (with the occasional bit of fun with online streaming), so who cares about what the local clubs were running?

    While both of those are more along the lines of personal memorable things in the industry, I wouldn’t doubt it if the sales have helped others with lower amounts of available cash to get further into things (or upgrade to a hybrid setup, etc). Sure I could have gone with any of the countless options out there (Rane TTM-57, Allen&Heath Xone:92, Allen&Heath Xone:3D, Technic’s failed CD decks, Numark NS7, Vestax VCI-100, Numark’s CDX, Super OEM turntables, the death of the SL-1200, etc), but these two developments not only got me further into things, but also significantly more open minded about the various options that are available, and has even gotten me to try out things I never would have tried before.

  • Souldancer1

    Sync button, the most hated and loved subject with dj’s. A gamechanger for a whole new generation of dj’s

  • Farhan Tahir

    The introduction to cheap crap controllers that made me more innovative.

    I remember when i went straight to a shop to get a controller ( hercules Mk4), it was limited in every sense, no pitch fader (they actually used a pitch knob), the jogwheels were bad, it was really cheap plastic etc etc.

    It was designed to be a small controller and there were hardly any touch sensitive jogwheels at the time, so scratching is a big no. But the thing was so light and small, you could put it in your girlfriend’s handbag.

    But then i went to learn to map it on traktor, putting layers after layers of controllers (this was before i even discover controllerism). It was so fun because it came midi straight from the box ( and i didn’t even know you can download TSI files back then) so it was just whatever you wanted to program it to be.

    So without that cheap controller, i would never have started buying an array of controllers ,i’d probably just stick to cdjs.

  • heartyparty

    Skratchworx becomes DJWorx!

    The DJ (r)evolution in the past 10 years and how its allowed me to get back on it.

    Started mixing with vinyl about 93 with old realistic tandy mixer and two hifi turntables. Just having fun messing about with ‘now that’s what I call music’, parents 70s rock collection and began buying such a mish mash of stuff from the local record shop that finding tunes to mix together with my limited pitch control was a feat in itself!

    Fast forward through buying rave mixtapes, playing to friends who were just not getting it, past high school and into uni where suddenly house exploded overground and you couldn’t move for Cream snd Pacha logos…. suddenly everyone’s s DJ.

    Chance to get 1210’s – and a more stable collection of hip hop and jungle forming. .. playing daily and doing the odd party whilst getting into scratching… That was a revelation… You had to work hard to suss out out for yourself – pre Internet and mobile phone explosion so no resources other than vhs and live shows.

    Post uni. .. Full time work. .. set of vestax pdx a2’s and a rane ttm54 -skratch heaven like you wouldn’t believe. Planning on getting some gigs going and maybe even trying myself on the battle scene…. loving it and high hopes to take it forward.

    Bear with me here. … still over 10 years ago…..!

    Then kids, house, family, work and all the rest of the other good fun life stuff which just shifts your focus from playing comes along.

    Decks and mixer in the loft as kids need a bedroom more than I need a mixing cave!!

    However I now find a website called Skratchworx which I end up reading daily as it keeps me in touch with the skratch scene and especially the gear.
    DVS amazes me. .. playing your digital music and controlling it with vinyl! ? Surely some black magic at work here.

    Things move on again though and I lose touch with our all for a bit.

    Then I can’t find Skratchworxab but discover it had been reborn as DJWorx. Interesting. I can set a wave of new digital gear I’ve never seen. Digital controllers are a new way of mixing and I get caught up in it again drawn to the idea of having a small amount of kit which is pretty portable and sits my life more than a full vinyl set up. It clicks why digital makes so much sense for me.

    Get the decks and mixer out the loft and then put them back. The space issue is for real.

    I can’t get the controller idea out my head though so end up researching a lot and pick up a Denon mc2000 with serato.

    That’s it.

    My passion for mixing is fully ignited again. I can mix on it. I can scratch on it. Only. …… I have my entire library of digital tracks available not just a narrow genre I was investing my vinyl funds on.

    Full circle, feels like when I was 16 and playing about on the hifi decks again as it’s so much fun experimenting with such a range of music.

    Now I’m in my 30’s and only a few weeks away from playing my first gig in years.

    There is such a diverse range of kit out there to suit all different abilities and needs, styles and skills. It has never been more exciting and innovative to be using technology to help you play records to people.

    Cheers skratch/djworx


  • Wouter Van Eyck

    for me the most important event of the last ten years i definetely Tomorrowland… particularry as it’s happening almost in my background. I went already for years to festivals but this changed the world for me… it’s like going back to the acid years were music was fun, exciting, a common feeling. I have the idea that tomorrowland finally vbrings together people to party and i guess that’s the most important goal djing should have. So yes we could talk about some of those plastic controllers but for me it doesn’t matter with what car u drive… it’s about the journey you’re making with it and i guess tomorrowland has become the ultimate journey for dance music!

  • Sync button. What else?

    How could I not DJ today without the sync button? There are thousands of tracks to play, so the only way I can cater for the demand of today’s audience, who want to hear hit after hit, maximum 2 minutes of each song, is the sacred sync button. Of course, the well prepared playlist is very important too. Can’t pick so many songs when playing, plus I need to stick my hands in the air as much as u can, because that’s what people expect from a DJ now. So I mainly wear those pricey Beats by Dre headphones to show off, not to select tracks or to actually beatmatch… Hey I’ve got my sync button innit!


    • timsensei

      I tried those headphones, but I when I’m rocking the house I wear a giant water melon on my head so it kinda clashes. I used to play 2 minutes of each song like yourself, but these days I just get one track and divide it into 50 cue points and 64 loops. I then run them each through 8×8 banks of effects. I then trigger the lot using a pink fluffy mallet against velocity pads fixed to the backs of kittens, because they are cute and get me youtube traffic.

  • aeon

    hm … At the time around 2007/8 when I was in the process of buying the equipment I know that I have read absolutely every review that I’ve been waiting all the news every day … but I think it is most remembered those concerning ECLER Nuo 2.0, the review left me a fine impression, and the photos that I’ve drooled over every day, and the combination with that, how to buy, and daily checking komantara and read the text again, I that it is a most remembered story that has remained etched in memory, today I remember the thick knob ECLER 🙂 but unfortunately I have not bought the mixer …. Although not what I took not to throw: D

  • Bob17

    I think the introduction of serato scratch live in 2004. Now there was a credible, reliable alternative to vinyl. DJs could use their turntables to play digital music. Heavy record boxes filled with valuable, rare records could be left at home and replaced with a laptop with 2000 songs on it. Even better it still felt like djing and no one could accuse you of being a `fake dj` because you were using turntables. Let’s be honest with turntables its harder to pull a Tomorrowland.

  • Alexio Beez

    No mailing list..sorry dj worx,but I`m not in the mood for spam in my no spam e-mail 😉

    • We don’t spam. But hey, I guess someone else will win instead.

      • Alexio Beez

        Since I check this site everyday,why e-mail …And the problem with the spam dosent has to be your site…You can easily sell contact information to a 3rd party without me knowing…

        • What happened to trust? You check in here daily, why do you not trust DJWORX then? Wearing your tin foil hat today? 😉

          • Alexio Beez

            I trusted alot of sites like this.A few years ago I submited for e-mail news letters from 3 sites (not giving names) ,back when not all the smartphones had rss feeds aps,and gues what happend with that e-mail…It went full of spam.My luck was the fact that I made that e-mail only for news letters…I dont want to make the same thing again.
            I suggest that you stop the unnecessary insults and mind you way…

            • Craig ‘Feffen’ Motisi

              Those other sites didn’t have the actual owner telling you that they don’t sell or spam. Mark has always been honest with his readers.

              • Alexio Beez

                Oohh but they did! …

        • As a regular reader, you should know by now that we’d NEVER sell email addresses. No worries Alexio — more chances for everyone else to win.

          • Alexio Beez

            I know alot of other sites that claims the same thing while doing it anyway…
            And I know that e-mail newsletters brings cash,its traffic…
            I get the part with facebook and twitter,but having to submit to e-mail is kind of begging for cash,big time.

            • Because there’s no 3rd party opt-in checkbox, I’d be breaking the law if I sold it. Not that I would anyway. The list is just another way to connect with readers.

              If you don’t trust us, then that’s cool. I’d rather this very rare stuff went to real fans anyway.

  • Darren E Cowley

    For me it’s the fact (or opinion before I’m flamed) that the DJ is no longer a Disc Jockey… Even the Saturday night pub Dj now seems to be rocking things with a laptop….. I know it’s not a very funny or eloquently put response and i therefore have no chance of winning, however i was right up there with CDJ’s when my colleagues we’re laughing that it’d never catch on, then when i moved to Serato and Vinyl bored of CD’s they thought i was mad…. In the last decade we’ve seen a sea shift that would mean a beginner wouldn’t consider for a second learning on a pair of turntables…. It’s not sad, it’s progress….

  • Mike Yue

    The most memorable change in DJing over the past decade is the introduction of hot cues!

    Although the hot cues themselves weren’t particularly exciting, the effect that they have had on DJing is clear. Turntablists could mark their favorite sounds, and add scratch tracks to the end of mp3’s allowing them to match the best scratch sounds to individual tracks, allowing for a more composed sound. Mix DJ’s started HQ’ing the beginning of different phrases in songs, making the quick-mix much easier to perform, and improving understanding of musical phrasing. Songs could be used as samplers, and you could air horn (TOOOOT TOOOOOOOT TOOOOOOT) to you heart’s content until the manager beseeched you to stop! Hot Cues led to the inclusion of sampling (like the SP-6) in DJ software, and morphed into the Remix Decks of today.

  • BelgianJungleSound

    Djing going from an elitist profession (because you needed to own lots of music either on vinyl or CD, know how to use the gear, etc) to one that anyone can try out (because most people already have an extensive music library and a laptop). To put it another way, the demystification of what Djing is, which has led to the exploration of ways to “remistify” it with controllerism for example. This is because now that everyone with a laptop can mix two songs together, DJs need to be able to distinguish themselves from the crowd.

    • Remistify – I like that, even if my spellchecker doesn’t.

  • Techouse

    Death of the Technics 1200 : End of vinyl in clubs and overuse of the sync button… But also many new mix features as hot cues, samples…

  • HankBizzle

    For me it has to be moving from vinyl to Traktor.
    I made the jump at Traktor DJ Studio 3! The sync button didn’t work for sh** in those days anyway so I just used Traktor exactly as I would vinyl, except that all my tunes were right there on my laptop. TBH a lot of my passion for DJing died when I stopped using vinyl and it took me a while to get it back. There was just some kinda magic about DJing with vinyl that software and even CDJ’s just cant replace for me. I actually hated CDJ’s as they gave no feedback at all, no visual (other than track time info), no tactile, nothing they are just dead. I have never used newer gen CDJ’s with wave displays and such, but I probably never will either, I just don’t like them.
    So for me Traktor, and the shift from vinyl that came with it are the most memorable aspects of DJ technology from the last decade.

  • Sean Choi

    The most memorable thing in DJ Technology is the day when I started saying, “I remember when being a DJ meant you had discs to manipulate, not pushing buttons to create sounds.” I’m only 23, but I’ve been the through the stage in my career where I carried around a bin of +/- 200 records. I was late in buying Serato Scratch Live, and a Rane TTM 57 (within the past 5 years), but I’m glad I experienced it. I don’t think I’ll ever go back to carrying such loads (I’m down to carrying 4-5 records at max, 2-3 being timecodes, and one being a scratch record), but I’m definitely not gonna be moving on to becoming a “button-pusher.” I’m not hating on those who are going that direction, or in that scene, but I’d like to be considered a DJ in the standards of those who came before me, not by the image that is being portrayed to the next generation of eyes and ears.

  • Christopher Robertson

    The Vestax QFO – Hybrid Turntable & Mixer

    Seeing QBert use this while sitting on the beach basically got me as excited about scratching as I had been when I got my first turntable. Thinking of the turntable as an instrument is something that all of us here do already but the QFO illustrated that really well. the QFO was not just another turntable, it was a DJ performance tool.

    2 channel faders and a cross fader put into a turntable, plus a new tonearm design that would let it be used on an angle or while moving. To put it simply, I couldnt believe what i was seeing. And though it may not have been for everyone, the QFO was really something else, something different, something I had to get my hands on, but sadly never did. But since then Vestax have always held a special place in my heart for their creative thinking.

  • Deft

    A few memorable milestones;
    Technics SL-DZ1200 🙁
    Gemini CDT-05 surely this one would capture 100% market share? Everyone wanted one.
    Pretty much any concept piece by Vestax (guitar, pivot table etc. etc.)
    I’m trying to recall some more Plasa WTF type moments back in the good old days with WEAK_SAUCE

  • Mario García

    In my opinion the ios devices apps for djing, most of the classics make laught of them but they changed the game literally, i mean you can djing everywhere, just with a tiny iphone or ipod touch plus a dj splitter cable and that’s it no excuses to get fun and start a party in any time. The lightness of an ipad and the integration of many dj controllers is a solution for people like me who are mobile djs, a traktor s2 mk2, a traktor z1, a pair of portable speakers and you have an ultra portable setup.
    In the near future more people will accept that products, just like happened with the cdjs, the laptops and the dvs systems.

  • Randi S.

    For the past decade, I think the Innofader was the most memorable thing to happen in dj technology. I remember years ago on djforums I would see a few speaking about it, including Elliot himself, about the great features of the fader. Near the end of he decade it became the recommended aftermarket scratch cross-fader. It literally transformed the most basic mixer into a mixer one would couldn’t live without.

  • Wookie

    Digital Vinyl System. Why ? – Possibility of having two records instead of a case with all of your 1000’s records to the club. Everything fits in one small laptop. To actually stop have pain in your back of carrying heavy cases with vinyls, to stop being so scared for your records, (cause when timecode is broken you just get a new one and all of the songs are in perfect shape) and possibility of playing all music (I mean all) – a lot of music is no longer released on vinyl, if you missed that… It opened the whole new world of digital-djing. For me, DVS is a pioneer of today’s digital dj world.

  • Matt

    Midi controller’s in general.

    For the younger generation (Me) who can not afford CDJ’s – a simple midi controller can solve all the problems; i have learnt to beatmatch on mine, play in front of small crowds become fairly confident at Djing.


    this is why Technology killed the DJ, just as corperate greed killed hiphop

    FIRST OF ALL – nobody is scratching in rap anymore, rap became the fakest genre of music ever made and the mp3 revolution played a big part of it
    SECONDLY – any clueless child can can himself a DJ now who is totally oblivious about the pioneers and about going out on the street to find the freshest jams.
    THIRDLY – everbody is bitching about software, a Traktor user bitches about Serato and vice verca
    4TH – the greatest champs of DMC are the ones who killed it on wax, not a controller
    5TH – even with the best software money can buy people make the shittiest music ever, remember less = better. The best hiphop was made with the least equipment. We got Maschine now, who is making classic hiphop with it??? nobody, music has became disposable.
    6TH – you cannot call yourself a DJ if you aint spinning a disc, all you controllerist bandwagon people are nobodies who think they are DJing but they are just playing a TOY
    7TH – anybody who pushes buttons is not a DJ, its a button pusher.
    8TH – if you dont know how to mix 2 records together then you aint shit, no matter how expensive the CDJ costs.
    9TH – technology means nothing when all people do is play disposable shite
    10TH – the DJ died out in hiphop in the late 90s. Now most “turntablists” are on their own and pretty much all of the bandwagon turntablists scratch with the same predictable sounds over and over again.

    Conclusion, most DJs aint shit, the majority of DJs have become WEAK WEAK WACK

    now watch the crybabies all vote down cause ya’ll now the scene is superwack and boring now

    • heartyparty

      1 – I didn’t think anyone scratched in rap anyway – rapping is Hip Pop.
      2 – Freshest Jams on the street? This isn’t the Bronx circa late 70’s……
      3 – Yeah well, just like Technics fanboys vs Vestax fanboys……. some things don’t change,
      4 – Times they are a changing – and yeah killing it with 2 decks a 2 channel mixer and a box of wax is a real skill, but there are folks doing crazy stuff with the technology and STILL keeping it real with their cutting and scratching, juggling and drumming. Technology just ads a bunch of other tools to use in the bag – so it can become even more technical.
      5 – Yeah – I agree with that, over production is rife.
      6 – Nah, come on……. get real.
      7 – some of the most renowned and pioneering DJ’s probably never did much more than push buttons – not everyone is a scratcher.
      8 – Well, yeah.
      9 – Yup, music is pretty saturated and it is harder and harder to find good stuff – you got to WADE.
      10 – Hmmmmm…… the DJ died out in Hip Hop before the late 90’s I reckon. Taking a broader view though, depends if all you are talking about is real Hop Hop or DJing in general – DJing is hell of a lot broader than it used to be.

      Look at the DJ mag top 100….. pretty farcical and no reflection on skill, but possibly representative of the general public perception.

      You can DJ for yourself and that’s fine but if you’re in a club and there’s no one there……… you ain’t going to last long.

      I’ll not downvote because each to their own and I kind of agreed with some of your sentiments but times change and things move on – the past always has those rose tinted specs you know…….


  • Pedro Garcia

    for me,the real revolution was emule ,dont get me wrong.When I start to scratching the only shop in near my home where i can buy vinyls where a franchise ,they got vinyls but any turntable to play it ,so you just pick up randomly and wait to find anything good when playing it at home.So,with emule I can download the disc that I want to buy just to avoid to buy blindly +2 hours of bus ,but the irony of this thing is that become to kill the local market of people who buying music,at the last months after this shop closed ,they almost sells iron maiden t-shirts and merchandise rather than cd´s or music…so this leave me the only option to get other (more expensive +more long travel) bus to other (bigger) city to find any shop where find at this point i decided just to left a little this hobby until i got a dvs 2 years ago,which literally gave me life again .

  • eric

    maschine! what a piece, cheap and wonderful, creative ,inspiring, perfection and studio looks magic

  • Cisco EL Nino

    SKRATCHLOUNGE!! my original place for forums was the asisphonics forum, then from there I went to skratchlounge, met some from the group in person. Lets bring it back to the traffic it used to have. That was and somewhat is my daily page to see what is the talk of gear and mods.

  • timsensei

    The biggest thing for me is the massive drop in the cost of DJ technology, followed by size and weight.. To me a DJ is someone who can get others in a room nodding heads and dancing. This can be done with a mobile phone (for less than a price of a turntable) and an app (for less than the price of a single 12″). I used to be a record store manager until 10 years ago and to see that whole culture disappear… man… But that was pre-internet, and I personally love sitting at home now with a beer trawling through juno and understand why shops didn’t survive. If it’s current I can buy it, no limited promo rubbish. I miss a room full of physical vinyl to play through at home, but I’ve got kids to feed now and a small house, so am happy with my drive of tunes. I did try lifting my old record flight box last week, but nearly put my back out.

  • dj murj

    RANE TTM57SL aka Project Akiem

    A mix between drool factor and game changer, the mixer/interface/controler combo know simply to the dj world as the 57 will forever be a memorable milestone in the last decade of dj technology. It was some time in late 2004 or 2005 when I had purchased serato sl1 box. I messed around with the idea of putting it inside my ttm56. I never got the cojones to put both my babies under the warranty-voiding (to say the least) experiment. Come a few months later I find that Akiem bravely went where no dj had gone before.
    article here:

    This had me and similar minded members of skratchlounge geeked with dreams and anticipation of a rane built version of Akiem’s awesome creation.
    Mid may, 2006, the 57 ships. Complete with added controls for cueing and looping along with effects. It was the first of it’s kind. The hybrid mixer was born.

    • dj murj

      Curious if Akiem ever received anything directly from rane/serato for his contribution.

  • zykill

    The Scratch-Music-Scene (especially D-Styles and Ned Hoddings) represented the peak of musicianship in DJ-ing. But because cats like D and Ric set the bar so damn high in terms of production-skills and DJ-(Scratch)-Skills the majority of DJs/Turntablist in this shark-bassin, preferred to just mix and/or stick to traditional scratches/battles…

  • sdzfromtocho

    It was in 2006. Two years after i came to russian skratch community at I bought Mixvibes DVS 2. I was so impressed. I was so impressed that it is still in my memory deposited the first attempt to scratch your own sample. After all this is the greatest thing that happend to me in dj story.


    Shadow getting bounced out the booth just because of table service money.

  • Viciouss Hoffmann

    The biggest thing for me was the support of Skratchworx, DJWrox and DJ Tech Tools to the Digital DJ Community…
    Was the biggest thing for us Digital DJs who needed some well written articles about the discussion that digital DJing is cheating, jukebox DJing, Toy DJs, and a lot of other bullying afirmations.

    Without these blogs, forums and without some early adopters and open minded innovative people that participate actively in the digital DJ community we would not had a chance against the late majority and laggards DJs.

    So, thank you!
    And I’m sure that the Digital DJ gear’s manufactures have a lot to thank you aswell!

  • leejacksonuk

    In my opinion, the most memorable thing to happen in the last decade of DJ technology was Serato Scratch Live coupled with the Rane TTM57 mixer. Why? Because its simply joined the dots between my precious vinyl collection and the MP3’s on my laptop, now I could use them both together without compromising quality and reliability. Scratch Live was superb software that was stable and user friendly (if a little basic at first) with an interface that was second nature to a two turntables hip hop DJ like me. Vinyl will always live on and in a strange kind of way Serato Scratch Live and my old Rane TTM57 was part of that new school old school revival. The perfect mix.

  • Miłosz Digital-Milo Przepadło

    Your site was with me almost from the beginning, only thing i remember from back in the day… was a purchase of scratch live around 2004 or 2005 – one of very few in my country. I had probably the second one in Poland. The other thing i remmeber is daily visits on your site, to check about new gear news, cause i’m a bit a gear junikie.

  • Patrick FrostGiant Farkas

    I think the biggest thing was the release of the Vestax VCI-100. It was the first of it’s kind, in the realm of dj specific midi controllers. Vinyl or cdj purists might actually see this as the beginning of the end. The VCI-100 as the skynet, to dj-ings great robot war, but I for one welcome our new digital overlords. Some might argue that midi controllers have degraded the art form of mixing music, but to me it’s not about the format, it’s about moving the crowd and playing what they need to hear! The digital age has only served to bring djs more power and flexibility to their performance, and the Vestax VCI-100 was the first controller to brave that new realm.

  • Kasun Kalirai

    For me, the most memorable product to come out of the last decade is Traktor Scratch Pro and the way how Native Instruments have opened up the possibilities to mixing and production with the functionality of their products, such as maschine and Kontrol x-1/k1. I would love to have all that equipment one day but happy with my analogue set up. Thanks for your reviews over the years; you guys helped me purchase my Tech 1200 mk 5 with an Ecler Nuo 4.0 with the Eternal x-fader (which I’m very happy with) – four years ago. Keep up the good work.

  • sureshot

    For me, the most memorable thing that has happened in the last decade has been the emergence of DJ WORX. I’ve been a loyal follower of skratchworx since it’s inception and have found the skratchlounge a very helpful place for us “old school” dj’s who still rock the 1’s and 2’s. Then Mark pulls a whammy and creates DJWORX, and it’s been a staple of information and technology for every DJ out there. Whether you’re a noob or seasoned professional, Mark and his staff offer great reviews, insider information, photos and support that you will be hard pressed to find elsewhere.
    I’ve learned a lot of things since my early days as a DJ, primarily because of Gizmo (Mark) and skratchlounge. Now, I’m up to date on the latest gear and updates thanks to DJWORX (though I still hang out in the skratchlounge primarily).
    Free gear and giveaways are cool, but my goal here is to let Mark and the rest of DJWORX know, you guys do a great job and I thank you very much for your honest reviews, they have saved me a lot of hard earned cash and heartbreak on some things I would have otherwise dove into due to my ignorance!
    Remember this quote
    “you are not doing hip-hop, you ARE hip-hop”

    DJ Sureshot

  • Gavin

    The run-up and announcement of CDJ2000’s and Rekordbox…

    While I don’t use it (I use Traktor Scratch) this is easily the most memorable thing that has happened in the DJ tech world in the last 10 years. I vividly remember the amazing job Pioneer did in hyping up the CDJ2000 and Rekordbox, pre-announcment, with their “Dawn of a new species” teasers over a number of months. I must have searched the net for information on this for hours a day over this time, costing me lots of lost income in my day job, trying to get more information on what this thing was.

    When it finally was announced, and I stayed up to watch it live (it was announced at 2AM on a Tuesday), I couldn’t quite figure out what it was at first but then it clicked and blew my mind! You’re basically taking the computer out of DVS!!! Prepare and perform makes too much sense. As does no longer bringing a computer or soundcard/interface to gigs.

    Even though I have not got any “new species” CDJs or switched to Rekordbox yet this was still the most memorable for me. And in the music circle I am in the vast majority of professionals have moved on to Rekordbox and CDJ2000’s.

    I don’t see this as the end of innovation but just the beginning of the future. Scratching the surface. Rather than the future many imagine of everyone bringing their own all-in-one controller and setting them up at the club I see the opposite, people bringing less and less. Its not quite there but it is almost to the point that people don’t have to bring anything more than their music, be it on a Flash drive, tablet, or notebook, and headphones and all it takes is one plug for them to be set up. And it’s only going to get better from here.

    All in all that was easily the most memorable for me. Maybe a lot of that is because of the whole “Dawn” teasers thing but once I understood what it was it became evident this was also one of the most important things to happen in the DJ technology world in the last 10 years (SSL/Traktor were huge too, but Final Scratch was more than 10 years ago and they were just an extension of that tech).

  • Fredrik Yngström

    The most memorable moment thing for me is an ongoing thing. The DJ battles. And by the DJ battles I dont mean the turntablist battles or the controllerist battles. No, I mean the my “style/gear/brand/thingamajig/thingamabob is better than your”-battle that seems to always be raging on in one way or the other.
    From the old days of the Commodore 64/Spectrum wars through the Amiga/Atari fan battles into the feuds of mac and windows pc (because, face it – saying mac vs pc is like saying sl1200 vs vinyl), the DJs have embraced this tradition like a warm blanket.
    Pioneer vs Denon, vinyl vs cd…the list goes on. In a business where practice and honing your craft is key, it seems some individuals think that honing your forum/comment thread writing skills is where it’s at. Or should I say virtual poo-flinging skills?
    Luckily(?), a new “threat” has arrived. The dreaded sync button. The button that’s like a metaphorical red rag to a bull for the DJs has united old enemies and collected them for a common cause.
    Unfortunately, it has also divided old friends. Just like when CDs came into the vinyl world. Just like in the brand wars. Just like it’ll always be.

    Me? These days I’m just observing. I used to be a soldier in the Amiga vs Atari wars (and the short lived Amiga vs PC war), but I blame that on my age at the time. Today I’m holding a more pragmatic stance. If it works for me, it works for me. If it doesn’t work for me, it might for you. Maybe more people should have that mentality?

    On the other hand, where would the entertainment be? Time to break out the popcorn and read comment/forum thread posts!

  • Pierre Bosznay

    I don’t have twitter…

  • dj freestyle

    The most memorable for me is dj controllers.
    I am a 25 year dj and to see how controllers have changed the dj culture is amazing. i know older dj’ s like to slam the younger one’s and the controller dj’ s but i feel like its actually helped our culture and moved it along. Its made me practice more and work on my craft. Yes there are alot more dj’s but that just means you have to set yourself apart from the rest and be more creative. Controllers have opened the dj world up to being producers and singers. They have given us the ability to travel with less gear and made companys design things for us they never would have before. The fight to have the best controller has caused these comapanys to really think about what we do as djs and fit products to that. I feel like dj’s are the new rocksatrs and controllers made that happen if not on purpose then by creating a constant changing martket for companys to sell prodcts to. The bottom line is companys want to make money and if we keep buying controllers they will keep making new and better ones thus pushing the technology forward even faster. Thank you. Jere aka dj freestyle.

  • liddokun

    Bear with me…it’s long, but I had a lot to say!

    While it’s not particularly one moment in time I can pinpoint, I’d adamantly say that the Internet, and it’s growth in terms of accessibility and widespread use over the last decade is my number one pick for being the most memorable thing to happen to DJ technology.

    For better or for worse, the Internet has changed the face of DJing. I remember the days before connecting to the web was so easy; DOS, command prompts, Windows 98….Those dial-up tones while you heard while you were waiting to be connected, and then losing your connection when someone called you on the phone. Nowadays, so many people have laptops, smartphones, tablets, and so many different portals in which to access the web. This has lead to literally an endless supply of information and knowledge, and resources. DJs can share mixes and potential fans can now easily download them; in fact, the newest and most interesting tunes are sometimes just a few clicks of a mouse away. Sure, it’ll never feel the same as spending a day at your favourite record shop digging crate after crate, but it has opened up a whole new ballgame for DJs since traditionally,
    recording, producing, and pressing to vinyl cost quite a lot; now you can
    record digitally and it gives a chance to all the creative people out there to
    actually create, and gives DJs a whole new pool to choose from, which definitely facilitates creativity when it comes to sets. You have so many of the vinyl purists that complain about youngins not having any appreciation for vinyl anymore. The reality of it is, a lot of artists can’t even afford the overhead to press to vinyl, even though they are super talented. The internet lets me discover these super talented artists. As a youngin, I still love vinyl (I’ve got a collection of over 700 records and
    growing), but the Internet has provided me with an entire NEW collection on my hard drive. I am excited about all the physical AND digital crates I have yet to dig.

    Cloud storage is something that’s been picking up speed recently too, which is definitely making an impact in the DJ world. You can store, sync, and access tracks via Cloud databases now, which definitely brings new ways for DJs to create their
    own personal workflow and be more creative with their music.

    In terms of knowledge exchange, the Internet DJs with a wealth of easily accessible resources as well. Youtube, Google..the list goes on. You are able to access information like never before; this creates arguably better quality DJs, because you have easy access to this information that you can use to learn, grow, and improve as a DJ. Let’s say there’s a DJ that’s got such a flare for mixing and track selection and has rocked many a party. They want to add a bit of turntablism to their arsenal of tools. They could hop onto Youtube and find many different tutorials on how to do everything from baby scratches, two-click flare orbits, to even trick mixing. Blogs and review sites have popped up, helping DJs pick the equipment that best suits their needs. Scratchworx, which then turned into DJ Worx is a perfect example of this. Ten years strong, their archives are easily accessible (and have SO MUCH information), and they’re STILL consistently pushing out great articles, reviews, and overall dope content.

    Lastly, look at the communities that have flourished thanks to the World Wide Web. All the different forums, local communities, blogs; the Internet has allowed DJs to connect with one another unlike anything before. Again, I point to DJ Worx, which has created not only great content, but a loyal following and community. But you
    can look at other communities; MySpace, Facebook….not only has the Internet brought DJs closer together, but it has also facilitated new horizons for creativity. I can now collaborate with someone on the other side of the planet!

    Sooo…I rest my case.
    So many reasons why personally, the Internet is the most memorable thing to happen to DJing technology in the last decade. Keep up the great work, DJ Worx. Here’s to 10 years, and many, many more decades.

  • pulseone

    The Xone:92

    Memorable not through shock but through perseverance. It is the unforgotten, the Technics 1200 of the new millennium. It brings purely analog technology deep into the digital age, and shows no sign of stopping.

  • IST

    A little black box.

    It was the hot New Zealand summer of 2005, Vinyl was still my main focus and times were tight.. the small amount of money I would make at my job at a call centre, paired with the odd club gig pay only just allowed for 1-2 new vinyls to be bought a week (a single was going for $29, a full album $39+ at the time!).

    My friend Josh @ Serato had recently given me a nonchalant little black box they had been working on and just released, little did I know it was the SL1 in disguise (it wasn’t even sign written, just had input, output and usb connection).

    This little black box changed my world for the better – no longer was my DJ arsenal solely captive to the ridiculous pricing of new vinyl here in NZ, but I also had access to my massive mp3 collection as a source of new mixing… it was like being let loose in Willy Wonka’s chocolate factory, but substitute Hip-Hop for Chocolate fountains.

    This was my most memorable moment in DJ tech over the last decade.
    I have stayed with Serato ever since, Kiwi pride represent.

  • dj_penguin

    To me, the most memorable thing to happen in the last decade of DJ technology was the speed with which the transition to digital DJing technology occurred.

    First, a bit of backstory.

    As a result of a work injury and the recovery time from that injury, I did not pay any attention to the DJ scene for about four years, starting in December 2003. When I checked out of the DJ scene, digital DJing technology was in its infancy. Stanton’s Final Scratch had been around for a couple of years, but it was a boutique item (I didn’t know of anyone who owned one.) I had seen an early version of Ableton Live, but again, I knew no one who used it. At that point in late 2003, DJing was basically a choice between CD players and turntables, with turntables being heavily favored among the DJs I knew due in part to the cost of CD players. Most DJs I knew didn’t even own a computer, as they were spending their disposable cash on records and DJ gear. The most popular formats for recording a mix among the DJs I knew were MiniDisc or cassettes.

    When I started DJing again in late 2007, the entire landscape had changed. Serato Scratch Live, Traktor DJ, Ableton Live, and Virtual DJ were everywhere. People were performing sets with MIDI controllers or even just laptops. Most of the music was only available in online stores. Having a computer, or at the very least access to one, seemed like a basic requirement for DJing.

    The turntable was the primary DJ tool from the beginning of performance-style DJing (according to the Brewster/Broughton book, 1943) until about 2000 or so, a run of dominance spanning over half a century. DJ-friendly CD players were introduced in the late 1980s, and found their own niche through the 1990s, eventually becoming more prevalent in the early 2000s. The crossfader was added to DJ mixers in the late 1980s, and it slowly evolved over the ensuing twenty years into the advanced units seen today. Scratching and turntablism started small and simple in the late 1970s and grew along with the technology over twenty years. For over half a century, one could have checked out of the DJ scene for a period of four years at any point, and returned to find things basically the same.

    In the four-year period from 2003-2007, the DJ scene changed more than it had in the forty years prior. Suddenly, the old and accepted ways weren’t the only way. New tools, workflows, and methods abounded. The bar to entry in terms of both skill and cost was dramatically lowered, bringing both more people and more controversy into the DJ scene. The fact that the DJ scene is still struggling to cope with the fallout from this fundamental shift to this day underscores its magnitude and significance.

  • Mark Stewart

    “In your opinion, what has been the
    most memorable thing to happen in the last decade of DJ technology and why?”

    There have been many innovations worthy of “most memorable”
    in the last decade, so this has been a very hard choice. As a 30 year+ veteran
    DJ I’ve seen everything, some things were just stupid like the DJ mouse, some
    things changed the way we work forever like computer based solutions.

    For me the most memorable was the introduction of the NI Kontrol
    S4 and its “one to one” mapping of Traktor. When it was first released I had
    one in a matter of days, I soon took to creating large complex mappings, not because they made life easier, but purely because I could and I found it interesting. This wasn’t the first or the best; but it was the most integrated solution. For a long time I had to rely on numerous boxes custom built or shop bought , mapped to within an inch of their lives to do the same thing as a one box do it all

    The S4, and then it’s later little sister the S2, took DJ’ing to a new level, kids with absolutely no skills and no musical training could plug in, switch on and rock out instantly without fear of things not working as expected. It became the industry standard that all subsequent controllers would try to emulate; it introduced features we never knew we needed, like the loop recorder, the remix deck, and the world of the “superknob” (credit to Ean G).

    Even today the original is still, for the most part, working.
    Native didn’t feel the need to change the format, just an update to provide
    pretty lights to compete with the more gimmicky toy styled controllers now
    making the rounds.

    Has it been perfect, hell no! Driver issues, incompatibility with almost anything modern such as USB3, parts falling off or breaking, the terrible black plastic mixer top (why didn’t you change this when you had chance ??) and the very low level of the phono inputs when using real vinyl rather than timecode vinyl.

    Therefore, every time I see a new controller I compare it to the NI S4, I think everyone else does too, many people make a much better solution, but they just don’t get it one-to-one, so for that reason alone my vote for the most memorable thing to happen in the last decade is the introduction of the NI Kontrol S4.

    Mark Stewart

  • DJtonality

    As much as Id love to enter this… Im not going to start a twitter page just to compete. So good luck to everyone else. Those pic disks look awesome DJ WORX!

  • Unit27

    To me it’s seeing the Technics SL-1200 being discontinued.

    My reasons are not about nostalgia or wanting for certain era of DJing history to come back and remain immutable. It’s more the shock of seeing something that felt standard go because the market had no way to move new units. I love 1200s, the quality with which they were built is stunning and given the choice they’d be my first pick for decks to use, but having them step out of the forefront and leaving that space up for grabs makes me realize we are at a time of change when it comes to what being a DJ means. Right now there’s no standard way of doing things. You can show up with a record box, CDs, a laptop and a controller, a USB key, a kinect, motion tracking suit or some Rube Goldberg machine that switches tracks when you sneeze. As long as what you’re doing is dope and pushes the art form forward in some way, you are DJing.

  • ral

    elimination of cd as a media (music storage). tone signals became the standard to control music and more dj’s return to being a dj again, and use the dusty old 1200s. the laptop maybe replaced soon since the cloud/thumb drive/ipad/iphone/etc are getting faster and cheaper and more accessible. combination of dj/producer became transparent too since we have the tools available in front of us to elevate performance in live settings.

  • jbb

    Proliferation of digital audio and the software to take advantage of it. Before mp3s (and the other codecs) DJs were extremely limited in what and how they performed. Now you can download millions (probably billions) of professional quality samples free of charge as well as add numerous effects via the plethora of software suites available, both commercial and open source.

    Before, DJs were limited to what records they decided to bring and what condition said records were in. Now the only limit is imagination and hard drive space. Although hard drive space is rarely a bottleneck. Who needs 10 terabytes of samples for a show? Even if you did need that much capacity it would cost you $500-$1000 depending on your bargain hunting abilities.

    Digital audio that can be easily and quickly uploaded/downloaded/shared is the biggest thing to happen to DJing in the last 10 years. The software to utilize it was inevitable and equally important.

  • Rob Swierczek

    I believe that the single most memorable thing to happen to DJ technology is the accessibility of it. I’m thirty and have been into DJing for about 12-13 years give or take. At one point I was ready to give it up because it was too god damned expensive for me being a college student. With the introduction of DVS and alternative media like Flash drives etc. I could actually realize my potential as a DJ instead of having to give it up because I couldn’t afford to pump all my money into the most exclusive white labels. For good or bad, DJing is accessible to everyone now and I’m thankful for that.

  • Grills Truceppe

    Affordably powerful laptops changed DJing forever

    DJing has become a digital endeavor that does not require the same type of digging for both music and information it once required. This is not just because of controllers and DVS’ themselves. This is because if you can buy a computer, you can buy one that will power the new technology. The exclusivity of DJ’s is no longer what it was. I don’t think this is such a bad thing. What makse djing what it is now, is that a laptop that can power SSL, Traktor, etc., is very reaonable to purchase. They are spec’d and ready for it, and you can get manageable hardware (controllers) that can help you make the music interesting for whomever is dancing to it, or just listening to it for the sake of crafting together songs and bits of songs.

    A decade ago you weren’t able to easily get lesson videos if you wanted to learn how to be a turntablist and/or club dj. You might have ordered some videos online or tracked down dj shortee’s how to vids at a local music store. You would sift through books and magazine articles. You would buy stacks of vinyl hoping that something would work out as you hoped. You might come to a gig with a couple of bags of records. That’s changed. I’m a little nostalgic for it, but really, just barely. There was an art to it, but it was far more inaccessible and I music should be shared. I remember buying two copies of the same 12 inch, hoping to juggle them and make something new and interesting out of them. These limitations created a space to do something really special, but it also was a very expensive way to exist. Those limitations were beautiful, and I haven’t heard the term “microwave DJ” used as regularly in the derogatory way it was often thrown around a half decade ago, because many of those accusers are now “microwave DJ’s” who have deep love for the history of DJing.

    For those who have resisted the temptation, I salute you, but as for me, I have embraced my laptop and may one day embrace a tablet when I want to move on from my simple DVS system. I don’t DJ with SSL because I think it’s more genuine, or I am some sort of elitist. I do it because it’s what I know how to do and now that feels normal to me.

  • dj murj

    Ctrl+Shift+click on setup menu (EASTER EGG)

    I do not remember what year but it must have been under a decade ago that you discovered the beloved Technic1200 was also an arcade joystick.

    You push the secret instructions in and all of a sudden….(hypothetical mp3 situation)…. “C.R.E.A.M.” single (no pun) becomes the left paddle and “How Many Emcee’s (must get dissed)” single becomes the right. A death match of keeping a small ball on screen begins.

    I loved when I discovered that first “easter egg” within Serato. It also marks when I realized that dvs was not only a way of saving on record costs, but also a way of the future. (insert epic discovery music)

    DJAM (R.I.P) ….

    The next easter egg that really stands out is “note repeat”. It added this instant edit that sounded kinda cool and was easy. A sense of production joined the mix without no more than pushing a couple buttons. This has now become a very common function featured in nearly every promotional video of the latest and greatest command module.

    There are lots of other easter eggs and hopefully a ton more I don’t know of hidden inside Serato Scratch Live but my point is that the creators and owners of Serato are real humans with a sense of humor and community much like DJWORX.COM and djing rules.

    p.s. no rules about multiple entries, right?

  • Eazy Evan

    To me it would be the creation of the Rane TTM 52, and 54 mixers.

    My reason behind this is that they paved the way for the
    modern 2 channel battle mixers. For their time they are super
    innovative, and built like tanks much like current Rane mixers. They
    helped set the industry standard for what a battle mixer should be. I
    still use my 54i to this day, and they deserve all the recognition they
    can get. Even if it seems they are somewhat forgotten, they were a
    great line and set the path for the 56, 57, 61, & 62.

  • Mavis Concave

    In my humble opinion, the most memorable event in the past decade of DJ technology was Ean Golden adding arcade buttons to a Vestax VCI-100 controller, circa 2007. This is what I consider to be the “big bang theory” behind our current world of DJ gadgets galore.

    Some have said the initial release of the VCI-100 controller was the most memorable, some say that MIDI controllers in general, and some say it was the shift from analog to digital (Vinyl to Traktor/Serato/Ableton etc)… But I say it was not the controllers or softwares themselves, but the IDEA executed by Ean Golden that set off a chain reaction to influence D.I.Y. hardware hackers and DJ corporations alike.

    While Ean may have not fully realized at the time, replacing the dull, hard, boring rectangular buttons on the VCI-100 with multi-colored, rapid-fire, gamer-friendly, nostalgic, indestructible arcade buttons was a stroke of genius. In an attempt to curb carpel tunnel syndrome and gain the ability to crab-scratch hotcue triggers in an early version Traktor, Ean pulled DJ-ing out of the “professionals only” light and slipped it into the “gamer’s delight.” DJing with controllers (and the growing controllerism movement) became less work, more fun.

    Controllers now have more mashable buttons, knobs, faders, encoders, and LIGHTS than ever. Just to name a few of the controllers that have taken a cue (pun intended) from Ean’s VCI-100 arcade mod (and extreme Traktor mapping ideas): Traktor Kontrol S4/S2, Pioneer DDJ-SX, Novation Twitch (along with multi-function performance pads, the fader fx are a direct result of Ean’s fader fx mappings on his VCI-100), Numark NS7ii…. and the list goes on.

    While no mainstream manufacturer has adopted the actual arcade button for their controllers, the inspiration and functionality undeniably descend from “one small step for Ean’s finger relief, one giant leap for the future of DJ controller design.”

    • Mavis Concave

      Reference videos……….

  • Jose Bee

    For me the most memorable event was the introduction of DVS workflow into the DJ’s circles.
    First released onto the market with the Stanton – Final Scratch product , the DVS concept (unbelievably) has been around since the mid 1990’s and apparently the RZA financed an early concept version.
    This new DVS workflow was mostly been facilitated by wider availability of MP3 from the early 2000’s, so DJ’s were keen to use there MP3 collection without having to cart about records (or cd’s if you’re that way inclined). Serato pioneered the way forward for pure vinyl emulation and Traktor have pioneered production and performance functions into the equation. Midi implementation has been key to moving the DVS further into the realms of proper performance techniques that vinyl couldn’t handle (easily) making the turntable even more of an “musical instrument”. We’re at a point now where there’s a very high standard of products out there with some major new controllers on the doorstep that will propel DJing well into the next Century. Perhaps in the not too distant future DJ’s will be using a controllers like BeamZ……who knows.

  • Boba

    For me the most memorable moment in the last decade was when the so called “Digital-Dj´s” entered the arena, who simply refused to break their backs carrying vinyl or to spend hours in front of belt-driven turntables practising the so called “beat-matching”. Suddenly everybody who got a Laptop, a Controller and was able to push a button could claim to be a DJ, stepping on the level like the “real dj´s” – getting drinks, numbers and fame they don´t deserve.

    And while the resistance of the free dj world, all the true headz are shaking their heads rigorously at those who have chosen the quick and dark path, reassuring themselves they are on the good side, wonder how this could even happen in the first place, sadly the crowd doesn´t seem to care.
    Realness just had a pretty bad day.

    Seriously though, the emergence of laptop dj´s, digital dj´s, sync-users or whatever one wants to call them might be the single most interesting development in recent dj-history, because maybe we´ll find out what the core of djing and entertaining people in fact is all about.

  • Had to ask. How’s the comp doing:-)

  • Any announcements on this comp yet? I see the bags made an appearance at namm!