Every type of Dubplate Imaginable

  • Here at Dub Studio we have the largest selection of dubplates in the world. We cover every size, format and layout you can imagine, from 12 inch acetates to 12cm transparent minidubs!

    Ordering dubplates is quick and easy with our simple 4-step process, and we offer help at every step of the way, so you don't need to be an expert to get the tracks you want onto disc.

    We have over ten years of experience cutting dubs for touring DJs, sound system operators, installation artists, record collectors and jukebox aficionados.

    No other studio has the range and experience we have here, and that's what makes Dub Studio the Definitive Dubplate Service.

  • Vinyl dubs are the next generation in dubplate technology. The system was designed from the ground up by a company in Germany to satisfy the demands of the professional DJ. These dubs last longer than acetates and are much easier to cue up. Perfect for even the most demanding performance environment.

    Over the last 10 years, we have slowly refined the cutting process, using some of the best mastering gear available, to the point where these dubs sound just as good as pressed vinyl records, but at a fraction of the set-up cost.

    So whether you are listening at home, or playing out on a big sound system, these dubs will fit right in.

  • Acetate dubplates are the ultimate analogue luxury. These are the discs that vinyl cutting engineers use as reference cuts before cutting the master lacquers.

    They may not last as long as vinyl dubs, but the weight, smell, noise floor and sound quality of these one-off discs is unsurpassed. Not even pressed vinyl sounds quite as good these.

    We stock the entire range of Apollo / Transco acetate dubplates, including the extremely rare 7 inches (large hole and small).

  • Dub Studio is best known for bringing vinyl dubplates to your decks, and behind the scenes we work tirelessly to get the best sound on wax. But over 10 years in the business has given us a unique insight into what works in the analogue domain, so we use this experience to master digital tracks as well.

    In 2015 we launched a crowdfunding campaign to raise money to build a new mastering studio in the centre of Bristol. We succeeded in raising the funds, and we are proud to announce that from April 2017 we will be handling all our mastering work via Higher Level Mastering.

    We use excellent monitors to audition each track, and process the tonal balance, dynamic range, loudness and character, using some of the finest audio processing tools in the world.

  • Sometimes one dub is just not enough! So we have a range of special offers to make cutting dublates even more cost effective.

    You may want a couple of identical plates for an upcoming battle routine, or you may want to share your music on an analoque format with a select number of people, without the hassle of pressing up a load of vinyl, and because we save time cutting duplicate dubs, we can pass the saving on to you.

    Also if you have a bunch of mastered tracks, and you plan well in advance, we offer a nice price dub cutting service. The same quality cuts at a price that's nice!

  • Coming soon!

    We will soon be launching our customisation service. We hope to offer a picture disc service, as well printed labels for your dubs, and even printed sleeves!

    Watch this space!

  • All our vinyl singles are now availabe in transparent!

    Just select the style you want from the "Colour & Thickness" dropdown.

  • Dub Studio
  • Vinyl Dubs
  • Acetates
  • Mastering
  • Special Offers
  • Custom Dubs
  • Novelties
disc being cut

2014: Ossia

When it comes to unsung heroes of the Bristol music scene, Daniel Davies is high up on our list. And its not because he shuns the limelight - his regular Peng Sound nights at Take 5 are a Bristol institution, and joining the Young Echo crew is hardly the right move for a creative recluse - but in an age where self-promotion has become an art form, we often don’t see the whole picture, especially for someone so deeply involved in the day-to-day running of several record labels (Peng Sound, No Corner, Fuck Punk amongst others) and specialist online store RWDFWD. Not to mention the countless artistic collaborations, and the fact that he doesn’t always take the easiest route to get to his goals. Frankly, we were amazed he even had time to do this interview… but here it is.

Whilst your DJ sets span many disparate sounds, a consistent thread can be heard in what you play. What do you think these characteristics are and what do you look for in a record for DJing?

Ha! That's a tough one already... I guess they appeal to me for various reasons, but generally I seek out music that has something to say, there has to be a certain 'vibe' to it... that can be introvert and thought-provoking or just plain body-moving, it doesn't matter!

How long was it before you started cutting dubplates? I know you are a big fan of Jamaican sound system culture, is this where you got the inspiration to start cutting dubplates of your own?

I think I started cutting dubs around 4 or 5 years ago now... Actually, the first dubplate I cut has 'Find Jah Way' on it, the record that was later to be Peng Sound and Gorgon's first release... On the flip, there's a Junior Dread special over the Sleng Teng rhythm. Both these tracks are obviously in keeping with / indebted to Jamaican soundsystem culture, but to be honest with you - I think the reason I cut them to dubplate, wasn't necessarily a reaction to this heritage, it was simply because I wanted to play it out and I'm not too fussed about playing CD's at a gig... I tried it once, during my set at one of first Peng Sound Events, on my shoddy Numark CDJ that I bought for £20, and of course I managed to somehow accidentally catch a loop on the tune and had to call my friend over to make it play again - which was a bit embarrasing to be honest!

I think making the commitment to vinyl & dubplate says a lot about how much faith you have in the music you play, as well as just being a lot more fun, tactile and entertaining experience for both the selector and the crowd.

What is your favourite size and format of dub plate?

Ohhhpph... It's a tough call between that heavyweight 12" slate and those smelly little 7" acetates - It depends on the tune.

When you started the Peng Sound night, was it in order to get artists you felt weren’t getting represented in Bristol or to push a certain sound?

I guess so. The first dance did happen in order to push some people that I felt needed to be put in one room behind the decks - the energetic Intalek, with his cordless microphone, and Bjorn Vibration really impressed me in Cosies some months before... And then there was young Kähn - that's how his name was spelt back then - who was already showing severe talent at this point.

To be honest though, like with a lot of the projects we've built up over the last few years, it's more of a 'just do it' kind of thing, no initial big intentions other than making something happen that we feel the need to do.

Did cutting dubplates become even more important to you once you had started your own dance? Trying to outdo the artists you were bringing ;-)

Yeah, the thing is I can't really play my dubplates at Peng Sound nights, because the other DJs would probably just run home scared!

Ha, on a real though - being surrounded by so many talented musicians and DJs in Bristol really does keep me motivated to keep doing it, even if it can be a bit intimidating at times.

How long after running the night did you set up your first label Peng Sound Records and why did you feel that you needed to do so?

I think it was about two years in, around 2011. I had been given a CD with unreleased material from Gorgon Sound, seen the likes of Peverelist put out records in simple D.I.Y. fashion (that first run of Livity Sound 12"s) and then got talking to Sean Kelly behind the counter in Idle Hands, who basically told me to start a label... it seemed like a good idea, another natural progression.

When did you open your online shop Rewind Forward, was this borne out of necessity in order to facilitate the release of Pengsound001 or did you feel that there was a gap in the market you needed to fill?

That was about a year after PengSound001 actually, in 2012. We had done pretty well selling Find Jah Way directly via our big cartel store, you could sell a maximum of 5 items on there, so I ended up buying a handful of other choice vinyl to go along with our Peng Sound stock... A few months later, around the time we released Kahn & Neek's 'Backchat' on Hotline, we decided to make a proper website and get some more good stuff in... and we haven't stopped since!

When buying stock for the shop do you see it as an extension of your own record bag? Are there any criteria a release has to match to be considered?

Yes, definitely. To be honest, we don't have loads of staff to do reviews, admin etc - so it's almost necessity for us to just choose music we like, and feel the need to stock. We've always gone with a 'quality, not quantity' kind of ethos, and we try to keep a certain human aspect to the way we present things. There can only be a buzz and excitement around pushing something you really believe in, and part of the reason we do this, is because we don't want to work a mundane job, it's just really positive to be surrounded by things we appreciate and getting the same feedback from fellow music lovers.

You have a DIY ethic to everything that you do, does this come from an interest in Punk and Reggae which espouse a similar mission statement? Can you think of any specific people or examples of this that have proved inspirational to you?

I think the main reason we like to keep a certain 'touch' to what we do, comes from being of an age where I've experienced a big switch in society, from growing up as a young teenager making mixtapes, making friendships without a mobile phone, to being right in the middle of the fast-track 'information age' we live in now, where human-interaction is often compressed into social media formats or email.

Keeping things physical is a way of staying sane, keeping a sense of reality in the world we live in. Punk and Reggae have definitely inspired us, from the old screenprinted Studio One covers to the hand-labelled 7"s and grubby collages, there are some real visual treats amongst those worlds. But I have to add, when it comes to putting out records, and the way we have always presented them - the person who really opened my eyes to the beauty of D.I.Y. was definitely Alex Digard, the man behind the Tape-Echo design house, co-owner of RwdFwd and design-engine for the labels we run together - from photocopiers to typewriters and handstamps - that's the Tape-Echo vibe.

For what reason did you start to run more labels? Why did you feel it necessary to do this instead of having one central hub for your releases?

For our own (in)sanity. As much as I think music should be enjoyed as an all-encompassing experience, I guess it's more involving to digest a record when it's presented with a certain aesthetic to it, and besides that we have a lot of fun putting out music in different ways & means.

What has owning a record shop and running a label taught you about the music industry? Do you still retain the same passion for it now that you have seen behind the curtain a little bit?

It's definitely changed a few perspectives, it's hard not to take certain factors into consideration when you learn about a trade - whether that's the music producers skill / dilemma of being able to dissect a production into it's shreds and perhaps missing the point of the composition, or the record vendors eye for a good quality pressing, that may have him overlook a piece of underground white label gold.

But with this in mind, I try my best to maintain a 'listeners' stance as well as that of a 'professional'... I think If anything I've become more passionate about music since being further involved in it, there's great sense of community and creative inspiration feeding through it all, whether it's between musicians, labels, shop-owners or DJ's.

You recently became a member of the Young Echo crew and regularly feature at the monthly club night in Bristol. Is cutting dubplates for this an important part of the process for you? Is there a competitive aspect to this?

Yeah, although there is no format-fetishism going on between the Young Echo guys, at least half of us regularly cut dubplates and some of the sets end up being 100% dubplate - which makes me feel pretty proud to be honest! Holding the flame. I guess there is a bit of competition, but it's about contributing to the output as a whole and also about being unique amongst the collective - surely that's the healthiest competition there is!

Why should a consumer in 2014 still buy recorded music? With production costs diminishing as it gets cheaper and cheaper to make music and get it out there, how is buying vinyl and recorded music not a fetishisation of format but an actual viable means of consumption?

I'm guessing some people will have a different opinion here, but I think if you appreciate the dedication and skill someone put into something you take part in by listening to it and enjoying, then it's nice to support this.

After all, we all have to survive, and having good music to listen to makes this survival thing a hell of a lot more enjoyable, plus it enables the musicians and label-owners to really dedicate their time to the trade, ensuring that the quality and skill is maintained and creativity can be focused.

From a listeners point of view, I think building a record collection is far more satisfying than bookmarking your favourite blogs or illegal download sites... I don't think your grand child will be too interested sitting on your lap whilst you scroll through your hard drive in the year 2055 - but presenting them with some dusty records and heavily-used dubplates from 'back in your day' may raise a smile and make for a few interesting stories, perhaps even tell them something about your personality that you couldn't explain otherwise.

It's also a much more enjoyable way to digest the onslaught of music we are confronted with these days. There is so much of it out there, and simply put, not all of it is going to be up your street. The fact a properly released and presented record has had so much skill and thought applied to it - from the artist to the label, the graphic designer and the pressing plant, through to the record shop-owner - ensures that you at least have some sort of quality control applied to the end-product, and allows you to interact in the music in a far more enjoyable way. It's an important part of our culture, and society relies on communal support, surely?

Where do you feel the true value of music lies?

It's a universal language, a form of expression that can bring all kinds of people together, positively.

I say to David Cameron:




What advice would you give your younger self about a career in the music industry?

I wish I kept playing the drum-kit when I was a teenager. And I wish I'd started learning to play double-bass from the age of 3... I'd love to be able to play the double bass!

Interview by Lurka

How to order

How it All Works

  • Turnaround varies depending on how busy we are, and what sort of dub or mastering service you have ordered. At the moment, our turnaround is:

    • Regular dubs: 1 week
    • Nice Price dubs: 2-3 weeks
    • Mastering: about a week
  • The ordering system calculates the shipping cost for each order based on the weight and destination of the parcel. We ship most of our small parcels using Royal Mail, but sometimes larger orders are shipped using Parcel Force or UPS.

    As soon as we have prepared the packaging, we send the reference number to you. Then once the order has been completed and the parcel has been sent, you can use the reference number here.

  • Prices start from just £29 for a 7 inch vinyl single, and you can get your dubs even cheaper if you order online (see more prices). Prices vary depending on track count and layout, and we also offer an express service and some great nice-price deals.

    LayoutList PriceOrder OnlineTracks per side*Tracks per dub*Playing time (approx.)
    7" single £29 £24 1 2 2-4 min. per side
    10" single £35 £29 1 2 6-7 min. per side
    12" single £45 £34 1 2 8-9 min. per side
    Solution Graphics

    We take payment via PayPal for online orders. Even if you don't have a PayPal account you can still use your card to make payment.

    In cases where PayPal is not appropriate, we can also provide our bank details for direct transfer.

  • Registration is easy and only takes a moment. All you have to do is click here and enter your name and email address and then think of a password.

  • Track times vary depending on the size and layout of the disc, and also the speed and loudness of the recording. The following table is just a rough guideline for the most common types of dub. See more info on track times here.

    Approx. Times (per side)7 inch10 inch12 inchSpeedLoudness
    LP n/a n/a 15-20 min 33 rpm normal
    EP n/a 8-10 min 10-15 min 45 rpm louder
    Single 2-4 min 6-7 min 8-9 min 45 rpm loudest
  • Upload files
    • prepare
    • secure
    • send
    You can send your files directly to us here on the site. The system takes all the details we need so we can link the files to your order and process it quickly and easily.

    For more details, see the section on For more details, see the section on files and audio.
  • Turnaround
  • Shipping
  • Prices
  • Payment
  • Registration
  • Track Times
  • File Upload

Dub Studio Blog

Over the years we have had some amazingly talented people passing through the studio, and we thought there was no better way to document the work we do than talking to the people we do the work for!

DJ Joker, Pinch, Rob Smith (AKA RSD), Cyantific, Danny Byrd, Chris Goldfinger... just some of the artists we have interviewed since we started back in 2003.

Plus we have some great sound engineering advice in our Top Tips section, and some exclusive artist mixes on the way.

See our blog for more details!