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.

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disc being cut
May
21

2013: Chris Goldfinger

In anticipation of our Wuk Up event this Friday, we took the chance to interview one of the UK's most cherished dancehall DJs. His career spans several decades and continents, and the influence his trailblazing BBC Radio 1 dancehall show had on the UK music scene is still reverberating today. We are talking to the man with the Midas touch, Chris Goldfinger.

Henry: What was your favourite sound system before you got involved as a DJ? What influenced you to get involved?

Chris Goldfinger: Living in Jamaica I used to love listening to Stone Love Sound System.

H: Tell us about Asha World, how did that come about? What are they up to these days? Are the rest of the crew gonna be there on the 24th?

CGF: The Asha world Movements are to this date still highly active in the dancehall arena, we tour worldwide maybe more than any other sound in the UK and are always on the road. I will be rolling out with the crew on the 24th. I have a nightclub in London, so some members do have to stay back and take care of that. Asha World came about when the UK needed a change in the way they were being entertained. It was all about the Juggling and away with the single turntable culture.

H: So Asha world was making a break from the more reggae / rootsy style of sound system, into what would become a more dancehall / bashment-oriented sound? When was this? We clearly see the two different sorts of sound system emerging, why do think this change came about?

CGF: When I came to the UK, coming straight from Jamaica where juggling was the big thing (mixing records back to back using 2 turntables), I didn't want to do the same thing as Coxsone or Saxon, I was more into the dub plates than having live artist toasting on the sound/mic. All this came into prominence in the early 1990's due to the Asha World Movement, hence the success of the sound. The UK was ready for this change, as loads of cassette where coming up from Jamaica with this style of playing.

H: What is the your most memorable clash? Favourite special?

CGF: I have too many specials really to pinpoint one favourite, but one of my all time favourite artists is Shabba Ranks, so his dubs are really special to me. The killing of Coxsone and Saxon are my biggest moments, as a little sound coming up in the ranks.

H: Two legendary heavyweights! When was this? Why don't we see so many dancehall / bashment soundclashes in the UK nowadays?

CGF: The clash with Coxsone and Saxon were in the 90s, we had to defeat these big heavyweights just to stamp our authority in the dancehall, back then you couldn't say you're a top sound without clashing the top sounds. Nowadays you can boast of being a top sound, just by downloading some tunes from the Internet, that's how easy it is to also become a DJ :) I guess you don't see many clashes anymore due to the fact that many sounds don't have a sound system anymore in terms of equipments and the cost of running a clash sound is not something many of today's DJs or sounds want to spend on. As for me and my sound, we keep very much competitive in cutting dubs even today, as we play across the globe in all sorts of arenas.

H: Was your show the first dancehall show on the BBC? Were you nervous how it would go down? Did you think it would go on for so many years?

CGF: Funnily enough when I got that contract it was only for one year, and that one year turned out to be 13 years. It was the first of its kind, first ever dancehall show on Radio One, I was a bit wary, thinking it might be a bit too hardcore for the mainstream audience, as most of our hardcore dancehall audience were mostly listening to community radio stations, I had to convert them to Radio One, which I did, proudly to admit.

H: The show started in the late nineties, when dancehall was going through a bit of a low point, would you agree? Your show must have helped the scene massively?

CGF: I have many accolades from record companies thanking me for the success of their artist, which I am grateful for. I remember breaking artists like Sean Paul, Beenie Man, Chaka Demus & Pliers, Elephant Man and Wayne Wonder to name a few, to a mainstream audience.

H: Why did it take so long for the BBC to run a dancehall show? Why do you think the BBC don't support dancehall as much as they used to, considering it is more popular in the UK that its ever been?

CGF: There's always changes at the BBC, some for the better of the station and some not so much for it, I was fortunate to have a boss at the time who was a massive reggae/dancehall fan, who if he didn't fully understood it, would take time to get to know the songs and the artist, he was an all round music lover, which if you're going to be a programme controller of a radio station, one thing you must have is an open ear to all genres of music.

H: You interviewed some heavyweight artists over the years, what was your favourite / most memorable interview?

CGF: Wow!! Too many to mention, I did have fun interviewing Capleton, his freestyles are always awesome, you can view on YouTube chrisgoldfingerTV, Josie Wales was another memorable interview I did, he'd make me laugh so much... too much to mention!!

H: You met with many big artists such as Buju Banton in the early nineties, what was the dancehall scene like back then compared to now?

CGF: There was so much fun in dancehall back then, it was hard work to break the songs I believed could crossover into mainstream, i.e. Mr Vegas - Heads High, but it was a great challenge for me. Elephant Man came and put the DANCE in dancehall.

H: Who is the most exciting artist of 2013 so far?

CGF: If I was still on BBC Radio One, I'd be trying to do more for artist like Popcaan, Konshens, Chronixx, Christopher Martin and a few more, I'd be working to get them mainstream.

H: What is the biggest dancehall tune/riddim you have heard so far this year?

CGF: I am feeling the Raw Cash riddim made popular by Flippa Moggla, and I'm loving the Poolside riddim too (2012).

H: What is your biggest dancehall tune/riddim of all time?

CGF: DAAAMMMNNN!! Must take you back when I just started out and was Juggling the Sleng Teng riddim in Jamaica and mashing up the place with my mixes and making a huge name for myself back then.

H: So this would have been in the mid-eighties, and you were a DJ in Jamaica, what was it like in JA when Sleng Teng burst onto the scene for the first time?

CGF: I was a very young DJ back then, making cassettes for all the public transports running the road, I was a household name and was learning my trade, when the Sleng Teng riddim came out it took Jamaica by storm, it was so much of a pleasure mixing those riddims together, as that was the start of the riddim sets, where you'd find the likes of 20 songs on the same beat, made it so easy for me to make a mix tape.

H: What was the best party you ever played at?

CGF: I've done sooooo many great parties, that I've walked off the set and said to myself WOW !! That felt good.... And let me say this I LOVE the HOT WUK parties, and I'm not saying this lightly.

 

If you don't know, get to know! You can catch Chris Goldfinger alongside the Asha World Movement this Friday at the Bank of Stokes Croft in Bristol.

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
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    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
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    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.
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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!