In its present incarnation, the dubplate is primarily the medium DJs use to play out the freshest songs never heard before by the public. For producers, dubplates are simply “reference” material that will allow them to hear their songs on large sound systems in different club and event environments before making final decisions with regards to various elements in the mix. Critical attention is paid to the various levels: How is the overall level in relation to the rest of the material being played? How do the bass and treble sound? Is the bass too hard or muddy? Is the treble too high? Is it breaking up the signal? The dubplate can also help determine whether or not a full-release of a track would be a wise investment for the independent producer. If the track clears out the dancefloor, maybe it would be best to save it for a CD-only release.

Considering that an actual vinyl pressing for promotional or commercial distribution includes packaging/art decisions and usually involves paying for and working with a professional sound engineer on state-of-the-art digital processing and editing equipment, dubplates are a relatively inexpensive way to test out tracks. A $30 to $50 dubplate is ideal when compared to a $500 test press that would most likely take a few weeks to receive and, if dissatisfied with the results, would require a repetition of the process. All of these considerations do not have to be dealt with when producing a dubplate.

Your First Dubplate.
So you went out and bought the best gear for your home studio. You mastered all the software and hardware and came up with a few tunes you’re proud of. Now you want to cut your first dubplate and hear how it sounds “in the mix.” Here’s a step-by-step guide to getting it done right.

A Glossary of Dubplate Terms

Acetate: Actually refers to the petroleum-based material that a dubplate is made of. Very sensitive and comparatively “soft,” acetate-based records wear out quickly and are easily scratched.

Dubplate: Acetate-version of a record. The name itself derives from the Jamaican dancehall reggae scene in the early ’70s where “dub” or instrumental versions of songs were produced so the vocalist could “toast” over the “riddims” in club settings.

One-off: Another name for a dubplate that means exactly what its name implies, usually the only copy of a particular song in record format.

Plates: Another name for a record disc in any form or format.

Promo: Limited advance release of a single or LP from a label/artist. Usually given to a select number of DJs, radio stations, and magazine reviewers to build “hype” in advance of its full-production release. Usually packaged without the art, accompanied by a bio of the artists and a statement from the label.

Test Press: Limited release, usually 100 to 500 copies of a song or pair of songs that may or may not be released to the general public. Is on traditional vinyl and is usually given to DJs to test the viability of it becoming a track for production and/or to test the quality/level of the mix and the specific pressing. A problem with the pressing may be in the cutting of the master plates or in the pressing plant production and not in the mix. In that scenario, the label/artist may request that new masters be cut before moving on to the final phase of production.

Vinyl: A “plastic”-like compound that forms the foundation for the records the general public finds at record stores. The compound is heated and an imprint of the track is stamped into the vinyl before it hardens into its final, playable form.

White Label: Another name for promos and test press records, often used incorrectly to refer to acetate dubplates. For promo/test releases, generic white labels are usually placed on the vinyl, hence the name.

Preparation.
There are a few things that should be taken care of before you even step out the door and all of them have to do with your mix. Be sure your final mix is as clean and loud as you can get it, remembering to correct any excessive treble or bass boosts which may cause the cutting head to skip the groove or break up the signal. Although most engineers will do some minor compresion and limiting work on your tracks, a full-on studio session with an engineer is not to be expected on a dubplate run. For the highest audio reproduction we recommend recording your tracks to DAT, although having your tracks on CD-R or MiniDisc will produce quality results. Do not expect quality sound from a cassette master you mixed down on your four-track. Rent a DAT player if you have to. If you’re making multiple dubplates or placing multiple tracks on a side, be sure to plan out your track listing ahead of time and have your source material recorded in the order you wish to work. It makes it easier for the engineer and prevents multiple trips to the cutting shop because you “forgot” a track. Leave three or four seconds between songs and don’t forget to ID your tracks at the proper start and stop points (in digital format). With that in mind, consider that higher sound levels require more “groove space” on a piece of vinyl. The valley where the needle gathers its information must be deep and wide for it to reproduce sound at a quality level, so plan on keeping each side of your disc in the 8-12 minute range for the best results, particularly when working with bass-heavy tracks.

The Rest is simple.
Locate a mastering house you feel comfortable working with (see sidebar), get a price quote, make an appointment, burn your tracks, pay the people – next thing you know you’re walking out the door with a one-of-a-kind dubplate no other DJ has in their arsenal. How you use it is up to you.