SKU: 55224014419

EBC Bluestuff NDX Full Race Brake Pads (DP53038NDX)

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Description

EBC Bluestuff NDX Full Race Brake Pads (DP53038NDX)Reformulated for faster bedding and reduced early life fade Bluestuff is our recommended entry level race pad. It brings along a medium plus lifetime and as such has been the choice for several seasons in BMW Cup racing. New Bluestuff is without a doubt the EBC Track day recommended pad. For longer races see the EBC RP1, RPX, or SR ranges. Bluestuff being R90 approved for street use also is a popular UPGRADE PAD for heavier SUVs, and 4 x 4 in street

Reformulated for faster bedding and reduced early life fade Bluestuff is our recommended entry-level race pad. It brings along a medium-plus lifetime and as such has been the choice for several seasons in BMW Cup racing. New Bluestuff is without a doubt the EBC Track-day recommended pad. For longer races see the EBC RP1, RPX, or SR ranges. Bluestuff being R90 approved for street use also is a popular UPGRADE PAD for heavier SUVs, and 4 x 4 in street use because of its incredible braking power and high fade resistance, and is very popular even on armored street vehicles.

Performance
EBC Bluestuff are heat scorched which helps bedding times but you still need to take care especially on the highway and when using on part worn rotors. Use the brakes gently for 200 miles, gradually increasing demand on the brakes in a SAFE ROAD ENVIRONMENT until you feel totally confident and can evaluate their stopping distances in all traffic conditions. Remember, it’s down to you and your bedding-in process. If you do feel brake fade a couple of times and even smell the brakes, this is totally normal and once achieved and the brakes are allowed to cool, they will have improved a lot. There are several ways of surface scorching pads and EBC has chosen an infra red lamp tunnel for surface preparation of its pad ranges. The furnace is now scorching all pads for resale including the Bluestuff NDX range.

Features:

  • Track-Ready: Designed for aggressive driving and track day use.
  • High Friction: Provides a high initial bite and friction level for performance braking.
  • Street Usable: Despite being track-oriented, they are still suitable for street use.
  • Deep V Grooves: Helps vent off dust and gases and maintain pad surface contact.
  • Surface Coating: Features EBC's Brake-In coating for faster bed-in.
  • Low Heat Fade: Performs well under high-temperature conditions with less fade.
  • Long Life: Durable material that offers a longer lifespan than conventional pads.
  • Reduced Disc Wear: Formulated to minimize disc wear compared to race pads.
  • Low Noise: Engineered to produce less noise than typical race pads.
  • Minimal Dust: Generates less dust than many other high-performance pads.
  • Direct Fit: Manufactured to be a direct fit replacement for factory pads.
  • Rotor Friendly: Material composition is kinder to rotors than many other aggressive pads.

 

Bedding Performance
The curve shows that friction builds quickly during bedding in even after 2-3 stops but in a real world TRACK USE where rotors may not be perfect and calipers not serviced weekly (like our lab dyno ones) the bedding in process with Blue may exhibit 20-25mm contact bands in the centre of the discs after 4-5 laps and on some standard street calipers some vibration.

This is simply the pad telling you “ I cannot hold onto the disc at these torques until I am fully bedded in”. If vibration happens you should continue driving whilst BRAKING EARLIER TO BE SAFE until the contact band widens to almost entire disc/rotor sweep at which point the vibration will stop. In street use the torques will not normally be enough to generate vibration during bed in but drive safely for 200 miles gentle brake use to bed in your new brakes and test them to performance in a safe and quiet road environment until you have total confidence that they are bedded. Hitting the brakes too hard, too soon can not only shorten pad life it may cause loss of brakes and an accident. Bed brakes in progressively.

Pre-bedding burns off a lot of the volatile organics in the brake pad surface by passing the pads under an apparatus similar to a toaster after manufacture for a few seconds; this chars the surface and the paint around the pad surface but the result is a major reduction in bed in time which all drivers will appreciate.

More information
Rotor condition
Is important, an off-flat or ribbed and grooved rotor will treble bed in times for street or track use, this is a harder and more durable pad and rotors should be in almost dead flat condition. If you need to have your rotors skimmed we recommend ONLY the very praiseworthy ON CAR brake lathes from Pro Cut.

Lifetime
ALWAYS inspect pads every 30 laps and discard when friction material is down to one eighth of an inch or 3mm to avoid fade. In street use the lifetime is considerable – 20,000 miles and upwards can be expected, even when driving hard.

Ducting and caliper drag
When using a street car brake system for racing, the mere insertion of a race formula pad does not transform your car into a track beast. Some cooling ducts often need to be added to give the brake system and pads a chance to survive race use.

Using Bluestuff NDX as a Street only pad
In Europe, the ECE R90 brake safety regulations require brake pads to have R90 certification when used on the road and with Bluestuff, this is not available for all cars.

 

Bluestuff is an entry-level trackday and race pad that has good street manners and is actually R90-approved for street driving. There are two compounds within the Bluestuff range Bluestuff NDX higher friction 0.52 Mu and new Bluestuff B with a lower 0.42 Mu.

However, due to Bluestuff having excellent cold friction and being very controllable, this compound has quickly become the brake pad of choice for performance road car drivers in USA and Asia markets where R90 homologation does not apply. More recently, EBC is pleased to announce that Bluestuff has passed extensive road-focused testing and gained R90 approval on most E.U. fitments, making it unique in being the first truly track-focused pad which is also perfectly legal for use on the public roads across Europe. There is no requirement for E.U. customers to inform their insurance company following the fitment of R90-approved pads.

For customers with experience of EBC’s widely acclaimed Yellowstuff material, Bluestuff boasts a similar friction profile but with a usefully higher friction coefficient across the now larger working range, feeling much like you’d imagine Yellowstuff to feel after a double hit of espresso. Bluestuff has the added benefit of much faster bed in time and has a high friction coefficient without feeling grabby, taking things up a notch from EBC’s Yellowstuff material by bringing superb pedal modulation to a track pad with even greater fade resistance.

When planning a track day, even bedding in of the Bluestuff and Yellowstuff grades is essential that you bed your pads incorrectly. As we tweak compounds to further gain performance this advice changes, our latest advice on bedding in these two Hybrid grades for track use is here.

For customers seeking the ultimate road/track pad with even greater levels of performance, check out EBC’s range of RP-1 and RP-X race brake pads which deliver faster bed in and higher temperature fade resistance.

EBC’s track and race materials are exceptionally kind on brake discs, making them especially desirable for modern performance cars that feature complex and hugely expensive 2-piece brake disc systems from the factory. Customers report that EBC track and race pads are far kinder to brake discs than comparable granite-like semi-metallic pads, which may last longer but take the rotors with them.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
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Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 55224014419

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4.8 ★★★★★
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Amanda Boyd
Alexandria, US
★★★★★ 5
Great face mask
Color: Lifting (Jericho Rose)
Love this mask. I have really sensitive skin and this mask doesn't irritate my skin at all. It absorbs nicely and leaves my skin feeling moisturized and glowing. Great value for the price!
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Reviewed in the United States on April 21, 2026
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Tammy Marshall
Dallas, US
★★★★★ 3
Full Moisturization of the face is lacking
Color: Lifting (Jericho Rose)
I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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Reviewed in the United States on March 25, 2026
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John P. Jones III
Natrona Heights, US
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me. I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife… “Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip. It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.” I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated. Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies. It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”. The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
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Stephen McLeod
Belleville, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002
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Old Cinephile
Bozeman, US
★★★★★ 5
"Happiness consists of being able to tell the truth without hurting anyone."
From the stunning, groundbreaking opening sequence of escaping asphyxiation to the fantastical harem scene to the final realization to become PART of life instead of just trying to control or run from it, Fellini's masterpiece gives us one of cinema's great rollercoaster rides of guilt, artistic creativity and self-acceptance. Certainly, one of the most influential films of all time it breaks completely free of convention and introduces us to the inner workings of director Fellini's world. And we are much richer for the journey. Sometimes painful, sometimes supremely funny we can't wait to find out about another hidden treasure or nightmare locked away in the mind of Guido Anselmi. You'll never think about directors and film making quite the same way again. Criterion does a fine job with this Blu-ray release. The restored image here has deep blacks, solid greyscale and brilliant whites. Grain is very tight with nice detail. Details in the characters' faces are easily seen. The cleaned up restored mono soundtrack is clear and the musical elements are without distortion. As usual for Criterion, the supplements are extremely generous with several fine documentaries, interviews, and a nice booklet with writings by Fellini and critics. Truly a must own for any physical media collection.
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Reviewed in the United States on May 12, 2024

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