There's few pieces like the DBX 160: widely available and highly coveted.
The DBX 160 has become one of those holy grail pieces, but it also occupies a special place in gear history as a product with revised versions that are as famous and widely used as the original pieces. It’s important to delineate the two versions we’ll discuss: the commonly found DBX 160X, XT and A, and the original DBX 160, sometimes referred to as the DBX 160VU because of the VU meters that communicate the input, output and gain reduction.
The DBX 160 was introduced in 1976, and aesthetically it harkens back to that time. Mono versions are available with wood panelled sides, while connecting two together and racking them is popular for mixing engineers.
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The DBX 160 followed a range of dynamic range enhancers for the consumer and prosumer market, founder David Blackmer turning his attention to the studio and live world. Using a VCA (voltage controlled amplifier) as its gain reduction element makes the DBX 160 a powerful tool without being overt—unless you want it too! The DBX 160 had a hard knee, meaning the compression can be snappy and clearly audible, making it perfect for adding crisp snap to drums and percussive elements.
Confusingly, a VCA actually works like an attenuator, and turns signal down once it reaches a preset threshold. The DBX 160 has simple enough controls with the aforementioned Threshold, as well as Attack and Release to adjust how quickly the compressor begins to compress (Attack) and how quickly the signal returns to normal (Release).
VCA compression works by adjusting its gain depending on incoming control voltage (CV). Therefore, more input = more signal turned down.
VCA compression is reasonably clean, compared to FET and tube counterparts, and at subtle settings can be a good option for broad strokes on a mix bus. A VCA compressor is designed to work like a tiny volume adjustment, with little to no effect on the envelope of the sound itself as the compressor comes and goes.
Revisions 160X, XT and A
Revisions of the famed compressor came throughout the 80s, revised and reduced to a 1U rack size. Still featuring simple Threshold, Attack and Release settings, the 160X and XT models added an ‘OverEasy’ button to change the compression curve, with the button disengaged it is left on a ‘Hard Knee’ setting. Still VCA and revised for the ‘modern’ day (in the 80s), the DBX 160X and XT became the industry standard for live and studio compression.
The main difference between these two compressors are the addition of terminal connections on the back of the X, lending it more to studio work than the XT.
The DBX 160A followed the X and XT, with a clearer signal path and a stronger chassis. Widely used in touring rigs, DBX saw the need for a road-ready unit!
DBX 166
Often overlooked is the DBX 166, much like a stereo DBX 160X! Featuring a gate as well as an Overeasy Compressor, the ‘Peakstop Level’ also serving as a brickwall limiter to really tame signal. The DBX 166 allows for dual-mono or stereo operation, a Stereo couple switch allowing you to slave the right side off of the left’s controls.
The DBX is a famed compressor, and for good reason. Not overly colourful, an incredible utility piece, it has found its way into the racks and onto mixes of countless arrangements and productions.
The original from the 70s is highly revered, a lot of the units still entirely operational due to a stellar build, and the revisions that followed throughout the 80s and 90s are still used widely. The last few years have seen the addition of a 500 series range of preamps, EQs and compressors from DBX, including the DBX-560A, a 500-series 160A.
Vintage and newer units are still widely available on the used market, as well as a slew of 160-based plugins and emulations – so get shopping!
Read about those 500 series products from DBX here.
