The DBX 160 Compressor

DBX 160 VU Compressor

The dbx 160 Compressor is one of the most influential pieces of audio gear ever built, known for its clean, punchy compression and unique VCA character. Simple, fast, and musical, it defined how engineers approached dynamics in both studio and live settings for decades.

History of the DBX 160 Compressor

The dbx 160 was introduced in the early 1970s and quickly became a studio essential. It was designed by David E. Blackmer, the founder of dbx, whose innovations in voltage-controlled amplifiers (VCAs) revolutionized dynamic range control. The 160’s sound was tight, consistent, and easy to dial in, making it one of the first compressors to combine transparent control with unmistakable character. Its simple two-knob interface—Threshold and Compression Ratio—made it accessible while still delivering professional results.

What inspired the design of the dbx 160?

The dbx 160 was born from a need for precision and musicality in compression. Earlier compressors often used optical or FET designs that could introduce coloration or inconsistent response times. Blackmer’s VCA circuit provided stable, repeatable control over gain reduction, offering engineers a new level of accuracy. The “OverEasy” compression curve, introduced with the 160, smoothed the transition into compression, producing a more natural response that became a hallmark of the dbx sound.

How does the dbx 160 achieve its signature sound?

At the heart of the dbx 160 is its proprietary RMS (Root Mean Square) detection circuit and discrete VCA design. RMS detection mimics the way the human ear perceives loudness, ensuring that the compressor reacts musically to average signal levels rather than peaks alone. This allows the dbx 160 to control dynamics without sounding harsh or artificial. The result is a tight, focused sound that enhances punch while maintaining clarity and detail.

When was the dbx 160 first released?

The original dbx 160 was released in 1971, marking the beginning of a long lineage of compressors under the dbx name. Its compact 1U half-rack design, solid build, and intuitive layout made it an instant hit with engineers. Over the years, several versions followed, including the 160X, 160XT, and 160A, each refining the circuitry while preserving the unmistakable dbx character.

Why did the dbx 160 become a studio standard?

The dbx 160 stood out for its simplicity and reliability. It could handle drums, vocals, bass, and entire mixes with equal effectiveness. Its fast attack and release times made it ideal for controlling transient-heavy sources, while its OverEasy curve gave it a smooth musical quality that worked across genres. The dbx 160 became a go-to compressor for engineers who wanted precision without sacrificing tone.

  • 1971: Original dbx 160 introduced, featuring VCA-based compression and OverEasy curve.
  • 1980s: dbx 160X and 160XT models released with improved electronics and XLR connections.
  • 1990s: dbx 160A launched, maintaining the classic sound with modern reliability and balanced I/O.
  • 2000s–Present: dbx 160 remains in production and is widely emulated in plugin form for digital audio workstations.

Software Emulations

  • Arturia Comp VCA-65
  • Native Instruments VC 160
  • UAD dbx 160 Compressor/Limiter
  • Waves dbx 160 Compressor/Limiter
  • Softube VCA Compressor

Tips and Techniques

  • Use the dbx 160 for Drum Bus Punch

    Set the ratio around 4:1 with a medium threshold. The 160’s fast attack and release will control peaks while enhancing the natural punch of drums, adding cohesion and impact to the bus.

  • Try OverEasy Mode for Smooth Control

    Enable OverEasy mode if available. It softens the onset of compression, preventing abrupt level changes and preserving musicality—especially useful for vocals or acoustic instruments.

  • Use Low Ratios on Vocals

    Set a ratio between 2:1 and 3:1 with light gain reduction. This evens out performance inconsistencies without crushing dynamics, maintaining natural articulation and tone.

  • Enhance Bass with Tight Compression

    Use a ratio of 5:1 and set the threshold so that you’re getting about 4–6 dB of gain reduction. The dbx 160’s fast response evens out low frequencies and makes the bass feel more controlled and punchy.

  • Stack Compression for Control

    Combine the dbx 160 with a slower compressor before or after it. The dbx can handle quick transients while the other smooths the overall signal, resulting in balanced, musical compression.

  • Parallel Compress with Plugins

    In plugin form, heavily compress with the dbx 160. Use the mix knob to blend it with the dry signal to add weight and sustain without losing transient clarity.

  • Use Fast Release for Aggressive Sounds

    Set a quick release to bring up quieter details and add energy. This setting works particularly well on snare drums or rhythm guitars, where added excitement enhances groove.

  • Use Slow Release for Smooth Mix Bus Control

    When used on the mix bus, a slower release keeps levels stable and prevents pumping. This approach adds cohesion without overreacting to transient peaks.

  • Experiment with Input Gain for Color

    Drive the input harder to push the VCA circuit. This introduces subtle harmonic distortion that thickens the tone. Lower the output gain to compensate for level increase.

  • Apply on Percussion for Consistent Attack

    Use medium attack and release times with a moderate ratio. The dbx 160 locks down percussion hits while retaining sharpness, adding balance and power to the groove.

DBX 160 Compressor Starting Points (Settings Recipes)

Use these practical DBX 160 settings as a foundation for mixing common sources. These recipes are designed to get you the signature tone quickly; always fine-tune the threshold and ratio to fit your track. (These are not rules!)

  • Punchy Snare or Kick Drum

    Ratio: 4:1 to 6:1 | Threshold: Aim for 6–10 dB of reduction on the hits. Mode: Hard Knee (if selectable). This classic setting clamps the peaks hard for maximum punch and impact.

  • Consistent Bass Guitar (Smooth)

    Ratio: 3:1 | Threshold: Aim for 3–5 dB of constant reduction. Mode: Over Easy (if available). This stabilizes the level across all notes without sounding overly aggressive.

  • Aggressive Parallel Drums

    Ratio: ∞:1 (Limit) | Threshold: Heavily reduce the signal (8–12 dB of reduction). Mode: Hard Knee. Use the blend/mix knob to introduce this smashed signal for added density and sustain.

  • Rock Vocal Taming

    Ratio: 4:1 | Threshold: Target 3–6 dB of reduction. Mode: Hard Knee or Over Easy (depending on desired aggression). Use hard knee for a more upfront, aggressive sound; soft knee for gentle leveling.

  • Acoustic Guitar Leveling

    Ratio: 2:1 | Threshold: Aim for 1–3 dB of reduction. Mode: Over Easy. Sidechain HPF: Engaged (if available). Gentle leveling to maintain consistency and smooth out strumming dynamics.