Nick The Man
New member
What does everyone think of DBX Compressors? i'm thinking about gettin one
..by the way you hook compressors up through inserts right?
..by the way you hook compressors up through inserts right?
scrubs
Not of sound mind
Nick The Man said:
In general, I think the inexpensive dbx compressors are not well liked around here. I have an MC-6 mini compressor from them that I use a fair amount to keep transients under control during tracking but, you have to be careful with it because it can get ugly really fast.
What will you be using it for (recording, guitar rig, etc.)? For recording purposes, the Really Nice Compressor (RNC) from FMR audio gets rave reviews in the not too pricey arena.
And, yes, you generally use compression as an insert effect.
Nick The Man
New member
ill be using it for recording everything that i can (drums guitar and bass) nothing eles
B
Bob's Mods
New member
With 24 bit recording, input compression is not really req'd. Record your stuff using the -6 dB as the red line (drums included). 24 bit is very, very forgiving in this regard, unlike 16 bit. Add compression as needed as a track insert where you can tweak it in the mix.
Personally, I use compression only on the bass. I find compression changes the natural character of the mix in a way I don't care for. It depends on what your after though. So how I do my mix may be different than what your trying to accomplish. My two pennies.
Bob
Personally, I use compression only on the bass. I find compression changes the natural character of the mix in a way I don't care for. It depends on what your after though. So how I do my mix may be different than what your trying to accomplish. My two pennies.
Bob
E
earworm
New member
i used a DBX 166, didn't like it, was noizy and had only xlr connectors on the back (maybe i had a special type...donno)
now i got a DBX 166A and it does a fine job on drums,
my DBX 166XL even does a nicer job on drums,
seems to be a bit cleaner but that might be because my "A" is years old...
i worked with a 266 project 1
its OK, but i find it cheaper sounding in a way than the 166A or XL
the A goes second for about $100
and the XL for about $200
i like them and i use them all the time on snare, toms and kick,
sometimes even vocals....
now i got a DBX 166A and it does a fine job on drums,
my DBX 166XL even does a nicer job on drums,
seems to be a bit cleaner but that might be because my "A" is years old...
i worked with a 266 project 1
its OK, but i find it cheaper sounding in a way than the 166A or XL
the A goes second for about $100
and the XL for about $200
i like them and i use them all the time on snare, toms and kick,
sometimes even vocals....
T
tmix
Well-known member
I had 2 of the 266 XLs and got rid of them. They did not work well on drums or bass in my opinion. The Gate feature was OK at best, unusable most the time.
The only thing they had going for them over the RNC was they were dual mono. But the RNC is a better compressor for vocals and guitar.
Tom
The only thing they had going for them over the RNC was they were dual mono. But the RNC is a better compressor for vocals and guitar.
Tom
ez_willis
.
I can 2nd that. The 266 xl's are useless.tmix said:
P
Pro Tools User
New member
Take a look at the DBX 160sl. Im probably gonna have one for sale, here soon if anyone is interested.
DBX 160sl
Peace
Eddie
DBX 160sl
Peace
Eddie
Farview
Well-known member
The 1066 is pretty good, it isn't as cheap as the other ones.
A
acorec
Banned
Nick The Man said:
DBX ceased to exist in 1980. Whatever the current DBX is, is a complete mystery.
ez_willis
.
M
makes
New member
DBX Fan
I have 2 DBX 160A's , I got them on ebay for less than 300 each in excellent condition. I love them, excellent for anything really, as long as you use them in a musical way (thats a relative term I suppose). I plug my mics (usually AT 4033's or SM 57's) directly into the micpre (XLR) then out into the DBX (XLR) then out of the DBX (XLR) into my MOTU 1224 balanced inputs. This then goes into to my computer via firewire. I like to compress a bit going in, especially drums. Sometimes bass guitar, if the player is not really consistent. Usually on the DBX I'll compress no more than 4:1 and its usually less than that. But it does add some punch to things no doubt, dont be afraid to experiment. Thats how you'll figure it out.
Now on to my latest gadget,
I just bought a brand spankin new Distressor EL8 !!!! Oh the joy of compression
Im movin up boys. I love this thing.
My next purchase is the Brent Averill BAE 312A mic pre, coming soon!!
All the best,
Makes
I have 2 DBX 160A's , I got them on ebay for less than 300 each in excellent condition. I love them, excellent for anything really, as long as you use them in a musical way (thats a relative term I suppose). I plug my mics (usually AT 4033's or SM 57's) directly into the micpre (XLR) then out into the DBX (XLR) then out of the DBX (XLR) into my MOTU 1224 balanced inputs. This then goes into to my computer via firewire. I like to compress a bit going in, especially drums. Sometimes bass guitar, if the player is not really consistent. Usually on the DBX I'll compress no more than 4:1 and its usually less than that. But it does add some punch to things no doubt, dont be afraid to experiment. Thats how you'll figure it out.
Now on to my latest gadget,
I just bought a brand spankin new Distressor EL8 !!!! Oh the joy of compression
Im movin up boys. I love this thing.My next purchase is the Brent Averill BAE 312A mic pre, coming soon!!
All the best,
Makes
regebro
Insane Genious!
I have two dbx 163X. Half racks with only one knob. I usually use them for slight compression on vocals, where they are transparent.
I wouldn't get it as my first or only compressor, but they are perfectly usable. Built like tanks.
I wouldn't get it as my first or only compressor, but they are perfectly usable. Built like tanks.
Teacher
New member
DBX 160xt seems to be an engineering fave.(I never had experience with one though)
The likes of Dave Pensado has said that, that is one of his must have gears in order to make a great mix.
You can also get Jim Williams of Audio Upgrades to mod it. so you can have 2 different flavors from 2 of the same compressors.
The likes of Dave Pensado has said that, that is one of his must have gears in order to make a great mix.
You can also get Jim Williams of Audio Upgrades to mod it. so you can have 2 different flavors from 2 of the same compressors.
Warhead
Jai guru deva om
Bob's Mods said:
Clipping the input on your 24 bit converter will likely sound the same as clipping the input on a converter set at 16 bit.
Compression can make sense but limiting can be a life saver.
War
D
DC-XPL
New member
I'm with regebro and MadAudio on the 163X. It is wonderful on bass, and even though it's not usually considered a first choice for vocals, I've used it on my vocals with excellent results. I got mine on ebay for about 30 bucks. Since it only has one slider, it really can't be considered a first compressor since it does not allow the user to learn how to apply compression in the traditional sense (setting ratio, attack and release times, etc). But it's a valuable tool nonetheless.
H
House de Kris
New member
I have a 266 which I originally used on the whole mix. I didn't like it too much because it would make a faint, but audible, thump everytimg the compressor action took place. Like all the time. I then used it on drums alone, and contrary to other respondent's experiences, I liked it there. Drums for me, by the way, are from an Alesis D4. Nothing "real" for me, thank you.
Anyway, I eventually got a dbx DDP and now think this is one of the best compressors I could have gotten. In fact, I picked up a second I like it so much (to replace the 266 on the drums).
Anyway, I eventually got a dbx DDP and now think this is one of the best compressors I could have gotten. In fact, I picked up a second I like it so much (to replace the 266 on the drums).
M
MikeBoy
New member
Hello Everyone.... My First Post.
Having a dozen or so DBX compressors of different types I will share with you what I think I know. The 117 has no threshold control making it unusable for me. However the 119 and the 118 both have value. The 119's threshold control starts at 10mv and ends at 1V where the 118 will go to 2V. The 161 and 160VU go on up to 3V and they both have output gain controls on them for make up gain. The 160VU is the balanced in and out version of the 161, all else being the same. Balanced verses Unbalanced is a whole different issue, I'll not go there now. I never use the 119 or the 118 in the stereo mode, that's where you will NOT get the results you want. The 2 channel or stereo DBX of choice for me is the 162. On the low cost end for single channel operation I prefer the 118. If you think it through the 118 will have and must have more head room in the electronics because it alows up to 2V on the threshold control. Head room, there's another item I could rant about for a week or so... Back to compression, try this some time. Take a recorded signal from your recorder. Using a Y cable run both lines to 2 different channels on your mixer. Let's call them channel 1 and 2. Take channel 1 and patch in the left channel of a DBX 118 or 119 through the insert. That's simple enough, & now you have the compressor in the loop. Next, take the direct out from channel 2 and run it to the right channel of the DBX, forget the out put from channel 2 on the DBX we don't need it. Adjust the controls for channel 2 to nutral and pull the fader to the 0 or the off position. Adjust the compressor and channel 1 of the mixer like you usually do. Then increase the threshould to the point where the LED is flashing slightly. Now to channel 2, set the input gain the same as channel 1 then bring up the fader so the the LED stays on slightly longer. NOW for the FUN... fiddle with the EQ and the fader... You now have a side chain and better than that, you can, by how you EQ channel 2 make the compression for channel 1 frequency dependent. Now you have to take care in your set up of the relitive settings of each channel to the DBX to get the best results. But, after some expermentation, I'm sure you will find a use for this little trick. In recording sound, many times it's not the tools you have but more importantly how you use them that makes the difference. Both the 119 and the 118 are fixed stereo units. The left and right input are summed before going to the VCA boards. The result is that the signal that triggers the vca is a combination of both input channels. By your adjustment of the EQ on channel 2 you are triggering the VCA into operation based on frequency if and only if, the level to channel 2 is greater than the level from channel 1. There are a number of ways to use a "side chain or side channel" on a compressor. Try running the bass through channel 1 and the kick drum through the side chain.
I'll stop now,
Mike
PS: Pardon my spelling... no spell checker, UG.
Having a dozen or so DBX compressors of different types I will share with you what I think I know. The 117 has no threshold control making it unusable for me. However the 119 and the 118 both have value. The 119's threshold control starts at 10mv and ends at 1V where the 118 will go to 2V. The 161 and 160VU go on up to 3V and they both have output gain controls on them for make up gain. The 160VU is the balanced in and out version of the 161, all else being the same. Balanced verses Unbalanced is a whole different issue, I'll not go there now. I never use the 119 or the 118 in the stereo mode, that's where you will NOT get the results you want. The 2 channel or stereo DBX of choice for me is the 162. On the low cost end for single channel operation I prefer the 118. If you think it through the 118 will have and must have more head room in the electronics because it alows up to 2V on the threshold control. Head room, there's another item I could rant about for a week or so... Back to compression, try this some time. Take a recorded signal from your recorder. Using a Y cable run both lines to 2 different channels on your mixer. Let's call them channel 1 and 2. Take channel 1 and patch in the left channel of a DBX 118 or 119 through the insert. That's simple enough, & now you have the compressor in the loop. Next, take the direct out from channel 2 and run it to the right channel of the DBX, forget the out put from channel 2 on the DBX we don't need it. Adjust the controls for channel 2 to nutral and pull the fader to the 0 or the off position. Adjust the compressor and channel 1 of the mixer like you usually do. Then increase the threshould to the point where the LED is flashing slightly. Now to channel 2, set the input gain the same as channel 1 then bring up the fader so the the LED stays on slightly longer. NOW for the FUN... fiddle with the EQ and the fader... You now have a side chain and better than that, you can, by how you EQ channel 2 make the compression for channel 1 frequency dependent. Now you have to take care in your set up of the relitive settings of each channel to the DBX to get the best results. But, after some expermentation, I'm sure you will find a use for this little trick. In recording sound, many times it's not the tools you have but more importantly how you use them that makes the difference. Both the 119 and the 118 are fixed stereo units. The left and right input are summed before going to the VCA boards. The result is that the signal that triggers the vca is a combination of both input channels. By your adjustment of the EQ on channel 2 you are triggering the VCA into operation based on frequency if and only if, the level to channel 2 is greater than the level from channel 1. There are a number of ways to use a "side chain or side channel" on a compressor. Try running the bass through channel 1 and the kick drum through the side chain.
I'll stop now,
Mike
PS: Pardon my spelling... no spell checker, UG.
FALKEN
*************************
Damn yo!
...would that (lower) the volume on the bass track every time the bass drum hits? its this used often in rock music? or more for experimentation?
hate to dissect everything but i know im not the only one who tries.
MikeBoy said:
...would that (lower) the volume on the bass track every time the bass drum hits? its this used often in rock music? or more for experimentation?
hate to dissect everything but i know im not the only one who tries.