R
romerom
New member
whats up all.. i have a dbx 166a compressor/limiter and was wondering if anybody here had a pdf manual for it? dbx doesn't list it on their website anymore.
C
Cruel Hoax
Guest
for vocals:
Turn Ratio to somewhere between 1.7 and 4:1.
Adjust threshhold until the dbx is compressing 2-8dB. (More for more dynamic sources or more aggressive music.)
Engage Over Easy.
Adjust output gain so as not to lose signal level. Compare "before" and "after" often.
Also:
http://www.dbxpro.com/ftp_mirror/PDFs/Manuals/English/160Amanual.pdf
was the second thing that popped up when I did a Google search of "dbx 160a".
Learn your tools.
-Hoax
Turn Ratio to somewhere between 1.7 and 4:1.
Adjust threshhold until the dbx is compressing 2-8dB. (More for more dynamic sources or more aggressive music.)
Engage Over Easy.
Adjust output gain so as not to lose signal level. Compare "before" and "after" often.
Also:
http://www.dbxpro.com/ftp_mirror/PDFs/Manuals/English/160Amanual.pdf
was the second thing that popped up when I did a Google search of "dbx 160a".
Learn your tools.
-Hoax
R
romerom
New member
Cruel Hoax said:
again with the attitude man.. the compressor i have is a 166A not a 160a and yes i tried google so stop posting like such a smartass please lets all just try and help eachother - minus the attitude ok?
C
Cruel Hoax
Guest
"again with the attitude"?
Sorry, man. I typed what I thunk I saw.
No disrespect intended, but my basic approach to dbx compressors stands as something solid I've found over time.
Didn't mean to come of as a smartass; only trying to help.
The 160a manual for the 160-series really does make a lot of sense. Have you tried out the ideas offered here? Seems to me that the concepts offered here would have good nutritious personal results if learned and applied.
-Hoax
Sorry, man. I typed what I thunk I saw.
No disrespect intended, but my basic approach to dbx compressors stands as something solid I've found over time.
Didn't mean to come of as a smartass; only trying to help.
The 160a manual for the 160-series really does make a lot of sense. Have you tried out the ideas offered here? Seems to me that the concepts offered here would have good nutritious personal results if learned and applied.
-Hoax
R
romerom
New member
there were some buttons (over easy, countour) that aren't are on other compressors but are just called different things.. thats the main reason i wanted the manual for that model. though i wasn't able to find a manual, i did a search on ebay for the 166a and found a couple of them for sale where the description of the 166a actually had alot of the information i was looking for 
The dbx 166A Professional Dynamics Processor provides two channels of noise gating, OverEasy'® or classic Hard Knee compression and PeakStop limiting to give complete control of signal dynamics to studios, sound reinforcement companies, musicians, or anyone who needs quality processing quickly and easily.
Features include:
• Stereo or Dual Mono operation of gating, compression and peak limiting.
• OverEasy®/Hard Knee Selection - allows selection between our famous OverEasy compression curve and the classic "Hard Knee" curve popularized by the original dbx 160, 161 and 162.
• Expander/Gate Circuit - with variable release time and +15dB maximum threshold.
• Compressor Mode switch - selects from two sets of program-dependent Attack and Release times to tailor response for individual instruments or mixed program material.
• Selectable Low Frequency Shelf (via Contour button) in the Sidechain Path - recommended when compressing mixed program material to prevent low frequency energy from punching "holes" in the sound.
• PeakStop® Limiting - provides control of maximum peak levels at the output of the 166A regardless of any other control. PeakStop comes after the compression, gating and other circuitry including the output gain, so it lets an absolute limit be put on the peak excursions before they reach the output.
• True RMS Level Detection - senses the power in the program in a musical manner, much as human hearing does, giving results superior to peak or average detection.
• Hardwire System Bypass Buttons on both channels - allow the audio to pass even if the unit is unplugged, and are also useful for comparing the processed and unprocessed signal.
• 10-Segment LED Display for GAIN REDUCTION (up to 30dB).
• Electronically Balanced XLR and 1/4" TRS Input and Output Jacks
• Separate Sidechain Inserts - enables an outboard processor or signal to control compression or gating.
• DC-Controlled Parameters - the signal does not pass thru any of the parameter controls. Instead a DC voltage controls all functions; this eliminates any possibility of potentiometer noise developing over time.
Has XLR balanced and 1/4” tip ring sleeve balanced and unbalanced connections for inputs and outputs. Also has a side-chain insert connection.
The dbx 166A Professional Dynamics Processor provides two channels of noise gating, OverEasy'® or classic Hard Knee compression and PeakStop limiting to give complete control of signal dynamics to studios, sound reinforcement companies, musicians, or anyone who needs quality processing quickly and easily.
Features include:
• Stereo or Dual Mono operation of gating, compression and peak limiting.
• OverEasy®/Hard Knee Selection - allows selection between our famous OverEasy compression curve and the classic "Hard Knee" curve popularized by the original dbx 160, 161 and 162.
• Expander/Gate Circuit - with variable release time and +15dB maximum threshold.
• Compressor Mode switch - selects from two sets of program-dependent Attack and Release times to tailor response for individual instruments or mixed program material.
• Selectable Low Frequency Shelf (via Contour button) in the Sidechain Path - recommended when compressing mixed program material to prevent low frequency energy from punching "holes" in the sound.
• PeakStop® Limiting - provides control of maximum peak levels at the output of the 166A regardless of any other control. PeakStop comes after the compression, gating and other circuitry including the output gain, so it lets an absolute limit be put on the peak excursions before they reach the output.
• True RMS Level Detection - senses the power in the program in a musical manner, much as human hearing does, giving results superior to peak or average detection.
• Hardwire System Bypass Buttons on both channels - allow the audio to pass even if the unit is unplugged, and are also useful for comparing the processed and unprocessed signal.
• 10-Segment LED Display for GAIN REDUCTION (up to 30dB).
• Electronically Balanced XLR and 1/4" TRS Input and Output Jacks
• Separate Sidechain Inserts - enables an outboard processor or signal to control compression or gating.
• DC-Controlled Parameters - the signal does not pass thru any of the parameter controls. Instead a DC voltage controls all functions; this eliminates any possibility of potentiometer noise developing over time.
Has XLR balanced and 1/4” tip ring sleeve balanced and unbalanced connections for inputs and outputs. Also has a side-chain insert connection.
Last edited:
C
Cruel Hoax
Guest
Basically, Over Easy makes the compressor act in a gradual fashion. This is most suited for vocals (and some bass lines).
Low-freq-sidechain - this is a good feature for those of us who have had our master mix compression settings mangled by overly exuberant kick drum or dub bass. On individual tracks (which is where the dbx excels, in my opinion), this isn't so relevant.
Peak-Stop® - This is good for drums and basses, for reigning in the occasional resonant note or phrase. It can also be used as a distortion unit by cranking it way low. Cool!
RMS level detection - good for vocals. Bad for drums. Generally, you'll be using a compressor on drums for creative sound design.
Hope this helps with "real world" applications for those specs.
-Hoax
Low-freq-sidechain - this is a good feature for those of us who have had our master mix compression settings mangled by overly exuberant kick drum or dub bass. On individual tracks (which is where the dbx excels, in my opinion), this isn't so relevant.
Peak-Stop® - This is good for drums and basses, for reigning in the occasional resonant note or phrase. It can also be used as a distortion unit by cranking it way low. Cool!
RMS level detection - good for vocals. Bad for drums. Generally, you'll be using a compressor on drums for creative sound design.
Hope this helps with "real world" applications for those specs.
-Hoax
R
romerom
New member
yea i'm actually really excited to start using this thing now.. for the longest time i just kinda had it tucked away, unused... just gotta pick up a few cables from guitar center and get started with it mixes should start sounding alot better 
mixes should start sounding alot better
C
Cruel Hoax
Guest
It's a great vocal compressor, and can work wonders with the right bass track.
Onward and upward!
-Hoax
Onward and upward!
-Hoax