Gain Reduction | Pro Audio Hardware Compressors and Limiters

Since its introduction in the mid 1970's, the dbx 160 series has been the world's most popular line of audio compressors. After the classic 160 (which is still used daily in many world class studios), came the 165, the 160X and the 160XT. The 160X/XT were the models that truly became the industry standard. Solid construction, fool proof operation, great sound, at-a-glance metering and a bulletproof output stage all contributed to its popularity with musicians, recording studios, consultants and installers, and broadcast media production people alike.
 
The dbx® 160A is a legendary dbx® 160 family of compressor/limiters. The same classic sound, easy set-up and no compromise metering is now married to an improved signal path and stronger chassis design. The result is industry standard compressor/limiter which is digital-ready and road tough.
 
Featuring switch-selectable OverEasy® and Hard Knee compression curves along with extremely wide-ranging threshold, ratio and output controls, the dbx 160A is up to any task. True RMS level detection provides the most natural-sounding dynamics processing available, from subtle compression to "brick wall" peak limiting. Choose low ratios and OverEasy® compression to transparently smooth out fluctuating vocal and instrumental levels. Or use the 160A's Hard Knee compression and high ratios (up to and beyond :1 and over 60dB gain reduction) for bombproof protection against overload distortion in digital recording, P.A. systems and broadcast signals. The 160A is fully compatible with +4/-10dB and balanced/ unbalanced systems, and its electronically balanced output stage is an outstanding line driver for long cable runs (an output transformer is optional). The 19-segment, switchable input/ output LED metering can be easily calibrated to any operating level. 12-segment gain reduction LEDs provide precise analysis at a glance.
 
The dbx® 160A's unique "INFINITY +" inverse-compression mode actually decreases the audio output level below unity gain when the input exceeds threshold, a real lifesaver for correcting overbearing vocal choruses and controlling runaway house mix levels. A detector input can be used with an equalizer for de-essing sibilant vocals and selectively smoothing out boomy notes on acoustic guitar and bass. And two 160As can be stereo-coupled to process an entire mix or instruments mic'd in stereo, without shifting the left/right image. Its musical sound, easy operation and unequaled versatility made the original dbx® 160 a world standard. The 160A follows that tradition, while meeting the challenges of a digital world.ent in the mix, or overall characteristics of 4 independent signals or control the gain leveling on a couple of stereo pairs, the dbx 160A is for you.
 
Retail:
 
£300-400
 
Used
 
£200-£300
 
Verdict:
 
General all purpose kick and drum compressor. Valued for its "over easy" compression. Extra Notes:
 
  * OverEasy® or classic hard knee compression with dbx's® ultra-musical program dependent attack and release times
  * Compression ratio variable from 1:1 through infinity :1 to negative compression
  * Precision dual RMS LED display monitors input or putput and gain reduction over a wide range and calibrates for different operating levels
  * Over 60dB of gain reduction available
  * Exclusive Infinity+ compression allows negative compression
  * Independent balanced and unbalanced outputs can drive 600 loads to +24dBm simultaneously. New floating balanced output stage drives any load
  * Optional output transformer capable
  * Strappable with another 160A for true RMS stereo summing operation

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Retail:
 
$299 (a long time ago)
 
Used:
 
$200-300 but its going up.
 
Verdict:
 
Some opinion is divided but overall the users who like it have had the units for over 20 years and swear by them. The blue face is the prized ones and they have a characteristic sound and rugged build. Popular but could be getting rare.

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The RNC achieves such high performance at a low cost by using evolutionary advances in digital technology, coupled with the best analog has to offer. Using digital controls and an all-analog signal path, the RNC offers accurate, precise controls and a clean tonal character.
 
The RNC provides two modes of operation: normal and SuperNice TM. Normal mode allows the RNC to be used for everyday compression tasks, like punchy snare drums or bass guitars, and is great for everything from gentle compression to serious squashing. SuperNice mode provides near-invisible signal compression for sensitive material where compression artifacts are less desirable (like vocals, acoustic guitar or the program bus).
 
In a word: transparent. The RNC yields clean, airy compression with few artifacts and little high end loss, even at massive gain reduction. This amazing performance is why many professionals are calling the RNC one of the best sounding compressors for under $2000.
 
 
Retail:
 
$199
 
£190
 
Used
 
$126-170
 
£90-120
 
Verdict:
 
Looks can deceive. A half rack compressor that has stood the test of time and proved itself a winner. Using two in serial is best for mastering on a budget with Super Nice mode on. If you've got the money to fit 2 in a rack neatly, look up the Funk Logic NCC-1701 Rack Tray kit. (Yes this is indeed the serial number of the USS Enterprise.) for around $60 / £45. Only drawback is everyone has got one. Good, professional results for an introductory hardware compressor.

The Funk Logic NCC-1701: How to hide your inferior half-rack ways and look like a serious producer.

The kit comes with knob extensions but unfortunately doesn't come with patience.

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