The 160XT is probably the best-known of the classic dbx 160 compressors. The original 160 was a half-width 2U box and the 160X was the first of the familiar 1U dbx rack compressors. The 160XT is similar to the 160X but adds XLR connectors and some updates to the circuitry

The 160XT is deceptively simple with just three controls: threshold, compression ratio and output gain. Threshold and output level are self-explanatory. Compression ratio is infinitely variable from 1:1 through 4:1, 8:1 all the way to ∞:1 and beyond, to negative ratios, where output decreases with input. This allows for some pretty extreme compression effects

The front panel has an Over Easy switch, to change the shape of the threshold knee, meter input / output switch, bypass switch and a slave switch for stereo linking. Metering is via two horizontal LED bargraphs, one for input or output level and one for gain reduction. Dynamics of the LED displays are excellent and it’s easy to see what the compressor is doing, even from a distance and under poor lighting conditions

“The 160x/xt is fantastic. Don’t be fooled by the price. You should buy one whatever happens”

“160X’s have that unique ability to be aggressive with grit that few compressors have”

The 160XT is famous as a drum compressor. It adds punch & attitude to kicks & snares and is excellent for squashing overheads and ambience mics. Use a pair for drum bus parallel compression and you’ll have instant punch to beef up the drum mix. The 160XT is also superb for bass guitars and synths – it’s one of my favourites for bass guitar as it sits the bass just where you want it without killing the dynamics

The 160XT is definitely a compressor with its own sound. It’s not a transparent, invisible compressor, but more like a giant hand that grabs hold of the signal to bend & twist it. The Americans call the 160XT a “color compressor”. I can’t argue with that description as it adds colour and aggression to any signal that passes through it. It doesn’t suit every situation but it’s a hard compressor to live without once you’ve used one

I tested the 160XT on Fender bass and a lead vocal and got superb results. Using quite large amounts of compression I found it sat the singer in a good space and brought up the vocal character & inflection. It also worked well with a lower ratio (between 2:1 and 4:1) with gain reduction just on the peaks. It’d be interesting to chain the 160XT with a softer compressor to use the best of both approaches

The dbx 160XT sits at #3 in my newly-revised Compressor Top Ten

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Fatso EL7X
6. Distressor EL8X
7. Valley People Dynamite
8. Gain Brain
9. dbx 163X
10. FMR Really Nice Compressor

dbx 160XT in excellent condition with minimal marks & scratches. Refurbished & metering aligned in our workshops. Case repainted. Tested & working 100%. Photos show the compressor for sale

The post dbx 160XT Compressor #178 appeared first on BN1studio.

The 160A is the current version of the classic dbx 160 compressor. The original 160 was a half-width 2U box and the 160X was the first of the 1U mono compressors, a format that continues today with the 160A

The 160 is famous for drum & ambience compression and it’s equally good on bass. It’s definitely a compressor with its own sound so some will love it more than others. I don’t think there’s anyone who hates the 160…

The 160A sounds very similar to the older X and XT. It’s a superb compressor for bass, very usable on vocals particularly to bring out the quality of a voice and, in a stereo pair, great for drum ambience

The 160A is the latest in a long line of 160 models. It’s not particularly flexible or transparent-sounding but, when it hits the spot, it hits it better than pretty much anything else. It’s a VCA compressor with real character and real warmth, which makes it a rare compressor indeed. It makes most other compressors sound boring & sterile

The 160 is one of the few compressors that makes it into my  Top Five Compressor list:

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Empirical Labs Fatso

In excellent condition with only very minor marks. Tested & working 100%. Photos show the 160A for sale

The post dbx 160A Compressor #179 appeared first on BN1studio.

The 160 is famous for drum & ambience compression and it’s equally good on bass. It’s definitely a compressor with its own sound so some will love it more than others. I don’t think there’s anyone who hates the 160…

The 160A sounds very similar to the older X and XT. It’s a superb compressor for bass, very usable on vocals particularly to bring out the quality of a voice and, in a stereo pair, great for drum ambience

The 160A is the latest in a long line of 160 models. It’s not particularly flexible or transparent-sounding but, when it hits the spot, it hits it better than pretty much anything else. It’s a VCA compressor with real character and real warmth, which makes it a rare compressor indeed. It makes most other compressors sound boring & sterile

The 160 is one of the few compressors that makes it into my All Time Top Five Compressor list:

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Valley People Dynamite

In really excellent condition with only minor marks. Tested & working 100%. Photos show the compressor for sale

The post dbx 160A Compressor #176 appeared first on BN1studio.

The 160X is probably the best-known of the classic dbx 160 compressors. The original 160 was a half-width 2U box and the 160X was the first of the 1U dbx rack compressors. It was superceded by the 160XT which added XLR connectors

To my ears there is little or no difference between the 160X and the 160XT. I also have 160XTs for sale

The 160X is super-simple with just three controls: threshold, compression ratio and output gain. Threshold and output level are self-explanatory. The compression ratio is infinitely variable from 1:1 through 4:1 and 8:1 all the way to ∞:1 and beyond, to negative ratios, where output decreases with input. This allows for some pretty extreme compression effects

The front panel also has an Over Easy switch, to change the shape of the threshold knee, meter input / output switch, bypass switch and a slave switch for stereo linking. Metering is via two horizontal LED bargraphs, one for input or output level and one for gain reduction. Dynamics of the LED displays are excellent and it’s easy to see what the compressor is doing, even from a distance and under poor lighting conditions

“I think the 160X is the best compressor for drums that I’ve found. You just give it a little bit on the kick and snare while you’re recording and it brings them into focus. I don’t think you can find anything better for kick and snare — they’re amazing! You can really slam them too! I love the fact that they have a really quick recovery, and you can exaggerate it if you need to” – Glenn Ballard

“The 160X is about the best bang-for-your buck compressor that you can get”

“The 160x/xt is fantastic. Don’t be fooled by the price. You should buy one whatever happens”

“160X’s have that unique ability to be aggressive with grit that few compressors have”

The 160X is famous as a drum compressor. It adds punch & attitude to kicks & snares and is excellent for squashing overheads and ambience mics. Use a pair for drum bus parallel compression and you’ll have instant punch to beef up the drum mix. The 160X is superb for bass guitars and synths – it’s one of my favourites for bass guitar as it sits the bass just where you want it without killing the dynamics

The 160X is definitely a compressor with its own sound. It’s not a transparent, invisible compressor, but more like a giant hand that grabs hold of the signal to bend & twist it. The Americans call the 160X a “color compressor”. I can’t argue with that description as it adds colour and aggression to any signal that passes through it. It doesn’t suit every situation but it’s a hard compressor to live without once you’ve used one

I tested these 160Xs on drum loops and bass guitar and got superb results with both. With loops, the threshold setting is critical – too much compression and it can kill the dynamics. With the right threshold setting, and appropriate choice of hard knee or over-easy, the 160X adds snap to drums and tightens up loops. On bass guitar you can dial up quite large amounts of compression, adding colour and growl to the sound

The 160X is a great tool for parallel compression. It’s also worth experimenting with the dbx and another, softer, compressor in the signal chain

The dbx 160XT sits at #3 in my compressor Top Five

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Fatso EL7X

In excellent, used condition. Tested & working 100%. Pots & switches cleaned & metering aligned. 110 Volt, will require a transformer for use in the UK & EU. Photos to follow

The post dbx 160X Compressor #180 (110 Volt) appeared first on BN1studio.

The 160XT is probably the best-known of the classic dbx 160 compressors. The original 160 was a half-width 2U box and the 160X was the first of the familiar 1U dbx rack compressors. The 160XT is similar to the 160X but adds XLR connectors and some updates to the circuitry

The 160XT is deceptively simple with just three controls: threshold, compression ratio and output gain. Threshold and output level are self-explanatory. Compression ratio is infinitely variable from 1:1 through 4:1, 8:1 all the way to ∞:1 and beyond, to negative ratios, where output decreases with input. This allows for some pretty extreme compression effects

The front panel has an Over Easy switch, to change the shape of the threshold knee, meter input / output switch, bypass switch and a slave switch for stereo linking. Metering is via two horizontal LED bargraphs, one for input or output level and one for gain reduction. Dynamics of the LED displays are excellent and it’s easy to see what the compressor is doing, even from a distance and under poor lighting conditions

“The 160x/xt is fantastic. Don’t be fooled by the price. You should buy one whatever happens”

“160X’s have that unique ability to be aggressive with grit that few compressors have”

The 160XT is famous as a drum compressor. It adds punch & attitude to kicks & snares and is excellent for squashing overheads and ambience mics. Use a pair for drum bus parallel compression and you’ll have instant punch to beef up the drum mix. The 160XT is also superb for bass guitars and synths – it’s one of my favourites for bass guitar as it sits the bass just where you want it without killing the dynamics

The 160XT is definitely a compressor with its own sound. It’s not a transparent, invisible compressor, but more like a giant hand that grabs hold of the signal to bend & twist it. The Americans call the 160XT a “color compressor”. I can’t argue with that description as it adds colour and aggression to any signal that passes through it. It doesn’t suit every situation but it’s a hard compressor to live without once you’ve used one

I tested the 160XT on Fender bass and a lead vocal and got superb results. Using quite large amounts of compression I found it sat the singer in a good space and brought up the vocal character & inflection. It also worked well with a lower ratio (between 2:1 and 4:1) with gain reduction just on the peaks. It’d be interesting to chain the 160XT with a softer compressor to use the best of both approaches

The dbx 160XT sits at #3 in my newly-revised Compressor Top Ten

1. UREI 1176
2. UREI LA-2A
3. dbx 160XT
4. SSL 4000E Bus Compressor
5. Fatso EL7X
6. Distressor EL8X
7. Valley People Dynamite
8. Gain Brain
9. dbx 163X
10. FMR Really Nice Compressor

dbx 160XT in excellent condition with minimal marks & scratches. Refurbished & metering aligned in our workshops. Case repainted. Tested & working 100%. Photos show the compressor for sale

The post dbx 160XT Compressor #172 appeared first on BN1studio.

I have a number of M267s in prep, plus FP42 stereo preamps and FP11 limiter / preamps here

The Shure Level-Loc has achieved vintage / price-gouging / pimping notoriety thanks to a couple of high-profile users. The M267 has a similar Shure limiter in a 4-channel mic pre at a sensible price. They’ve been very popular – everyone seems to like the effect of the limiter, particularly with room mics

The limiter sets a maximum output level from the mixer. After that, any increase in gain just makes the signal denser and more compressed. It’s a neat trick, surprisingly controllable and definitely useable

The M267 is part of a dynasty of Shure preamps which have been used in the USA & round the world for forty-odd years. They’re definitely not audiophile units, but utilitarian devices for small-scale PA & location recording uses. Their appeal for recording lies in the transformer inputs and output limiter

The M267 has transformer-balanced inputs and outputs, low-cut filters on the inputs , a VU meter and a headphone output. It also has a built-in line up oscillator, switchable phantom power and three power sources (DC, battery or AC)

The limiter is post-channel and post-output control and does an excellent job of levelling the output signal and adding huge amounts of distortion. The limiter threshold is adjustable via pot on the underside of the unit

“The limiter on that Shure mixer is awesome. You can get some great Level-Loc type sounds out of it.”

“One cool thing that they do is they have a level loc style of limiting ability when you hit the transformers hard enough”

“I have an M67 and an M267. Both are great color boxes and can make some really nice recordings”

“Whether being hardware or software, what’s your current go-to device to foul all kind of sound sources up beyond all repair?

“Shure M267 microphone mixer. Has transformer love in and out. And features a level-loc style limiter. Nothing subtle about that machine”

“-Also Deltalab Effectron. Its a very early digital delay, with some esoteric A/D conversion, that fux the sound into lofi smile if you turn down the delay. Also it the delay feedback path somehow creeps itself into to the input limiter op-amp distortion, so you can further shape the destruction”

“Been wanting something like a #levelLoc to crush a room mic but dont wanna spend a lot? … #shure m267”

Link to all Shure preamps

In very good used condition with only minor marks. Tested & working 100%. Photos show an M267 sold previously

The post Shure M267 Mic Preamp / Limiter #58 appeared first on BN1studio.

Like all previous versions of the 1176 this has a balanced output via an output transformer. The input  is electronically-balanced like the last few versions of the original. From there it feeds the FET gain-reduction element, a make-up gain amplifier, a line amplifier and the output transformer

In my opinion the 1176 is the best compressor available for bass guitar and vocals. On my Compressors page I say:

“Nothing sounds like an 1176 – it’s a one-off, a freak, an outlier – and that’s why it’s stood the test of time. For vocals and bass guitar, nothing betters it for a punchy, aggressive sound. Set it for a fairly slow attack, fastest release and 4:1 compression then just ramp up the input level till the vocal sits where you want it. A little tweak on the attack time, a hint of EQ and job done”

This 1176LN is in excellent condition with the typical surface discolouration of the aluminium case but an almost-unmarked front panel. All knobs & switches are original. Photos show the compressor for sale

The post Universal Audio 1176LN Compressor #1 appeared first on BN1studio.

I have a number of M267s in prep, plus FP42 stereo preamps and FP11 limiter / preamps here

The Shure Level-Loc has achieved vintage / price-gouging / pimping notoriety thanks to a couple of high-profile users. The M267 has a similar Shure limiter in a 4-channel mic pre at a sensible price. They’ve been very popular – everyone seems to like the effect of the limiter, particularly with room mics

The limiter sets a maximum output level from the mixer. After that, any increase in gain just makes the signal denser and more compressed. It’s a neat trick, surprisingly controllable and definitely useable

The M267 is part of a dynasty of Shure preamps which have been used in the USA & round the world for forty-odd years. They’re definitely not audiophile units, but utilitarian devices for small-scale PA & location recording uses. Their appeal for recording lies in the transformer inputs and output limiter

The M267 has transformer-balanced inputs and outputs, low-cut filters on the inputs , a VU meter and a headphone output. It also has a built-in line up oscillator, switchable phantom power and three power sources (DC, battery or AC)

The limiter is post-channel and post-output control and does an excellent job of levelling the output signal and adding huge amounts of distortion. The limiter threshold is adjustable via pot on the underside of the unit

“The limiter on that Shure mixer is awesome. You can get some great Level-Loc type sounds out of it.”

“One cool thing that they do is they have a level loc style of limiting ability when you hit the transformers hard enough”

“I have an M67 and an M267. Both are great color boxes and can make some really nice recordings”

“Whether being hardware or software, what’s your current go-to device to foul all kind of sound sources up beyond all repair?

“Shure M267 microphone mixer. Has transformer love in and out. And features a level-loc style limiter. Nothing subtle about that machine”

“-Also Deltalab Effectron. Its a very early digital delay, with some esoteric A/D conversion, that fux the sound into lofi smile if you turn down the delay. Also it the delay feedback path somehow creeps itself into to the input limiter op-amp distortion, so you can further shape the destruction”

“Been wanting something like a #levelLoc to crush a room mic but dont wanna spend a lot? … #shure m267”

Link to all Shure preamps

In very good used condition with only minor marks. Tested & working 100%. Photos show the M267 for sale

The post Shure M267 Mic Preamp / Limiter #57 appeared first on BN1studio.

I have a number of M267s in prep, plus FP42 stereo preamps and FP11 limiter / preamps here

The Shure Level-Loc has achieved vintage / price-gouging / pimping notoriety thanks to a couple of high-profile users. The M267 has a similar Shure limiter in a 4-channel mic pre at a sensible price. They’ve been very popular – everyone seems to like the effect of the limiter, particularly with room mics

The limiter sets a maximum output level from the mixer. After that, any increase in gain just makes the signal denser and more compressed. It’s a neat trick, surprisingly controllable and definitely useable

The M267 is part of a dynasty of Shure preamps which have been used in the USA & round the world for forty-odd years. They’re definitely not audiophile units, but utilitarian devices for small-scale PA & location recording uses. Their appeal for recording lies in the transformer inputs and output limiter

The M267 has transformer-balanced inputs and outputs, low-cut filters on the inputs , a VU meter and a headphone output. It also has a built-in line up oscillator, switchable phantom power and three power sources (DC, battery or AC)

The limiter is post-channel and post-output control and does an excellent job of levelling the output signal and adding huge amounts of distortion. The limiter threshold is adjustable via pot on the underside of the unit

“The limiter on that Shure mixer is awesome. You can get some great Level-Loc type sounds out of it.”

“One cool thing that they do is they have a level loc style of limiting ability when you hit the transformers hard enough”

“I have an M67 and an M267. Both are great color boxes and can make some really nice recordings”

“Whether being hardware or software, what’s your current go-to device to foul all kind of sound sources up beyond all repair?

“Shure M267 microphone mixer. Has transformer love in and out. And features a level-loc style limiter. Nothing subtle about that machine”

“-Also Deltalab Effectron. Its a very early digital delay, with some esoteric A/D conversion, that fux the sound into lofi smile if you turn down the delay. Also it the delay feedback path somehow creeps itself into to the input limiter op-amp distortion, so you can further shape the destruction”

“Been wanting something like a #levelLoc to crush a room mic but dont wanna spend a lot? … #shure m267”

Link to all Shure preamps

In very good used condition with only minor marks. Tested & working 100%. Photos show the unit for sale

The post Shure M267 Mic Preamp / Limiter #56 appeared first on BN1studio.

It’s very like a dbx 160X but with attack & release controls. It gives the same snap to drums as a dbx,and can be provoked into lovely pumping noise on snare drums & rooms. Release works best set at minimum and the attack control allows transients through when set slow, or flattens them on the fastest setting

It’s a peak-detecting compressor with no over-easy or RMS detector functions. The sidechain has send & return jacks so it’s easy to patch in a sidechain equaliser. There is provision for stereo linking

The Gain control sets threshold. Output Level control is active even in bypass. The rest of the controls (Ratio, Attack, Release) are conventional. Gain reduction is shown on an LED meter which has a useful yellow “Threshold” indicator to show the point at which the unit tips over into compression

This a flexible, adaptable,  Swiss Army Knife of a compressor at a bargain price

“That is my lead guitar compressor of choice…I was getting laughed at
the other day…I had to do a guitar solo and recut a bass…so I
brought a rack with an EAR 660 and an Ashley SC-50…the EAR was for the bass…(cost wise they are at different ends of the spectrum).” – Fletcher

“So I had the chance to us one of these compressors on drums and I love them! Also, super smooth on vocals. I had some other high end comps to use and this one won out on several occasions”

“The only compressor I’ve had for a few years now. Surprisingly good, and quiet”

“I have used them for a very long time and they are just great. For some reason they do not seem to get the love and attention that other brands receive”

Refurbished & recapped in our workshops: these turned up with some broken pots so they have mostly new pots, upgraded power supplies and have been recapped throughout with bipolar caps in the audio path. They have been switched to 220V for the UK / EU

Tested & working 100%.Photos show the compressor for sale

The post Ashly CL50E Compressor #3 appeared first on BN1studio.