dbx 160XT in very good condition with minor case marks & scratches. Refurbished, power supply recapped & metering aligned in our workshops. Supply voltage is switchable between 110 and 220 Volts so the compressor can be used in most countries worldwide

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

This 160XT is like new – it’s never been racked, has no marks on the rack ears and possibly has never been used. I will test it as usual and let the buyer decide whether to recap the power supply

Power lead with new UK plug  fitted.  EU or US  power plug supplied on request. Voltage is set to 220V for the UK / EU but can be changed on request via the voltage selector on the back panel

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

The post dbx 160XT Compressor, like new, #202 appeared first on BN1studio.

dbx 160XT in very good condition with minor case marks & scratches. Refurbished, power supply recapped & metering aligned in our workshops. Supply voltage is switchable between 110 and 220 Volts so the compressor can be used in most countries worldwide

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 very good condition with minor case marks & scratches. Refurbished, power supply recapped & metering aligned in our workshops

Tested & working 100%. Photos to follow

The post dbx 160XT Compressor, recapped power supply, #200 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 very good condition with minor case marks & scratches. Refurbished, power supply recapped & metering aligned in our workshops. Short power lead with IEC socket. UK, EU or US IEC power cable supplied on request

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

The post dbx 160XT Compressor, recapped power supply, #187 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. This is a 110 Volt model and a transformer will be required for use in the UK & EU. Tested & working 100%. Photos show the compressor for sale

The post dbx 160XT Compressor (110 Volt) #188 appeared first on BN1studio.

The Effectron was part of the first wave of digital gear to hit studios in the early 1980s. RAM was super-expensive so many units had short delay times and were designed for chorus, flanging, phasing and doubling. The more expensive devices like the Effectron ADM 1024 had around 1 second of delay time

Deltalab was part of the booming Massachussetts hi-tech audio industry of the 1970s and 80s which included Lexicon & Bose. In 2016, Akamai, Analog Devices, B&W and THAT Corporation are prominent Mass manufacturers

Founder of Deltalab, Richie DeFreitas, holds a number of patents for “An electrical system of the type in which a digitally encoded signal is determined at least in part by the difference between a present value of an input signal and a reference signal representative of a past value of the input signal”. Otherwise known as Delta-encoding, this was one of the key technologies enabling digital audio

Effectrons are quirky, entertaining devices with lots of character. By varying the modulation depth & speed they produce effects from a slow phase, via a deep flange & warbling chorus right through to pitch-bending, gargling, modulated delays. They have a unique sound and definite mojo!

Effectrons are famous for  killer flanging & phasing effects. This 1024 has enough delay time to do repeats and it also has an infinite hold feature. Infinite delay holds a sample in memory which then loops repeatedly. The Delay Factor control can then be used to pitch-change the sample

It’s hard to describe the difference between an Effectron and, say, a Lexicon PCM42 but, if you had both in your effects rack, you’d head off in a different direction sonically with each one. The result with the Effectron would be madder than the Lexicon – which explains why I like them so much!

In excellent condition, almost unmarked. Recapped & refurbished in our workshops. Photos show the Effectron for sale. 220 Volt model. Tested & working 100%

Hail the Effectron!

“OH man , I have stumbled upon this wicked awesome unit… i think this piece is amazing”

“Great thing about effectrons is playing the knobs as your track is printing… especially for weird modulation stuff… think bauhaus’ “bela lugosi’s dead” or reverend horton heat’s “gin and tonic blues” and you’ll get it… LIQUID, baby = effectron”

“Good sounds, it’s digital, but in an analog way! The modulation is off the hook crazy”

“I don’t know about the differences, but those old DeltaLab delays sound GREAT, at least if your idea of “great” is “warm and funky” rather than “completely accurate”. I’ve used one for years. Lots of aliasing noise and bandwidth limitations, but it’s in no way cold or uninvolving”

“Deltalabs units use delta modulation istead of the usual PCM method of encoding/decoding. They definitely sound different!”

“If you cannot come up with an interesting effect on this box then just get out of the business”

“Good clean sound? Hell NO…. good clean fun?… HELL YES!! Every studio should have at least one. Imparts a vibe that a plug-in certainly can’t”

“The unit makes a great flanger, excellent chorus and a great freakout anti-music device”

“The EFFECTRONS Rule ! I have all 3 and the amount of creative sound you can derive from them is intense. HAIL THE EFFECTRON !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

“Effectrons are just plain cool”

The post Deltalab Effectron II ADM 1024 with infinite repeat #22 (recapped & refurbished) appeared first on BN1studio.

The MXR Model 136 Dual Limiter is a hard to find in the UK – I’ve only seen a couple in the last five years

Most compressors use a VCA, FET, LDR or valve as the gain reduction element. The MXR is unusual in that it uses Pulse Width Modulation. PWM is still a fairly esoteric way to build a compressor. PWM was used in high-end devices such as the legendary EMT limiters – as seen in every cutting room in the 80s & 90s for mastering vinyl – and also in some some Pye and Neumann compressors. PWM chops audio into hundreds of thousands of slices per second and gain reduction is achieved by controlling the width of the slices. It’s a curious hybrid of radio-frequency and digital-like techniques

Does PWM automatically make a better compressor? No – it’s a difficult technology to master and most designers opt for the VCA option. PWM is a more complex approach with a different sonic footprint. EMT limiters were famously smooth & unobtrusive but the MXR has a rather more aggressive sound

A favourite MXR Limiter trick is to cascade the two channels, feeding the output of one to the input of the other. It’s not an approach you’d think of immediately but it’s an interesting one. The two channels have separate controls so it’s possible to follow a punchy, 4:1 slow attack / fast release compressor with with a slower limiter to pin the signal in place

The MXR Model 136 is rare, brutal & characterful and I love it. Mine lives in my “Colour Compressor” rack along with a Valley People Dynamite, two dbx 160XTs and a pair of dbx 163Xs

“These are really cool comps for drums. I just sold mine on here and I am definitely wondering why”

“The MXR has a lot of punch & grit.. it adds a lot of “character” to your sound”

“I love the 136. Very musical sounding compressor, highly underrated”

“Dang! You guys are letting the Cat out of the Bag. The MXR 136 has been my Drum Buss Secret weapon for many years.”

“The MXR 136 is a fantastic comp for all kinds of things. I use it for for the mix bus as well as drums, vocals, bass. I’ll never part with mine”

“Yes… It’s known for distorting nicely when slammed. But when used in a more subtle fashion it can sound quite elegant”

“One of my favourite uses is cascading one channel into another when dealing with aggressive vocals”

“Yeah! Just got my third one – I love this thing”

“I’ve used a lot of compressors and this one has to be my all time favorite. It sounds amazing on drums and bass”

“It works great on individual drums, as a parallel compressor on the drum bus or for any sound source that you want an effect compressor on it. It is full of character”

“Fairly flexible stereo or dual-mono limiter that works great for destroying drums”

“I find them to be very musical, like all the MXR processors I’ve owned”

In excellent, used condition & very original. Tested & working 100%. Photos show the compressor for sale

The post MXR M-136 Dual Limiter (Refurbished & Recapped) #4 appeared first on BN1studio.

• Audio board recapped
• Electrolytics in the audio path upgraded with higher-value bipolar caps
• Power supply recapped
• Pots & switches cleaned
• Modified for shorter release times
• Voltage switched to 220 Volts for use in UK & EU
• New UK plug fitted (Euro plug available on request)
• XLR output socket fitted on rear panel

This Altec 1612A preamp / limiter dates from the mid-1970s.  It’s a two-input device with separate gain controls for each input and a switchable FET-based limiter. Sensitivity is set by plug-in preamplifier or transformer modules. There’s plenty of gain available on each channel and it’s suitable as a mic or DI preamp

The limiter has an on / off switch and a limit / line control to match levels when the limiter is in circuit. When driven hard the limiter is capable of super-audible compression. With the limiter disabled the preamp can be overdriven to produce lots of harmonic niceness, so there is plenty of colour available from this big green box

Limiter attack / release times are fixed but switchable between 10µs / 0.8s (fast) and 33µs / 2.8s (slow).  10µs attack times are well into UREI 1176 territory – it’s a FET limiter party trick to be able to respond so quickly. FET compressors are the Muhammed Ali of compressors – turn the light out and they’ll be in bed before the room goes dark. I am experimenting with faster release times – enquire for details

I’ve modified this limiter with an upgraded power supply and a recapped audio board feeding a new XLR output socket on the back panel. The original output terminal strip is still in place and offers various impedance taps on the output transformer

The unit is supplied with two input modules: one a Peerless line  bridging transformer and the other an active preamplifier with 12 dB gain. There’s more than enough gain available to use the 1612A as a mic preamp for dynamic or ribbon mics. Condensor mics will require an external phantom power source

These Altec limiters offer a characterful alternative to clean modern recording gear. With transformer-coupled inputs, transistor circuitry and a fairly unsubtle FET limiter the 1612 A is capable of generating all kinds of overdriven sounds. Use it on a snare mic or room mic to add heft & character or try it on bass guitar – it won’t sound like anything else you own

“The 1612a is a lots of color thing”

“It’s a really awesome sounding unit that can be cleaned up with some better caps and power supply filtering”

“But its got tons of flavor and its one of my favorite units on bass, kick, drum, electric guitar and the occasional metal vocal”

“For serious baseball announcer squish, exploding bass and guitars and major cymbal/snare battle ..try an Altec 1612a.. they are still around for kinda cheep… very thick and meaty”

“I L O V E it on Bass, Guitars, and if I want the OH really pumping (which is not really very often) it is the one.. it is my go to for overdrive lead GTR and in your face bass…”

“+1 on the Altecs. I have a 1612B that I use on rock vocals all the time. Love it!”

The post Altec 1612A Limiter Amplifier (Modified & Recapped) appeared first on BN1studio.

• Audio board recapped
• Electrolytics in the audio path upgraded with higher-value bipolar caps
• Pots & switches cleaned
• Release times modified to make them shorter
• Voltage switched to 220 Volts for use in UK & EU
• New UK plug fitted (Euro plug available on request)
• XLR pigtails made & fitted

The 1591a is a preamp / compressor from Altec. It has two inputs – mic & line – and the characteristics of each can be configured using plug-in preamps or transformers. Both inputs have lots of gain and, even with the compressor section switched out,  it’s possible to get great overdriven sounds using just the preamp section

The optical compression seems to like being driven hard. The sound gets denser and more compressed as you increase the input level but the output level remains constant. It’s a great device for compressing room mics. The compressor is relatively slow-acting but we’ve shortened the release time to give settings more suitable for drums

Compression ratio is selected by a front-panel rotary switch. Off turns the 1591A into a preamp with lots of character

We will continue to look at modifications & settings with the Altec compressors we have in stock and welcome feedback from customers on these

“When i crank up the input gain I can make it distort in a musical and useful way. I’m glad to have it. A unique sound, and cool as heck looking”

“I use it on a snare all the time. If you want a FAT snare drum, I haven’t found a better box to get you to maximum fatness. Adds like, 2 inches to the height of your snare…”

“I like them for parallel compression on room mics and/or El. guitars…
And the mic pre’s are great!”

“Really excellent crunchy midrange thing going on that works well for snares and guitars”

“Those are beautiful pre’s for electric guitars. Nice distortion!”

“I have a couple 1591a and i love them, they are huge sounding, a little noisy but if you got some gates on the outputs no worries, i would not use them for SUPER quiet stuff or voice over, but for band work the compressors are HUGE and warm”

“Definitely a character piece. If not modded it doesn’t have 48v. Mine’s not but I mainly use it for dynamics and ribbons and even then you kinda need an inline pad in front because this thing distorts like crazy. But it actually sounds really good, kinda like a API on crack. Recently tried it on snare with a Beyer M160 and it sounded thick and meaty. Good for thrash room too, MD441 on the floor and Bob’s yr uncle.”

“The sound quality of the Altec Lansing 1591 A compressor is pretty awesome. It will add punch to your sound without coloring it. I’ve used it mostly on electric and acoustic guitars, drums, and bass guitar, but is suitable for just about anything. Getting a good sound is quick and easy, as it has your basic compressor parameters, and anyone who has experience with other compressors should be able to figure out how to use this pretty quick. The rich tone makes it a great overall compressor”

“What a fantastic 60’s/Beatles/Motown mushiness this unit has. I expected it to be a bit more slow and dumb like a CBS Audimax, but it’s really usable once you get the input padding correct”

“They make pillowy too-much-low-end direct basses sound thick and muscular, and they’re so unique sounding, that they’ll make anything you put into them cut through the mix”

“The compression it yields sounds huge, very API; think Sly and the Family Stone. Great character on distorted electric guitars, vocals, and bass”

In excellent used condition for a vintage piece. This 1591A has all original knobs & switches and is pretty much unmarked. There’s a hairline crack in the lower half of the meter cover but it’s not noticeable. Tested & working 100%. Modified & recapped. Supplied with two input preamp / transformers (mic & line) and with short XLR pigtails (the standard connections are on a terminal strip). Photos show the compressor for sale

The post Altec 1591A Compressor Amplifier (Modified & Recapped) appeared first on BN1studio.