dbx 160A
dbx·Model 160A·dbx-160a
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the dbx 160A
The dbx 160A is the spiritual successor to the legendary 160 series — a single-channel VCA compressor that has been on more touring lead-vocal channels than any other piece of outboard gear. Hard-knee characteristics, OverEasy switchable, peak limiterA compressor with a hard ceiling: nothing gets past the level you set. In an IEM rig it’s hearing protection as much as tone. built in. Most engineers slot it on lead vox and drum busA path where multiple channels sum into one signal — mixes, groups, and mains are all buses. A 25-bus console can build 25 blends at once. where its quick attack and consistent gainHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip. reduction earn it years of road work.
The dbx 160A is a single-channel VCA compressor that has earned its place as a touring-rack staple the hard way — through decades of consistent, predictable behavior on lead-vocal channels and drum busesA path where multiple channels sum into one signal — mixes, groups, and mains are all buses. A 25-bus console can build 25 blends at once. across every size of venue. It carries the lineage of the original 160 series, offering both hard-knee compression and the switchable OverEasy mode that softens the threshold knee for sources that need a gentler on-ramp. A built-in peak limiterA compressor with a hard ceiling: nothing gets past the level you set. In an IEM rig it’s hearing protection as much as tone. adds a second line of defense without requiring a separate unit, which matters when rack space is already spoken for.
At load-in, the 160A's half-rackThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. footprint is either its best feature or a minor logistical puzzle depending on how your rack is built. You need a half-rack shelf or a paired unit to fill the 1U slot cleanly — plan for that before the truck arrives. The XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. in and out keep your signal path professional and solid, and the side-chain detector TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. jack lets you feed an external key signal if you're doing anything like de-essingA compressor that only clamps the harsh sss frequencies of a vocal — tames sibilance without dulling the whole voice. or ducking without an additional processor. At 12 watts nominal draw, it's a negligible load on your conditioner, and the 200mm depth fits comfortably in a shallow utility rack.
If you're running a live vocal chain and want a compressor that behaves the same way every night without asking much of you, the 160A is a defensible choice at $769 — it's not cheap, but it's not experimental either. Where it makes less sense is stereo work: you'd need two units and a way to link them, which gets expensive fast. Engineers chasing a completely transparent, colorless compressor may also find the 160A's character more present than they want. For those cases, a stereo or dual-channel alternative is a better fit. But for a single critical channel in a touring IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. or monitor rig, it's hard to argue with the track record.
In the rack
- If you're pairing two 160As in a 1UThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. slot, confirm your rack shelf has the correct mounting ears — dbx's own half-rack adapter bracket keeps them from rattling loose after a few show days on the road.
- Use the detector TRSTip-Ring-Sleeve — a 1/4″ jack with three contacts carrying a balanced signal or a stereo pair. A guitar plug with one extra ring. input to feed a high-passed copy of the vocal signal from your console's insert send; this lets the compressor react to the body of the voice rather than low-end rumble from stage, tightening up the gainHow much the preamp amplifies the incoming signal. Too low and you’re hunting through hiss; too high and peaks clip. reduction behavior significantly.
- Set the peak limiterA compressor with a hard ceiling: nothing gets past the level you set. In an IEM rig it’s hearing protection as much as tone. as a true ceiling, not as the primary dynamic tool — dial your compression ratio and threshold first, then bring the limiter in just below clip to protect downstream gear, not to do the heavy lifting.
- In an IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rig, place the 160A post-console insert on the lead-vocal channel before the IEM transmitter feed so artists hear consistent, compressed audio in their ears regardless of how the vocalist is riding the mic.
Single-channel VCA compressor/limiterA compressor with a hard ceiling: nothing gets past the level you set. In an IEM rig it’s hearing protection as much as tone.. Touring-rack staple on lead vox + drum busA path where multiple channels sum into one signal — mixes, groups, and mains are all buses. A 25-bus console can build 25 blends at once..
I/O Ports (4)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Input | XLR FEMALE | input | analog audio | — |
| Output | XLR MALE | output | analog audio | — |
| Detector | TRS QUARTER | input | analog audio | — |
- AC (captive) (IEC C14)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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