At the time of its release in 1979, the dbx 163 compressor limiter was viewed as a decidedly utilitarian device. Designed around extreme simplicity, it featured a single front panel compression control and a 12 segment LED gain change display, with all other parameters effectively fixed. In an era when engineers were becoming accustomed to increasingly flexible dynamics processors, this approach was often met with scepticism. The dbx 163 was seen by many as a budget solution, aimed squarely at small studios and semi professional users rather than serious production environments.
Design & Construction
The unit was acknowledged as well built and competently engineered, with clean PCB layout, solid construction using extruded metal panels, and straightforward internal design. Sonically, it performed as specified, offering a smooth compression characteristic following dbx’s “over easy” transfer curve, with an automatic compression ratio ranging from gentle control below threshold to effectively infinite compression above it. Attack time was fixed at approximately 15 ms for a 10 dB level change, with a release rate equivalent to around 120 dB per second in infinite compression conditions. While these fixed parameters limited creative control, they also ensured predictable and stable behaviour in use.
The dbx 163 was strictly mono, with unbalanced phono connections and input impedance of 25 kΩ. Input and output levels were configurable via rear panel settings, allowing nominal operation around +4 dBm or lower reference levels, with internal adjustment available for finer calibration. Frequency response was essentially flat across the audible range, with only minor variation depending on load, and noise performance was considered acceptable for its intended market. Distortion measurements showed low second harmonic content across most of the spectrum, with third harmonic distortion increasing at low frequencies under heavier compression, a behaviour consistent with many compressors of the period.
Using the dbx 163
In practical use, the single control on the dbx 163 determined both compression threshold and overall gain, partially compensating for perceived level changes as compression increased. This made operation fast and intuitive, but also limited precision. Engineers at the time noted that while the dbx 163 could deliver useful results, the degree of control over compressed sound was inherently restricted. It was often regarded as unsuitable for more demanding studio applications, and in some circles was dismissed as overly crude or unsophisticated.
With hindsight, this very simplicity is what has driven the dbx 163’s reappraisal and eventual cult status. In modern contexts, where fast decision making and characterful results are often valued over technical flexibility, the dbx 163’s single knob design has become one of its defining strengths. Its compression action can be bold, obvious, and musically effective, particularly on bass, drums, and aggressive mono sources where subtlety is less important than attitude and control.
What was once criticised as a lack of finesse is now often appreciated as focus. The dbx 163 does one thing, and it does it reliably, without ratios, attack or release settings to second guess. For many contemporary users, especially those working with hybrid or character driven setups, the dbx 163 represents a refreshing alternative to more complex dynamics processors.