BOLD AND DIRTY
- Compression ratio from 1:1 through infinity:1
- Easy to use - automatic attack and release time
- Sidechain input and Low-Cut Detector
Designed by engineer David Blackmer in the early 1970s, the Dbx 160 series of compressors have enjoyed continued popularity, especially when working with drums, because their tight and assertive character helps make things sound big and punchy. The original Dbx 160. The fast-acting dbx 160 compressor was used in almost every major recording in the late '70s and throughout the '80s, and later models in the 160 series also became industry standards. Created in collaboration with dbx, the Waves dbx 160 compressor / limiter plugin is an authentic-sounding software version of this storied piece of hardware. Jan 27, 2015 The fast-acting dbx 160 compressor was used in almost every major recording in the late ‘70s and throughout the ‘80s, and later models in the 160 series also became industry standards. Created in collaboration with dbx, the Waves dbx 160 compressor / limiter plugin is an authentic-sounding software version of this storied piece of hardware. Jun 27, 2017 Rough Rider is available for Windows 32/64-bit VST and Mac OS X 32/64-bit VST/AU. And that’s it folks! The plugins listed here are great if you’re not looking to break the bank, but if you do have some extra change, we highly recommend heading over to plugin boutique and checking some of the alternatives. Compressor effect free vst. Nov 30, 2016 Watch how to give your drums a punchy hard-hitting sound using this plugin model of dbx® 160, the classic compressor widely used to mix drums. Drum Compression Tutorial with the Waves dbx.
THE VC 160 – BOLD AND DIRTY
VCA COMPRESSOR
The VC 160 is mostly used for mixing drums, adding a definitive 'thwack' or 'knock' to even the dullest kick and snare. Also helpful as a mix-fix for troublesome bass, the VC 160 delivers additional attack and a gritty edge — well-suited to hip hop and retro styles, but versatile enough to deliver exciting results on a wide range of productions.
This effect is also available as part of the specially-priced VINTAGE COMPRESSORS bundle.
IMPROVING ON THE ORIGINAL
A dry control makes parallel compression with the VC 160 a reality and a Low-Cut dial effectively tells the compressor to ignore (i.e. not compress) anything below the set frequency. This essential enhancement helps to avoid over-compression caused by unruly bass frequencies.
DOWNLOAD FREE DEMO
Based on a classic voltage-controlled design that adds attack and grit to tracks that need to hit hard. An unparalleled drum compressor.
- Version 1.3.1
- Mac OS: 78 MB
- Windows: 65 MB
ABOUT SOFTUBE
As well as working with NATIVE INSTRUMENTS, they make a wide range of their own products. Their reputation in the industry is exceptional.
VCA TECHNOLOGY
VCA compressors are particularly versatile, and perform well in critical situations where hard compression is required.
ARTISTS ON VC 160
Zdar (Producer for Phoenix, Beastie Boys, The Rapture)
'Now, with the VC 160...we have a complete powerhouse that goes way beyond the capabilities of the original unit.'
Stephen W Tayler (recording and mixing engineer for Kate Bush, Tina Turner, Underworld)
'The VC 160 is my weapon of choice for a lot of compression duties...with all the snap of the original.'
Robbie Bronnimann (producer, recording and mixing engineer for Howard Jones, Nicki Minaj, John B.)
AT A GLANCE
| Product type | High-quality vintage VCA compressor emulation |
| For use with | All popular host sequencers as a native plug-in |
| Effect category | Studio Compressors |
| Size (Mac / PC) | Mac: 108 MB, PC: 45 MB |
| User manual | Download Manual |
SYSTEM REQUIREMENTS
Windows 7, Windows 8, or Windows 10 (latest Service Pack), Intel Core i5 or equivalent CPU, 2 GB RAM
An Internet connection and a graphics card that supports OpenGL 2.1 or higher are required to download and activate this product. Once installed and activated, the product can be used offline.
Supported interfaces:
Windows (64-bit only): VST, AAX
Mac OS X (64-bit only): VST, AU, AAX
THE VINTAGE COMPRESSORS SERIES
Check out the other effects in this series:- VC 2A: Software emulation of a legendary precision studio tool — an electro-optical tube compressor with a smooth, silky sound.
Find out more - VC 76: FET compressor/peak limiter renowned for its super-fast attack and unique 'All Button Mode'.
Find out more - VINTAGE COMPRESSORS SERIES BUNDLE: All three effects at a special price.
Find out more
Designed by engineer David Blackmer in the early 1970s, the Dbx 160 series of compressors have enjoyed continued popularity, especially when working with drums, because their tight and assertive character helps make things sound big and punchy. The original Dbx 160 was a hard-knee compressor; later variants included soft-knee versions, but Waves’ emulation is modelled on the original hard-knee design. Blackmer’s design used a VCA built from discrete components as its gain-control element. This VCA was later produced as an integrated circuit by THAT Corporation, and has since been widely used in compressors and VCA-controlled automated consoles. Blackmer’s innovations also include the RMS side-chain detection circuitry used to drive the ‘feed-forward’ gain control configuration of the Dbx 160.
There are already digital emulations of the Dbx 160, not least on Universal Audio’s UAD platform, but Waves have collaborated with Dbx to extend its capabilities with a few up-to-date additions that can be accessed by means of a separate drop-down panel. These features include a Mid/Sides matrix, a wet/dry mix control for setting up parallel compression, noise-floor control and a choice of mono or stereo operation. All the common Windows and Mac OS plug-in platforms are supported, and authorisation can be to a specific computer or any suitable USB memory stick.
The adoption of auto attack and release times that respond to the envelope of the input signal makes the Dbx 160 very simple to set up, as other than adjusting the output level, there’s really only the Threshold and Compression controls to think about. The compression ratio can be set from from 1:1 through to hard limiting, with a maximum gain-reduction capability of over 60dB, meaning that the Dbx 160 can manage anything from gentle ‘audio glue’ compression to seriously slamming drums or pumping dance mixes.
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In addition to having the standard Waves plug-in features relating to saving, loading and comparing, the interface draws on the cosmetics of the original with its wooden side cheeks, large VU meter and radio-style buttons for switching the meter to read input, output or gain reduction levels. There are just three control knobs, labelled Threshold, Compression — in essence a ratio control — and Output Gain. An external side-chain feed can be selected where appropriate, while a Collapse button toggles the visibility of a lower panel containing the additional parameters. These include input level adjustment, wet/dry balance and a knob that simulates the circuit noise of the original, should you feel it is needed for the sake of authenticity.
Waves have also added switchable side-chain low-cut filters that are useful in situations where the bass end of the sound is having too much say in how much gain reduction is being applied. Three further radio buttons select mono, stereo or Mid/Side operation with four more to set the monitor mode, which can be set to Left, Right, Mono or Stereo.
Despite the minimal set of controls, the Waves team have managed to create numerous factory presets. These make good starting points, though you’ll invariably need to adjust the Threshold control to suit your recorded material. At the polite end of the scale with compression ratios of 1.5:1 or less, a low Threshold setting produces a subtle ‘glueing’ of the mix elements without making any really obvious change. As the ratio is increased, the style of compression becomes more assertive — just as you’d expect from this particular compressor. What impresses is the tight, punchy character of the compression, and at the same time, the high-frequency elements in the material never seem to suffer as they do with some other compressors. The Dbx 160 is often talked about as a drum compressor, and I have to admit that drums is what it does best, though it’s also worth trying on bass parts, electric guitar and even vocals. There are plenty of worthy compressors out there capable of acting as ‘mix glue’, but if you need to add attitude to a drum part or even to a whole mix, the Dbx 160 really comes into its own.
None of Waves’ new controls gets in the way if all you want is old-school authenticity, but in a real-life mixing situation, they prove very welcome in setting up parallel compression or applying M/S processing to stereo mixes where centre-panned signals need a different compression treatment from side-panned material. Waves are to be applauded for getting so close to the character of the real Dbx 160 while not shying away from adding the extra controls to make the compressor more relevant to the way mixes are made today. If you’re a fan of the hardware version, I don’t think you’ll be disappointed by this plug-in.
$150