Stop Buying Expensive Plugins: Why the DBX 160X Still Wins

Most mixers today are chasing better sound by buying more plugins.

New compressors.
New analog emulations.
New “vintage” modes.

And yet, mixes still feel flat, overworked, or lifeless.

That’s exactly why, in this video, I break down why a $300 hardware compressor — the DBX 160X — still outperforms most modern plugins when it comes to feel, glue, and real-world mix decisions.

The Problem With Chasing Plugins

Plugins aren’t the enemy. I use them every day.

The problem is how easy it is to stay undecided when everything is infinitely tweakable.

Unlimited instances.
Unlimited presets.
Unlimited revisions.

That flexibility sounds great — until it starts working against you.

What I’ve found over the years is that great mixes come from commitment, not endless options. And that’s where hardware — especially something as simple as the DBX 160X — changes the game.

Why the DBX 160X Is Still Relevant

The DBX 160X isn’t flashy.

There are no attack or release knobs.
No sidechain filters.
No saturation modes.

Just:

Threshold
Ratio
Output

And somehow, that limitation is exactly why it works.

Back in 2009, I had the chance to visit Larrabee Studios in Los Angeles. I noticed DBX 160 units sitting in racks used by top mix engineers. Around that same time, techniques shared by Dave Pensado helped cement the DBX 160 series as a go-to tool for parallel compression, especially on drums.

Fast forward to today — after years of testing plugins and outboard gear — I still come back to this compressor for one simple reason:

It reacts musically and forces better decisions.

Mixing in Parallel Changes Everything

In the video, I walk through how I use the DBX 160X in parallel, directly influencing every fader move, EQ decision, and balance choice as the mix develops.

Instead of adding compression at the end to “fix” things, the compressor becomes part of the mix from the very beginning.

This approach:

Adds weight without killing transients
Glues instruments together naturally
Makes balances feel finished faster

It’s not about being louder.

It’s about being more cohesive.

The Power Move: EQ After Compression

One of the most creative techniques I demonstrate is EQing the return of the parallel compressor.

Instead of carefully shaping every individual track, you can:

Push tone aggressively on the compressed signal
Add low-end body or high-end presence globally
Create color and movement without wrecking the source tracks

This is where the DBX 160X stops being “just a compressor” and becomes a tone-shaping tool.

Hardware Isn’t About Nostalgia — It’s About Feel

This video isn’t an “analog vs digital” argument.

Plugins are incredible.
Modern workflows are powerful.

But when audio passes through real circuitry, the response is different. The interaction is different. And most importantly, it makes you stop tweaking and start listening.

That’s why this compressor has earned a permanent spot in my rack — not because it’s old, but because it still delivers results.