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The DBX 166XL and 266XL are both compressor units designed for use in studio, broadcast, and live sound applications. Both compressors are capable of delivering up to 20dB of gain reduction, making them ideal for use as a transparent compressor during mixdown or mastering. However, there has been a lot of argument about their differences and similarities. This article will give you a detailed comparison between DBX 166XL vs 266XL compressors.
The main difference between DBX 166XL vs 266XL is that the DBX 166XL has a contour feature that makes the compressor less sensitive to low-frequency content, resulting in more bass output. The 266XL has no contour feature and has a more traditional attack/release curve. It’s also capable of more gain reduction than the 166XL.
Another major difference is that the dbx 266XL has better attack times than the 166XL, but not as good release times. So you can tighten up your transients, but then it will take longer for them to return back down to normal levels. This may be an advantage if you are using it on drums or other percussive sounds, but not so good if you’re using it on vocals or instruments like guitar or piano.
It’s not really a big deal though because most people don’t need to use this kind of fast attack time anyway. The 266XL also has slightly faster release times than the 166XL.
Comparing DBX 166XL vs 266XL
| Feature | DBX 166XL | DBX 266XL |
|---|---|---|
| Number of channels | 2 | 2 |
| Type of compressor | RMS | Peak |
| Frequency response | 20 Hz - 20 kHz | 20 Hz - 20 kHz |
| THD+N | 0.005% | 0.005% |
| Dynamic range | 110 dB | 110 dB |
| Inputs | XLR, 1/4-inch TRS | XLR, 1/4-inch TRS |
| Outputs | XLR, 1/4-inch TRS | XLR, 1/4-inch TRS |
| Dimensions (H x W x D) | 1.75 x 19 x 5.5 inches | 1.75 x 19 x 5.5 inches |
| Weight | 3 lbs | 3 lbs |
1. Attack
The dbx 166XL has a faster attack time than the 266XL and can react quickly to sudden changes in volume. The dbx 266XL has a slower attack time, which makes it more gentle and smooth when compressing.
2. Release
If a compressor’s release time is too short, it will be very aggressive in limiting your signal. If the release time is too long, however, you will lose some of the original attack and tone of your instrument. In general, longer release times are more transparent and give you a cleaner sound overall than shorter ones do.
The dbx 166XL has an adjustable threshold between -40 and +20 dBFS. It also features four different compression modes: Peak/RMS sensing; Ratio 1:1 through 2:1; Attack 0ms through 30ms; Release 0ms through 100ms. The dbx 266XL offers similar features but with a lower ratio range from 1 to 5 as well as adjustable attack times from 0 to 50 ms.
3. Output gain
The dbx 166XL has a higher output gain than the dbx 266XL, which means that it can drive a signal further into the red before clipping. This is because the dbx 166XL has a higher ratio of 1.5:1.
In practice, this means that you could push your mic preamp or compressor harder than usual without worrying about distortion. It also means that when you’re recording vocals with an SM57 on someone who’s singing loudly, for example, you won’t need to worry about stepping back from your mic and turning down their volume later on in post-production.
4. Knee
Let’s talk about the knee. The knee is the point where the compressor starts to work. The dbx 166XL has a soft knee, which means it starts to compress gradually. That’s good for low-level signals that need a little help but don’t need to be squashed too hard. The 266XL has a hard knee, which means it starts to compress quickly. This is great for high-level signals or when you want more aggressive gain reduction than what your ears can provide naturally.
The basic principle of compression is that it reduces the difference between loud and soft sounds. A compressor has two controls: Threshold, which determines what level you want to compress by; and Ratio, which determines how much gain reduction will occur when the signal goes above threshold.
5. Ratio
When you compare the dbx 166xl and 266xl, one of the main differences you will notice is that the 266 model gives a higher ratio. The gain reduction in this compressor is very large (up to 60dB), meaning that if you want to achieve a similar level of compression as the 166XL model, you’ll need to reduce your input signal by a greater amount.
This means that if you are using an amplifier with low output volume and want to keep using it without changing anything else, then it would be best for you to use the dbx 166XL instead.
6. Threshold
The dbx 166XL has a threshold of -22 dBFS, while the dbx 266XL has a threshold of -20.5 dBFS. What this means is that you can push your signal lower into the compressor on the 166XL before it starts to compress and make things sound squashed and unmusical. This makes it more transparent than the 266XL, which will start compressing earlier in your audio chain, and thus introduce more artifacts.
Because these compressors are so similar in design, they each have the same basic controls: attack/release times, ratio selection, gain makeup selection, and output level adjustment. The main difference here is that the 166XL uses VCA-style compression whereas its bigger brother uses opto-style compression, this means there’s no latency when switching between settings like attack/release times and ratios.
What is the DBX 166XL
The dbx 166XL Compressor/Gate is a complete dual-channel solution for smooth, transparent dynamics control. It features over-easy or classic hard knee compression and PeakStop limiting to give you complete control of signal dynamics, plus gate timing that’s program adaptive so it sounds right on any source material.
DBX 166XL provides two channels of noise gating, OverEasy or classic hard knee compression and PeakStop limiting to give complete control of signal dynamics. A goof-proof operation to smooth uneven levels, add sustain to guitars, fatten drums or tighten up mixes.
Engineered with an intuitive front panel display and new gate timing algorithms to ensure the smoothest release characteristics, the dbx 166XL delivers professional results every time.
What is the DBX 266XL
The DBX 266XL delivers many of the same features found on our larger model dynamics processors including smoother audio transitions and a more natural sound character for any type of program material. DBX 266XL adds an exciting new dimension to audio processing with its program-adaptive compressor/gate’s ability to track any signal while automatically adjusting itself to changing program material.
The DBX 266XL is an easy-to-use dynamics processor that automatically adapts itself to the sound being processed, making it ideal for all types of audio. With program-adaptive expander/gates, it provides smooth operation with no “pumping” effects, and separate precision LED displays for gain reduction and compression threshold make setting up fast and accurate.
FAQs on DBX 266XL vs XL
Does DBX 165 have a hard or soft knee?
The DBX 165 utilizes a soft knee at the threshold of compression. The Over Easy compressor/limiter gradually increases its compression ratio from 1:1 toward the set compression ratio as the input signal rises through the threshold region.
Should I use hard knee or soft knee compression vocals?
A hard knee setting on a compressor is great for instruments that have fast peaks, such as drums. The hard knee setting will clamp down on the signal immediately, making it perfect for controlling transients. Meanwhile, a soft knee setting can work well for things like vocals which benefit from a more gradual transition. A soft knee allows for a smoother and more natural-sounding compression effect, without making the vocals sound too squashed.
What does knee size do on a compressor?
The knee refers to how the compressor transitions between non-compressed and compressed states. Most compressors allow you to choose either a “soft” or a “hard” knee. While some compressors allow you to select positions between the two types of knees. The knee size setting determines the range over which the transition from non-compressed to compressed occurs. A smaller knee size will have a more abrupt transition, whereas a larger knee size will be more gradual.
Final Thoughts on DBX 166XL vs 266XL
You can’t go wrong either way because both are great compressors. The dbx 166xl and 266xl are both great compressors, and you can’t go wrong with either one. Both compressors have their pros and cons, but whatever your needs might be, you can find a good reason to buy one of these compressors.
Both units are versatile enough to be used in a wide range of applications. The 166xl is designed to be used on individual tracks while the 266xl is designed to be used on stereo channels or subgroups. Each unit has its own strengths and weaknesses when it comes to different tasks, so you should choose the right one based on how you intend to use it most often.
Regardless of what type of music recording project you are working on, these two compressors will work well for your needs because they are easy-to-use tools with intuitive interfaces that make setup simple as well as installation. The dbx 166XL uses balanced XLR inputs while the 266XL uses an RCA input.
