According to the lot notes from Bonhams auction house website, Eric Clapton used the Ibanez HD1000 Harmonics/Delay, a DBX 160 compressor, a model SDE-3000 Roland delay, a Dyno-My-Piano Tri Stereo Chorus, a Boss CE-1 chorus, and a Boss HM-2 Heavy Metal pedal for his Bob Bradshaw rack system in the mid to late 1980s.

We can see the compressor at 8:27

Clearly seen at the 1min 40sec mark is a pair of DBX 160's.

Used for the guitar on Second Coming, as mentioned by producer Simon Dawson in the January 14, 1995 Melody Maker interview "Diary of an LP: the Stone Roses' Second Coming, Part One" by Tom Doyle.

John Squire opted for a tried and tested combination of guitars, amps and effects that he's used for years.

"Most of the lead stuff on the record he did on a lovely old 1959 Les Paul, although he's got another Les Paul which is newer and he uses that for slide. Other than that he's got a pink Strat that we used for quite a lot of things. He's got a whole load of pedals as well — obviously the wah-wahs, but also Echoplex and a lot of the old Roger Mayer and Electro-Harmonix ones.

"He plays mainly through an old Fender Twin which has been hotwired — you can buy this hotwire kit from California, it's an amazing little thing that only costs about $50 and you get your technical guy to wire it in for you, and I dunno, it bypasses something or other and it just makes it sound great. I don't think it just works on Fender Twins, I think you can hotwire any amp, but it sounds great on his old Twin. John's got a newer Fender Twin as well, but mainly he uses the old one and sometimes an old Orange amp and cab. In front of the Twin — it was the most amazing thing — I just stuck up an SM57 and a 41, straight up the channels on the desk through a bog-standard DBX 160 compressor, and he got the most amazing sound. And that's it. That's the guitar sound on most of the record. We'd sometimes try different combinations of guitars and amps but we always ended up coming back to that. If you've got a great guitar and amp, it'll always sound great, as long as you can play of course."

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Bass: EAR 660, Altec 436B, Dbx 160, Akai S612, Moog MKPE

"The bass was interesting. I had the same bass track coming back on two channels, and on one of them I had the EAR 660 compressor, going into an Altec 436B compressor, going into my Moog MKPE three–band parametric EQ, all going via the inserts. That channel was for the low end, giving the sound its fullness. On the other channel I had a Dbx 160, crushing heavily, with the bottom end taken out. That gave the bass its punch and mid-range. I also sent the basses to an Akai S612 sampler. A friend of mine turned me on to doing this. I don't use it as a sampler, but as a distortion device. If you put the Akai in microphone mode and you overload it, you get really nice warm distortion that you don't really notice, but it sounds good. If I want something more vicious than the Akai, I'll use the [Thermionic Culture] Culture Vulture instead, which I feel is one of the best pieces of equipment for adding some attitude. It's great for when tracks are recorded too cleanly. Finally the basses, like the drums, went through Bus B in my multi–bus compression setup, which consists of Distressors going into my Avalon E55 EQ."

Used on the bass for "Sex on Fire", stated by Only by the Night producer Jacques King in this December 2008 Sound on Sound interview.

"With regards to 'Sex On Fire', the bass was recorded with a DI and a Neumann U47 on the SVT cabinet, close but not right up to the speaker. The microphone on the bass is usually at its upper range of ability, and because the U47 is a tube microphone you get a little bit of tube squash, with the harmonics nearly going into distortion. A lot of times in rock & roll, the bass is really clean and you have to fuzz it up. Both the DI and the 47 went through a Neve 1081 preamp and then an [Teletronix] LA2A compressor, plus an old Dbx 160 on the DI. I also used a very old subharmonic synthesizer, the Dbx Disco Boombox, on the DI. Jared plays a lot of melodic stuff very high up the neck of his bass, and to be able to keep the weight of the track I synthesized some additional low end."

Used on the vocals for My Flame Burns Blue, as stated anecdotally by Jacquire King in this interview with Warren Huart at 1:00:57.

Al Schmitt uses 'em. I saw Al using 'em on vocal. When I visited Al at Capitol, he was mixing some Elvis Costello and I was like 'What you got on the vocal, Al?' And he said (laughs) 'dbx 160'!

Schmitt's 160SL was auctioned in July 2022.

In this article by Waves, Mark Ronson says he owns two dbx 160 comressors :

"Obviously the L2 Ultramaximizer is something I use all the time. And then there’s hardware that I actually have in my studio, like the dbx 160 compressors, but I only have two of those, so once I run out of analog channels I use the Waves dbx 160 in the box. I also use H-Delay a lot, especially for vocals."

in this image you can see the DBX 160 by the mixer

I just like to keep things simple. Having said that, my favourite mic pre which is also a limiter/compressor is the Universal Audio 6176... I'm looking at it right now. I'm also a big fan of the original dbx 160.

Used for the vocals on Music from Another Dimension!, as stated by engineer Warren Huart in this August 1, 2012 Mix article archived on the Endless Analog website.

Most of Steven Tyler’s keeper vocals were cut at Swing House with a Neumann U 48 that Huart had used previously on The Fray, James Blunt, Adele and others. Other pieces of the chain included a Brent Averill Enterprises 1073, 'and then I mult to two sets of compression and I parallel compress. I have two [dbx] 160 VU’s, which I set pretty lightly, like 2-to-1 or 3-to-1. I split those out of a mult and then each of those goes to an 1176 set to limit on 20:1 and they just catch the peaks. I’ve got one for verses and softer vocals, attacking it lightly, and then when he goes into that louder, crazier Steven thing I have another set of compression set at half that. They’re multed back together and that’s the vocal sound. What it does is give you huge, fat vocals all the time. I ride the 1073—I’ll click the gain settings up and down depending on where he is on the vocal. It’s pretty old school. As an engineer, you’re blessed to work with a singer of that quality, because he makes your life very easy.'"

"We bought this for $50 at a pawn shop and since it was the only compressor we had when we started, we used it on a lot of the sessions. I would track drums and use it on the snare. It has this cool, aggressive “thwack” that really helps the snare pop. We also used it for overdubbing bass and vocals. It is not subtle. It’s still one of my fave compressors."