"So that whole album was basically the U-64, the V72 and the dbx 160"

"Guitars I EQ before they go into the compressor. I prefer the way that sounds to compressing before EQ. The Distressors work really well on guitars, though you have to fiddle around with them a bit. The Dbx 160 is also very good for guitars. If I hear an acoustic guitar that's a little 'spikey', I put a compressor on it with a very fast attack time, to lose some of that pick spike. I find that the Neve 2264X is really great for bass guitars. I run them at a 1.5:1 ratio and pummel it with 12dB compression, EQ-ing into it. If that's not to my liking, I'll put an 1176 on it."

In an interview featured on Red Bull Music Academy, Jimmy Jam confirmed that Janet Jackson used the dbx 160 on her album "Control," stating, "I remember we used a DBX 160, and it was our limiter that we used."

In this video you can see Philippe Zdar showing 3 DBX 160 compressors

In an article by OZY titled "Derek Ali, the Man Behind Kendrick's Sound," a dbx 160 can be seen in the background of a studio photo, indicating its use by Derek Ali.

In a video titled "Static-X 'Push It': Inside the Song w/ Ulrich Wild - Warren Huart: Produce Like A Pro," Ulrich Wild mentions at the 32:51 mark that he utilized the dbx 160 Compressor/Limiter in the Master Control mixing studio in Burbank, CA.

Equipment used on Rick Astley's "Never Gonna Give You Up," which was recorded at Stock, Aitken & Waterman's PWL Studio, included "The Linn 9000, which most sequences and drums were done on, was run from a [Friendchip] SRC synchroniser, and a [Yamaha] DX7 was used for virtually all of the bass lines. There was also a [Roland] Juno 106; a [Yamaha] Rev 5 and Rev 7; Dbx 160 compressors; SDE 3000 delays; an Emulator; and the wonderful Publison Infernal Machine 90, which was the first sampler that could actually pitch?change without really affecting the time signature. You could time?stretch things and make them fit reasonably well — It was a little choppy, but for the time it was phenomenal. Other than that, there was an AMS delay/harmoniser, which always had a number of kick and snare samples, and that was pretty much it."

In a studio visit video titled "Studio Tour with Neeraj Khajanchi at NK SOUND TOKYO" on the YouTube channel 作曲家・和田貴史の庭, Neeraj Khajanchi is shown using the dbx 160 compressor. Known for its clean sound and quick response, the dbx 160 has become a staple in recording studios, particularly favored for drum processing.

In the video titled "Cozy LA HOME STUDIO Setup | DAVID PETERS 2026 Studio Tour," at the 29:10 mark, David Peters demonstrates the use of a pair of DBX 160 compressor-limiters, which are visible in his floor rack. He said:

It's a little less flexible, but to me, it's just the best sounding of all of them.

DBX 160 in the video

I have compressors. I've got some [Universal Audio] 1176s and [Dbx] 160s. I mean, I like compression, I like messing around with it. But I'm using it much less now. Interestingly enough, with this new Laura Marling record [Once I Was An Eagle], as I went on in the mixing, I very quickly started to unplug all the compressors. If you listen to Heartbreaker, there's almost no compression on that at all. There's no bus compression on any of the Kings Of Leon records I've made, none of the Ray LaMontagne stuff, it's all completely open. There'll be minor compression on individual things. If you're recording to digital, you're compensating for the fact that there's no tape compression, so you're trying to soften things. But I tend to record to tape still, as much as possible.

In the video titled "Foo Fighters Everlong: Inside the song - Warren Huart: Produce Like A Pro," at 23:56, Bradley Cook mentions using a dbx 160 compressor/limiter during the recording of the Foo Fighters’ song "Everlong."