I think you'll find either model you suggest quite usable, probably most others. DBX stuff is, on the average, pretty good..! Their tech support has always been accessible(You get to email the DBX "bosses"? And they email back!) and quite helpful, as well...

You might find reviews helpful(Mix Magazine "online", Sound On Sound magazine "online", etc.) for specific units?

I am not speaking facetiously when I say that DBX stuff is always some of the most "visible" gear in one's rack -- lots of flashing LED's and knobs and colorfully-lighted buttons(All of which actually portend to "do" something..!). If perception is everything(And it is!) your DBX pieces will always at least LOOK like they're "working hard"... very cool! Always the "height of techiness"...

TG

Just a thought: If you could find a DBX 376 "Tube Channel Strip"(Or the 2 channel version, I forget the number - 476?), you might like it? I use mine for "pro" work(At least I get paid for the work, if that's "pro"?), and find it's tube pre OK, it's other features - 48v, pad, low cut, line input, insert capability, DBX compression(It is the DBX "feature" item), EQ, Dee-esser and analog or digital outputs(I use it's AES/EBU output to a LynxOne), "pretty good", especially for the price(New, about 500 US).

I was pretty unhappy with my DBX 266XL. It didn't really seem to do much well at all. I stuck it in the closet and forgot I had it until oneday....
...then I went straight to ebay with it.
I don't think I would buy much else from DBX.
It didn't suck, but it surely didn't RULE.
I figure I'll buy a Thorax and Distressor and a whatever else. But no more DBX stuff for me.
Just speaking from my exp.

XYZ,

You just have to decide what features you need, without looking I'm guessing the difference 160 166 xl would be gate or no gate. For recording vocals in a quiet enviroment gate is not needed.

Live vocal, and drums anywhere gate is useful.

I would go with more opitons so the unit will be more useful for future unknown tasks.

MAn :roll:

As far as the lower cost compression units out there, DBX would be on the expencive end of the low cost. The gear is "mostly" rugged and well built. How many racks have you seen full of DBX stuff, I've seen lots.

DBX comps sound great cause you can't hear them working, which is what there suppose to do (basically)

DBX is almost industry standard as a result.

My experience,

every DBX comp & product I've used work flawlessy and did what it was suppose to.

Currenttly I own a DBX 1046 quad comp AND a DBX DriveRackPA, both work great.

I have a Presonus ACP-22 stereo comp which I'll call equivilant to DBX

I have two Alesis 3630 stereo comps and they work great. They have no XLR and AC is not grounded. The Alesis may be the best cheap comp out there.

The Behringer (i had) what ever model, was complete dog doey.

Marc

A lot of people don't record thru a comp these days, they rec 24 bit and comp after. You prob knew that. Money better spent on a mic or pre? Now i'm just being annoying