If you are recording on consumer grade analog equipment it could be very handy as an inserted processor on channels or over the whole mix. On pro level stuff, analog or digital, it probably doesn't make sense to use it at all. The eqs in any DAW are as good or better sounding and way more versatile. A pro level analog or hybrid setup really deserves better.

Don't get me wrong, dbx makes decent eqs, but they are really best used for live sound reinforcement rather than studio work.

This is pretty much in line with what I'm thinking. It seems like I could use it to carve out frequencies, but right now I use plug-ins for the quick and easy stuff, so I may not have much value from it. DBX aren't really known to impart any kind of sound/vibe inherently, are they?

Thanks for the reply.

sshack, post: 389238 wrote: DBX aren't really known to impart any kind of sound/vibe inherently, are they?

Not really.

Having a graphic EQ can be a handy thing. That's why companies like API have their 560 Sphere also had them. I miss my Sphere for just that reason as it made things quite versatile in and above how good my Neve 3115/1073 like simple program EQ's have to offer. When I need more sophisticated equalization in real time, I utilize my Orban Para-Graphic EQ's on single input sources. But that's for real-time on-air style mixing. Otherwise, in software, I have numerous choices that are capable of doing the same thing.

Once you already have something mixed and you don't have the opportunity to remix, a graphic EQ can come in extremely handy. Hardware or software types. Are the DBX units known for having a desirable sonic signature? Hell no. But they do what they do and they do it well. Though I must say, I don't find that I need to grab at my Orban units much. Especially when in software, you can create most anything you need.

Have fun with it
Mx. Remy Ann David