API Audio

If you want a Pre Amp that has massive head room and sounds so clean it will blow your mind, then buy API. API is a the industry standard in the larger studios such as mine. This unit is used daily on every and any instrument we record. We always turn to API. API on vocals is a must and on kick and bass. No other pre amp has the headroom and sound of an API. To use an example, we have a great deal of pre amps both new and old. We record everything from bands to singers to songwriters to major records every week of the year. If a drummer is in my room we use the API for kick, snare and bass as well as all our vocals aside from vocalists that need compression while recording live. It has 48V, Pad, very sturdy. On the input stage I usually red line the signal into the unit and I never get any distortion what so ever at any point. I can literally have a kick drum microphone red lined on the input stage and I don't get any distortion into Pro Tools. Same with vocals. I always input vocals very hot into all my pre amps but none can take the high gain inputs that I like to use better than the API. I also like the sound of API more than any other Pre Amp on the market today. It just has such a strong sound. The -20 pad is useful for kicks and snares and we rarely use the pad due to the input headroom. UTILIZATION No need to complicate a pre amp. Set your level and record. There are balanced inputs both line and mic and both sound great. All discrete and it has a great reputation and a great resale value. API has the best resale value of any pre amp you will buy. Most people don't sell their API pre amps unless they are getting out of the business. I have seen some of the older ones get far more than I expected. SOUND QUALITY 100 % transparent and clean. API does not color the sound in any way which is what you want when you are about to spend the kind of money that it cost to buy this pre amp. The sound is clean and transparent and the bass is not enhanced nor is the top or highs or high mids. I can rave enough about why you want to own an API. I like all of their pre amps and have never been into in big time room and they don't have API as one of their main pre amps. It is a universal pre amp that sounds great on any and everything. if you listen to records you are listening to API probably on most all of the instruments recorded. If you have every had the pleasure of working with an API console you will know what I am saying. OVERALL OPINION I have four of these and they are absolutely the best pre made. Kick drums sound so fat and have 10 db more headroom. I red line mine all day with zero distortion. I know the API reputation so I did not hesitate to buy all my API pre amps. It is the most reputable company around and it is an investment in your studio and shows you know waht the best is.

The API Audio 554 is a three band, semi-parametric equalizer. It is a 500 series (lunchbox) style module, only fitting within these confines. It is an analog piece of gear, consisting of no connections of it's own, except of course the connections on the lunchbox. This isn't rack mountable in any other way than a 500 series casing. UTILIZATION Anyone who has a bit of knowledge about parametric equalizers should be able to use the. API Audio 554 without any issues. It's really a simple equalizer, with three bands that each have tiered parameters for gain and frequency. Each band also has a bandwidth switch, for either a wider or narrower Q. I'm not sure how wide or narrow exactly each setting will give you, but it's noticeable upon listening. Lastly, it has a button for engaging the unit to affect your signal. I haven't seen the manual for the 554, so I can't speak to it's make up. SOUND QUALITY The sound of the API Audio 554 is totally clean. It's easy to make any EQ move within the range of these three bands, so this is usually the EQ I'll go to when I'm just looking to make a quick and easy change. We have a single 554 in one of our smaller studios on site where I work, and it definitely sees a good amount of use since it is in a room without a console. It definitely isn't the most versatile EQ out there, but again for simple equalization it's perfect. It's a very sterile EQ, as I don't find it to color my sound at all... OVERALL OPINION With the API 554, what you see is what you get - a really simple, but highly effective parametric equalizer. For whatever reason, I don't believe that they make the API Audio 554 any longer, but I don't think it would be too hard to get one used. The API 550B is definitely a more versatile equalizer, but in most situations I wouldn't think it would be worth the difference in price. If you've got a 500 series rack, the 554 is definitely an EQ that you should be aware of.

The API Audio 3124+ is a set of four analog microphone preamplifiers in a single casing. Since the 3124+ that I've used was already rack mounted in the studio where I used it, I don't know what types of connections it has in the back, but since it has 1/4" inputs in the front, it is safe to assume that it most likely has at least XLR connections in the back, although it could have more types as well. The 3124+ will only take up a single space in a traditional rack mount, which is really awesome considering there are four pres here. UTILIZATION The configuration of the API Audio 3124+ is incredibly easy to follow, as these preamps are about as simple to use as they come. Each of the four also has the same exact make up, so once you've learned how to use one of them, you can use them all. Each channel has a knob for setting your gain level, and then a series of buttons that engage phantom power, a -20db pad, polarity, and mic/line selection. I wouldn't think that you would really even need to know anything about mic pres going into using this, but of course it would be very helpful. If in fact you are new to using preamps, I'd recommend doing some research on what each of these parameters will do in any setting, as well as having the manual on hand. SOUND QUALITY The tone of the preamps on the API Audio 3124+ is pristine. API is known for making top tier mic preamps and other outboard gear, and the reason they are so renown is because of products like the 3124+. They are suitable for use with just about any application that I can think of, as I've always been pleased with the sound that I got no matter what I was recording with them. This isn't to say that some won't find these more useful in some situations over others, it just means that they are versatile. They are overall incredibly clean sounding mic preamps and don't color your sound - they simply spit back to you what you send to them. OVERALL OPINION The fact that you can get four top quality microphone preamps in a single casing at this price with the API Audio 3124+ is outstanding. While this is definitely designed for professionals, I'd also encourage the home studio owner looking for a set of top end mic preamps to check it out as well, as it will bring your studio to a whole new level. The API Audio 3124+ is seriously one of the best deals out there in terms of a set of four mic preamps at this quality, so do not overlook it if you're in the market for something like this...

The API Audio 500-6B Lunchbox is six slot casing, designed for 500 series modules made by API and other companies. The 500-6B has a built in power supply, which is very nice as you don't have to get a separate one to power up your modules. It will fit just about any 500 module as far as I know... UTILIZATION There isn't anything that you really need to know about using the API Audio 500-6B Lunchbox, as once you've got it set up, you're good to go. It isn't hard to place the modules into the 500-6B as they slide right in without any problems. I don't think that you really need a manual, but if you're new to the make up of 500 series racks and cases, it might be a good idea to have it around anyway. SOUND QUALITY There isn't anything at all that you can judge the API Audio 500-6B Lunchbox on sound quality, as it is merely as casing for 500 series modules. No sounds whatsoever are made or processed through this piece of gear - it only houses modules that do. It doesn't have the means to color or add to any of the sounds that you hear in the modules either... OVERALL OPINION As far as 500 series casings go, the API Audio 500-6B Lunchbox is one of the best out there for a few different reasons. First, since API does manufacture most of the 500 series modules out there, this casing is absolutely fully compatible with their modules and other out there. They really invented the lunch box and 500 series design, so getting it from the source isn't a bad idea. It is also great that it comes with the power supply, which is a considerable amount of money if you need to buy one on its own. So even though you might have to pay a bit more for this 500 series casing than you would another, it makes up for this with the power supply being included. If you're looking to put together a 500 series rack, I'd highly recommend going with the API Audio 500-6B Lunchbox.

The API 527 is a 500 series compression/limiter. I love the way it handles the threshold and has great attack and release capabilities via the controls. This unit as a whole has some of the best compression that you will hear in this type of unit that has come out in the last year or two. I love using it for compression on vocals and it can work wonders on drums. UTILIZATION This compressor/limiter was very easy to control and work with. It is built tough with steel or metal casting and the knobs are also built well. I first heard about this after being in one of the local studios and had a chance to work with one. After the first song that I did use it one I knew that I had to get one for myself. It took me a while to find money for it in my tight budget at the time but eventually I got it and I love running vocals through it now. SOUND QUALITY Setting it up is easy, I am use to working with hardware compressors and vintage compressors too. I had a similar model from Lindell Audio in the past but the compression was not as good as the API527’s. I have also owned an Elysia Nvelope 500 which cost about the same amount of money but again the compression is not as good as the API527. OVERALL OPINION This compressor is truly one of a kind and it is a must have if you want good warm and rich compression on your vocals, guitar tracks, drums, or whatever you want to use it on. This compressor is a desktop style compressor and cannot be racked (it would have been nice if it could be racked though). There is also an API 525 that is great from the same company too! This has been my go to compressor for a while now and I am very happy with it.

API Audio's 5500 Dual Equalizer is a stereo equalizer which is essentially two API 550's within a single casing. This is an analog piece of gear that has XLR connections for both inputs and outputs, and also has a 1/4" input for each channel as well. It is rack mountable and will only take up a single space in a traditional rack casing. UTILIZATION Even if you aren't familiar with the API 550's, the API Audio 5500 Dual Equalizer is still pretty simple to use. Each of the two channels has four bands to work with, each with parameters for gain and frequency. Each channel also has buttons for setting the slope between the low and low mid and high and high mids. One parameter that is unique to the 5500 rather than the 550's is that it has range parameters that allow you to set which amount of db range you'd like the gain parameters to go to. A manual shouldn't be necessary here... SOUND QUALITY The sound of the API Audio 5500 Dual Equalizer is outstanding all the way around, as it's got a super clean tone that won't color your sound at all beyond the EQ moves you make. It's perfect for getting a quick boost or gain to a certain frequency, as the full frequency spectrum is pretty well represented amongst the four bands. It's definitely a versatile EQ, especially with the added range parameter that isn't found on the 550's. I've always found these EQ's to be really easy to use and to really clean sounding, which is basically what makes up a good EQ in my mind. OVERALL OPINION While the EQ's inside of the API Audio 5500 Dual Equalizer are outstanding, I'm not 100% sure it's worth buying within this setting. Honestly, I'd rather start a 500 series lunchbox with a couple of these in it rather than get the 5500, as having them racked up adds a lot to the price. So while I guess you can't really go wrong here beyond the expensive price, if you're counting your dollars it's probably best to be a bit more economical and go with a lunchbox and a couple of 550's...

The API Audio 954 is a parametric EQ in the form of a piece of outboard gear that is not rackable in your traditional sense. They will fit within the API lunch box but aren't the standard rack size. The 954 is an all analog piece of gear and it is unique because it has the capabilities to be automated, although I've never ventured into this portion of the unit. UTILIZATION The configuration is very easy to understand and figure out as it is your basic EQ, with three bands in total - high, middle, and low. You can set your frequency for each with the bottom knob, and set the gain or cut with the top. I don't have a manual for the API Audio 954, but if you have any experience with EQs at all you shouldn't need it as the unit is easy enough to figure out how to use without it. SOUND QUALITY The sound quality of the API Audio 954 is extremely crisp and clear, and won't color your sound beyond what you set it to do. It is suitable for all types of instruments, and I typically use it for electric and acoustic guitars, bass guitar, keyboards of all kinds, and both lead and back up vocals. However, it is rare that I will track with this, as I like to go back and add EQ later during the mixing stage. The API Audio 954 EQ does its job effectively and does it with a top notch sound quality. OVERALL OPINION I've been using the API Audio 954 EQ for about three or four years and it has become one of my favorite pieces of outboard gear in terms of equalization. It has both the ease of use and top notch sound quality that you have come to expect from API gear. These are very rare and will cost a decent amount of money if you can find one, but if you have access to them at a studio, they are absolutely worth using. This being said, I wouldn't suggest picking these up if you are a home studio owner looking for a single EQ to track or mix with, as it is just too expensive. All in all, another stellar piece of gear from API Audio.

The API Audio 550A is a very modern looking channel strip consisting of mic preamplifier, an equalizer, and a compressor. The unit has both a solid state and tube make up, and you have the option of choosing one or the other. It has a 1/4 inch input in the front for your instrument and XLR connections in the back. This is indeed rack mountable and it will take up take rack spaces. UTILIZATION The configuration of the API Audio 550A Everest may look a bit convoluted upon a first look, but everything is split up into sections and once you analyze it a bit I think that you will find it is easy to use. The mic pre section has a knob for gain and switches for a -20 db pad, polarity, phantom power, a high pass filter, and for choosing either tube or solid state. Next you've got the compressor section which has the basic parameters often seen on compressors for gain, threshold, attack, and release. You've also got a choose for mode between tight and classic. SOUND QUALITY The sound of the API Audio 550A is just about as good as it gets for a versatile channel strip like this one. It is suitable for use with just about any instrument or voice, as I find it has enough options to cater to any type of use. OVERALL OPINION While the API Audio 550A does come with an extraordinary price tag, for those looking for an incredible channel strip for their studio regardless of the price, Everest will work for you. I don't own one of these myself as I don't have the budget for a top end piece of gear like this, but I've used it enough in a professional studio that it keeps me coming back for more whenever I get the chance. If you ever get the chance or have the money to buy a top end channel strip like this one, definitely take advantage of doing so!

The API Audio 7800 Master Module is a piece of gear to use in tandem with either the API 8200 or the 7600 modules. I've used it with a series of 8200 line mixers, as it's almost like having a console if you've got this and a few of the eight channel line mixers. The connections that the 7800 has include 1/4" jacks for monitors and other routing options, as well as D sub for auxiliary and bus outputs and an XLR input for a talkback mic. It is rack mountable and will just take up a single space. UTILIZATION The make up of the API Audio 7800 has a decent amount going on since they are trying to squeeze so much on a single space rack mountable unit. The 7800 includes sections for controlling your monitoring levels, talkback mic, send and bus masters, and solo control. It's basically got everything you'd expect to see in the main control section of a console. I haven't look at the manual, so I don't know what it looks like, although I would recommend having it handy just in case. SOUND QUALITY The API Audio 7800 won't affect your sound negatively, as it's got sturdy connections all around. It doesn't make any sound of it's own at all, as it's just a control station. It's the 8200 line mixers that will make the big sound difference that you're to use with the 7800, as it's not really meant to be used on it's own. API circuitry is some of the best available, so running everything through this is absolutely more than dependable. OVERALL OPINION If you're looking to get the feel and sound of a console without actually having one, the API Audio 7800 is a great place to start and to use with either the 7600 modules or the 7200 line mixers. This is a great way to get the console features and sound without spending too much money relatively where compared to a console. Another huge factor is that you can fit this and three 7800 line mixers (24 channels) all in a four space rack casing! This is a great option for smaller studios looking to get a big sound in small space...

The API Audio 8200 is an eight channel line mixer that is for use in the recording studio. It has value as an eight channel summing box and is basically great for running your sounds through some circuitry if you're working primarily inside the box. It's got D sub connections as well as XLR outputs for your stereo send out. It is rack mountable and will take up just a single space. UTILIZATION The make up of the API Audio 8200 isn't too hard to figure out as it's basically got a number of features you'd get from a traditional analog mixer. Each of the eight channels has the same make up, with parameters for pan, level, two knobs for aux sends, and buttons for mute, INS, and AFL solo. That's what you'll find on each of the eight channels, so it should be pretty self explanatory if you're familiar with the general make up of mixers. The manual has everything you'd need to know about this, so definitely check it out if you're at all confused. SOUNDS The sound of the API Audio 8200 is through and through, outstanding. If you'd like something to warm up your inside the box sounds a bit, the 8200 is ideal and is perfect for this application. It adds fullness and depth to your tone, with a sounds that isn't possible without using real analog circuitry. Of course it's made by API, so I wouldn't expect anything less from them. Basically you're getting the sound of a big console without all the hassles of it. OVERALL OPINION The API Audio 8200 is the perfect line mixer to add to your home or professional studio if you don't have a console. It's much more than just a summing box, as it's got the traditional mixer parameters to give you more control as well. It's not the cheapest out there, but then again you're getting eight channels of API gear. If you have a home studio and are looking for a little analog mixer to team up with your DAW and that will take up the least amount of space possible, the 8200 is for you.

The API Audio 2500 is an all analog stereo compressor. It isn't two separate channels that can split up - you have to use it as a stereo pair. It has XLR inputs and output for each of the channels, as well as 1/4" connections for a side chain. It will take up a single space in a rack casing. UTILIZATION The configuration of the API Audio 2500 makes it easy to use while still offering up a lot of flexibility. The main compression section has parameters for threshold, attack, ratio, release, and release variable. There is a then a section for tone containing a knee threshold, a 'thrust' detector, which is a high pass filter, and then a tone type selection, where you have new (feed forward) and old (feed back). In terms of stereo linking, you can set the exact percentage of linking that you'd like, as well as the filter shape. The 2500 also has buttons for in, bypass, and for make up gain in/out and a knob to control the level. The manual for the API Audio 2500 is very complete and helpful when trying to figure out everything going on. SOUND QUALITY The API Audio 2500 is an extremely punchy and vibrant sounding compressor, with a lot of clarity. It is perfect for applications of all types, but especially for those that are a stereo pair like drum overheads or a set of electric guitars. Having so much control over your sound means versatility as well as exacting command. For this reason I really think that you'd be able to use this on just about any instrument, given that it was the right situation for it. If I'm looking for a punchy compressor for any number of applications, if I have the 2500 available it is one of my first choices. OVERALL OPINION The API Audio 2500 is absolutely designed for and by professionals looking for top notch tone quality regardless of price. While this isn't the best bang for your buck deal out there because of the heavy price tag, it is definitely worth it for those that would be able to afford it and would be looking for a top of the line stereo compressor. There are certainly other compressors in this price range and above and below that are comparable in sound quality, but the 2500 does its own thing and brings a lot to the table that other compressors don't...