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.
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.
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.
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...
Analog stereo bus compressor transistor 19. "
Sturdy and versatile.
Configuration ultra clear. Manuel ultra clear. Better read that said, just to see the diagram of what they call a compression "new" or so "old". In version "old", there is a system of feedback of the sound, but I do not remember very well. The difference is large enough to sources with strong transients. There's two or three details quite interesting how this system of "Link" which makes the stereo compressor + or - linké. At registration, it can be quite useful to not screw up the catch. Especially since you can add "filters" detection. A High pass, low pass one. Small example: stereo recording of two voices, left a plosive or a big wheezing and right channel may not be affected. One can imagine the same thing on a string quartet, when the cello pizzicato passes, etc ...
Attack and release are notched, and not the threshold gain.En for me, I prefer the large buttons. I find it + live + accurate + easy. Here is a little haggling.
Superb sound quality. Versatile machine. It is in the rack as I walk all the time. I bought just for this story link. Thanks to this system, I keep a stereo "stable". Most often I use for recording games players and I use it as a kind of limiting case where one of these players suddenly the urge to scream. It is a seat belt, use as a soft limiter: good idea.
And therefore, who says stereo compression, said compression batteries: it works very well too.
Who said compression stereo acoustic guitar said: it works very well too.
I also used a lot for vocals, in this configuration, I use it as the first stage of compression, softly.
I tried it on groups of choir, also great.
I use it since March. It is always on, a power to another, I use it. This is my most versatile compressor and I use most often. Easy, beautiful sound, not too colorful.
Extremely versatile, it goes from soft compression neutral, has the big aggressive compression. Tone allows us to control the bottom. I do not use the OLD way, the New is more versatile. Getting in manual gain and push out the background to gain a maximum grain recover.
I use it for more than two years on the master bus. This "glue" all elements of the mix and the patina mixes extremely pleasant way. I can not do without it