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API 225L, 525 compressors 500 Series EQ\'s
Old 13th January 2009
  #61
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Great thread here. Thanks for all the info!
Old 13th January 2009
  #62
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I just bought the rack, 2 comps and 4 pres to start with. Won't get it in to the weekend but can't wait.
Old 13th January 2009
  #63
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Just taking them out to rack them now. I see I will need to put them in the top of the rack or somewhere with good lighting. They are to small to read if don't have enough light. I mix with my ears but I also like to see what settings I've got going.
Old 14th January 2009
  #64
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Ok, at Vintage King;

* $574 for the 200 series Rack (12 spaces) =$ 574
* $591 each for the 225L Compressors. X 2 = $1,182
* $18 each for the Blank Covers (I'll get 6, that'll
force me to get more 200 series stuff! X 6 = $108
TOTAL, $1,864!!!!!!!! I believe they have free shipping as well!

Shoot, for $1,800 I couldn't get 2 Distressors or a new UA 1176.....maybe a LA3a (one channel) and I could get 2/3 of an LA2a....
The 200 series is expandable!

It looks like a great option to have the 225 comps as tracking comps!
Old 14th January 2009
  #65
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666666's Avatar
Quote:
Originally Posted by DanRock101 View Post
Ok, at Vintage King;

* $574 for the 200 series Rack (12 spaces) =$ 574
* $591 each for the 225L Compressors. X 2 = $1,182
* $18 each for the Blank Covers (I'll get 6, that'll
force me to get more 200 series stuff! X 6 = $108
TOTAL, $1,864!!!!!!!! I believe they have free shipping as well!

Shoot, for $1,800 I couldn't get 2 Distressors or a new UA 1176.....maybe a LA3a (one channel) and I could get 2/3 of an LA2a....
The 200 series is expandable!

It looks like a great option to have the 225 comps as tracking comps!
Yes.

Now imagine stuffing that rack with twelve 225L modules... per your figures, that would cost (not counting blank panels) about $7666 total... or $1277 per PAIR... try getting a PAIR of compressors of this quality for $1277... never. If you fill the rack, it's a ridiculous deal.

But, I just realized, I think you forgot to include the cost of the power supply, it's probably not included in the $574... so we need to tack on another few hundred for that. Even so, in my example (stuffed rack), a pair of 225Ls up and running would still cost less than $1350... that's incredible for an ultra top-end super flexible "stereo" comp.
Old 14th January 2009
  #66
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I already have the rack, 4 pres and 2 compressors. Having just less than about two hours starting with it today I already know I'll be buying a total of six each.

I didn't have a chance to try it as a bus compressor but I have no doubt that will not be an issue.

I've been writing API trying to talk them in to making a 3 band parametric eq, ala the DBX 900. I think they would sell tons of those.

It may not have the versatility of the 500 right now, but it's a top line bang for the buck option.
Old 14th January 2009
  #67
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666666's Avatar
Quote:
Originally Posted by plexisys View Post
I've been writing API trying to talk them in to making a 3 band parametric eq, ala the DBX 900. I think they would sell tons of those.
That would be awesome, but I'm thinking it might be physically impossible... or physically impractical anyway. I think I'd prefer my 550As and 550Bs anyhow with the nice "big" detented knobs etc, I'm sure that couldn't be done in a 200 size. You want one of the most flexible and sonically excellent set ups on the planet, get a few 200 racks stuffed with 225Ls and a few 500 racks stuffed with 550Bs... now you can do some serious tracking / mixing work in an extremely minimal amount of physical space. Kind of like having a big API console but just a fraction of the size.
Old 14th January 2009
  #68
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Regardless of the cost, which I think is very reasonable, I don't think you can get a better bang for your buck for 2u of space.

My rack will have 6 mic pres and 6 comps, all first class quality, in 2u. You just can't beat that.
Old 14th January 2009
  #69
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I have a two hundred series rack- I don't own alot of gear my only outboard comps are 225ls and a buzz soc. I did have an 1176 for a long while and will grab one again when I have the $$. The 225ls have such a nice sound. Great value too. Here are my favourite uses:

1- acoustic guitar - great comp for acoustic, the release curve seems to suit me very well.
2-smooth female vox- I find it adds a nice syrupy sound to a female voice that needs only 2-3 dbs of comp. It seems to push the 1khz area forward on a whispy vocal very well- in a way that eq can't.
3- Drums. I find it has a sound when using feed forward/ fast release with medium attack (17ms) that just kills me. It lets enough of a transient through and then grabs. Kind of a richer more 3d dbx 160 sound.

I guess If I had a wishlist for it would be that it had the ability to dial in manual make up gain. I also feel like the threshold knob a little unforgiving. it Kind of has a hair trigger response. I feel like I'm a stiff breeze away from the wrong sound.

Other than the api 2500 this is the vca comp to get. I think those that already have an 1176 and a nice opto , would find a 225l a very welcome compliment to their compressor collection.
Old 14th January 2009
  #70
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I miss my 200 series rack. When I had it (212l and 225) I didnt know what to do with it or what a good sound was. Now I go back and listen to the stuff that was done through the lowly 002 and go wow, that sounded great!

Will probably go the 200 series route for comps (225) sense I have Seventh circle rack for pres and my Trident board for Eq's!
Old 21st January 2009
  #71
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Don't forget the awesome 215L & even the 205L. The DI's (205L) on the API consoles were used many times to record electric guitar directly the sound board in the 70's [listen to the electric guitar part on Bruce Springsteen's "Fourth Of July Asbury Park (Sandy)"]. And the HP/LP on the 215L is more useful than you might think. Most rock guitar (not all the time) is narrowed down right to that gnarly/throaty midrange. A guitar amp recorded with a 212L pre, into a 215L, into a 225L (and maybe fine tuned with a 550a) is pure Rock N Roll!

Consider this; when recording through an API console, your source (instrument/voice/signal path) is going through the preamp, to the EQ, to HP/LP circuit, to the Compressor circuit THEN to tape/convertor/HD. ( I believe that was what the engineer told me.) Yes, even if the EQ/HP/LP/Comp is off, you're still getting the benefit of each components color/transformer etc....That is basically the console sound.

A 200 series rack with a pre, comp, HP/LP filter, could be linked to a (500 series rack's) 550a (or 550b or 560 dependant on the source) for a great sound! Yes, add up a couple of FULL 200 series racks & a couple of FULL 500 series racks and you're basically at the price of a console. I doubt a person like me would go that route (ie, full 200/500 racks or console), but having a partial version of that, it's a helluva a tracking studio!
Old 21st January 2009
  #72
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Quote:
Originally Posted by 666666 View Post
Yes.

Now imagine stuffing that rack with twelve 225L modules... per your figures, that would cost (not counting blank panels) about $7666 total... or $1277 per PAIR... try getting a PAIR of compressors of this quality for $1277... never. If you fill the rack, it's a ridiculous deal.

But, I just realized, I think you forgot to include the cost of the power supply, it's probably not included in the $574... so we need to tack on another few hundred for that. Even so, in my example (stuffed rack), a pair of 225Ls up and running would still cost less than $1350... that's incredible for an ultra top-end super flexible "stereo" comp.
I know a place that will include the 200 rack & power supply FREE if you buy eight 200 series modules; yes that's roughly $4592, but who couldn't use a couple 212L pres, a couple 215L HP/LP's, and four 225L!!!! (Yeah, I know that's looney ) but hell, 2 Aurora GTQC's is $5,200 (and well worth it it looks like!) and 2 Wunder Audio PEQ1r's is $5,350 (and IS well worth it!), so buckling down and getting a 200 series rack is a pretty down setup!
Old 21st January 2009
  #73
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Quote:
Originally Posted by 1979 View Post
I have a two hundred series rack- I don't own alot of gear my only outboard comps are 225ls and a buzz soc. I did have an 1176 for a long while and will grab one again when I have the $$. The 225ls have such a nice sound. Great value too. Here are my favourite uses:

1- acoustic guitar - great comp for acoustic, the release curve seems to suit me very well.
2-smooth female vox- I find it adds a nice syrupy sound to a female voice that needs only 2-3 dbs of comp. It seems to push the 1khz area forward on a whispy vocal very well- in a way that eq can't.
3- Drums. I find it has a sound when using feed forward/ fast release with medium attack (17ms) that just kills me. It lets enough of a transient through and then grabs. Kind of a richer more 3d dbx 160 sound.

I guess If I had a wishlist for it would be that it had the ability to dial in manual make up gain. I also feel like the threshold knob a little unforgiving. it Kind of has a hair trigger response. I feel like I'm a stiff breeze away from the wrong sound.

Other than the api 2500 this is the vca comp to get. I think those that already have an 1176 and a nice opto , would find a 225l a very welcome compliment to their compressor collection.
Wow! Nice breakdown! thumbsup
Old 21st January 2009
  #74
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Now don't tell me this isn't possible?!?!? I mean, EVERY studio has a 3124+ (or SHOULD have one), and we're ALL working on getting/have a 500 rack...........
Attached Thumbnails
API 225L, 525 compressors-zzz-1a-api-rack-gearslutz.jpg  
Old 21st January 2009
  #75
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$hit after a few years/months of hard work, why the hell not?!?!? A 6 channel API mixer with enough EQ for mastering and Buss comp needs!
Attached Thumbnails
API 225L, 525 compressors-zzz-2a-api-rack-gearslutz.jpg  
Old 21st January 2009
  #76
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jsteiger's Avatar
Quote:
Originally Posted by DanRock101 View Post
Don't forget the awesome 215L & even the 205L. The DI's (205L) on the API consoles were used many times to record electric guitar directly the sound board in the 70's ...
To my knowledge, and currently owning a vintage desk from 1976, there are/were no DI's on them. The Legacy series was Paul's era/part of the company. He took ownership in 1985 as I recall. I would assume his Legacy desk and modules (2510 opamps) were late '80's to early '90's start, to the current of course.

I have a 200 series rack and love the modules, 225's and 235's. I have zero experience with the 215 or 205 modules but can say that however great they are...they are not the same as the 1970's vintage stuff.
Old 22nd January 2009
  #77
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BUmp for the 225L.
How is it on Two buss?
Old 20th February 2009
  #78
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There`s a 200 rack with 6 comps and 6 preamps for sale out here where I live.

I`m considering it for a my studio as part of a mobile setup. Is a maxed out 200 rack heavy? Could I put it in a rackbag and carry it for a while without TOO much agony? heh All relative and subjective I guess , but some idea would be nice.

Could the setup work nicely for tracking stuff where you don`t get a lot of time to set gain? the auto makeup on the 200 comps is interesting , shure seems to have it`s fans around here.

My impression is that the API stuff works on all sources and genres , not too colored not too clean?

Thanks!

Thomas
Old 20th February 2009
  #79
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666666's Avatar
Quote:
Originally Posted by ThomasWho View Post

Is a maxed out 200 rack heavy? Could I put it in a rackbag and carry it for a while without TOO much agony?
I just weighed one of my 200 set-ups on an accurate shipping scale.

A 200 rack with 10 modules installed weighs about 15 pounds. The modules are super light, the rack itself is where the weight is... it's super heavy-duty, build like a tank... which is nice.

But don't forget the separate remote power supply... that's about 7 pounds.

The one loaded 200 rack, with power supply, is about 22 pounds total... not bad at all. Certainly not bad when you consider you can carry TWELVE CHANNELS of stuff around at this weight. At 22 pounds total, that's about 1.8 pounds per channel... I think that's pretty darned impressive. Super impressive in fact when you consider the extreme high audio quality of this rig.

Old 20th February 2009
  #80
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gwailoh's Avatar
 

Quote:
Originally Posted by DanRock101 View Post
Don't forget the awesome 215L & even the 205L.
Just chiming in to confirm this opinion.

The 205L DI is not well known, I think. But it's a great-sounding and flexible unit, with a tone pot providing a range of "thinner" versus "fatter" tones.

The 215L is a great-sounding filter which adds a 2520 and a transformer to the chain, for those who like that sort of thing. I wish it had separate bypass switches for the two filters, but that's not very important.

Excellent kit, not that widely discussed here on the boards.
Old 21st February 2009
  #81
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Thanks a bunch , 66666 ! 10 kilo`s , not bad for 12 channels.

I`m lusting really hard for this rig. A rack with 6 pre`s and 6 comps just seems so ideal for tracking bands , esp with the automatic gain feature. Easy to get tones going quickly and the band can hear some meat in their sound at first playback.

Any files or bandmyspaces I can check out to hear some stuff you guys have done with your 200 stuff?



Thomas




Quote:
Originally Posted by 666666 View Post
I just weighed one of my 200 set-ups on an accurate shipping scale.

A 200 rack with 10 modules installed weighs about 15 pounds. The modules are super light, the rack itself is where the weight is... it's super heavy-duty, build like a tank... which is nice.

But don't forget the separate remote power supply... that's about 7 pounds.

The one loaded 200 rack, with power supply, is about 22 pounds total... not bad at all. Certainly not bad when you consider you can carry TWELVE CHANNELS of stuff around at this weight. At 22 pounds total, that's about 1.8 pounds per channel... I think that's pretty darned impressive. Super impressive in fact when you consider the extreme high audio quality of this rig.

Old 29th September 2009
  #82
Necro-threading just 'cause this is a good topic. The 212l pre's are amazing, I've got a lunchbox with 512c's and used an API Legacy for years and years stuffed with 212's. I love both. As soon as I can find a decent price on the rack I will be getting a 200 series and fill it with comps and filters and one or 2 DI's. Those filters make me drool.
Old 20th January 2010
  #83
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Quote:
Originally Posted by sctt_stone View Post
BUmp for the 225L.
How is it on Two buss?
Another BUMP!
Also interested how it sounds in the twobus compared to a 2500?
I'm looking for a little flavour for itb edm and it would be half the price, if you diy the psu.
Old 20th January 2010
  #84
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AllAboutTone's Avatar
 

Quote:
Originally Posted by 666666 View Post

I just found this quote by Fletcher (on Gearslutz): "...I think that once you get past the frame purchase for the API 200 series stuff... you'll be remarkably happy with the 225... personally, I prefer it to the API 525... it's almost like getting half an API 2500 ... which in my world is a beautiful thing..."
That's why I bought 2 525s, that way I can track or use them on the 2 buss, so sweet.
Old 20th January 2010
  #85
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666666's Avatar
I was gonna keep this special audio secret to myself, but that wouldn't be cool, now would it?

The 225L has one very special trick up it's sleeve... it allows for a super slow attack of 75mS. This very valuable feature is often overlooked.

The slowest attack of the 2500 / 527 is only 25 - 30mS (which is still nice and slow by the way, an old 1176 by comparison only slows down to about 1mS). This makes the 225L a true "secret weapon". Not many comps have an attack as slow as the 225L... and this can take it to places other comps can't even think about going to.

The only other good comp that I can think of that has an attack that can slow down as much as the 225L is the STC-8 (100mS). Most other good versatile comps have a slow attack in the 30mS range (like the 2500, SSL G-series, etc).

The 225Ls really excel on program material (or any complex source) when utilizing the super slow attack... it beefs up whatever's going through it with zero compression artifacts, etc... just makes things sound bigger and thicker with no obvious side-effects. Totally awesome. Deadly stealth processing. Fast attacks do not allow this same type of transparent "thickening", at least not with higher ratios / deeper thresholds / faster releases.

However, the 225Ls do NOT have "Thrust", variable output control, etc, etc, etc, which are important things to have, especially for any program work. The 2500 and 527s also allow for faster attack times than the 225L, which will be needed for effective hard limiting, etc.

So, I hate to say it, but you really need a 2500, a few 527s and a few 225Ls. In all seriousness, if these were the only compressors you owned, you'd be set for life. They'll do everything, and do it well. Incredible levels of flexibility.... and premium audio performance. No, they will not completely emulate the exact character of any given vintage unit, but they give you enough control to dial up compression the way you want to hear it... you can go anywhere you need to go, with quality that is about as good as it gets.

For a 16-track mix, a good "economical" set-up would be one 2500 for mix-buss, six 527s in an API 6-space lunchbox, and ten or twelve 225Ls in one API 200-rack. Altogether this would be a pricey kit, but you'd be surprised how much you can wind up spending (wasting) instead on other more esoteric "one trick pony" compressors that cost way more per channel and do very little. If you want "real" professional tools and want great bang for your buck, the goal is to steer clear of the flash and gimmicks, save your pennies and get a really solid set-up (as outlined above) that you can really mix records on!
Old 20th January 2010
  #86
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Quick Reply

I need to read this whole thread. I'm totally inspired by the new API 527 as other are. And I will look into gates too (235). But I was thinking last night, man, the 225L is about half the cost of the 527 and is close to the same thing. Why not just go with 225L units vs. 527? I need to keep reading, 500 format is tough to beat. I emailed API a while ago, and asked for a 200 series lunchbox !!!!
Old 21st January 2010
  #87
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Gotta get a 527 one day.
Old 21st January 2010
  #88
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Quote:
Originally Posted by AllAboutTone View Post
That's why I bought 2 525s, that way I can track or use them on the 2 buss, so sweet.
Really ? 525's on the 2 buss ? how does that work out??? I have one and one space left in the lunchbox and was thinking of getting another 525.
I have the 225, 212 and 525. I find the 525 a bit fatter and extremely smooth but the 225 a bit more versatile and colored. The 212 is a very colored pre too. Love it for drums and guitars, really leaves that API footprint.
Old 27th January 2010
  #89
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I have a brand new pair if 225l for sale or trade. pm me if interested.
Old 22nd April 2010
  #90
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Are the toggle switch on the 225 made of plastic or metal?

I would love to get a 200 serie rack and fill it with some comps, gates (they don't seem to have a key input though...) and filters but the rack itself with its power supply is pretty expensive...

I wonder if it's worth it, can the compressors really sound as good as the other big names?
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