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API 2500 Users Chime In! Dynamics Processors (HW)
Old 21st December 2008
  #121
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u b k's Avatar
 

Quote:
Originally Posted by DJGoody View Post
These two boxes have some voodoo synergy going on.

api and neve are, afaik, the only lines of outboard gear that were originally designed to work together inside the same large format console; in that sense, they are smaller pieces of one larger circuit. when you use api pre -> api compression -> api eq, the implications of this become extremely clear.

extreme goodness. thumbsup


gregoire
del
ubk
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Old 21st December 2008
  #122
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dhiltonlittle's Avatar
 

haha! very true

Quote:
Originally Posted by u b k View Post
api and neve are, afaik, the only lines of outboard gear that were originally designed to work together inside the same large format console; in that sense, they are smaller pieces of one larger circuit. when you use api pre -> api compression -> api eq, the implications of this become extremely clear.

extreme goodness. thumbsup


gregoire
del
ubk
.
Old 21st December 2008
  #123
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RoundBadge's Avatar
I had a cool old large meter 525 on loan for the past two weeks,used it on vocals .suprisingly smooth.
hard too give the little sucker back!

..
Old 26th June 2009
  #124
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AllAboutTone's Avatar
 

Quote:
Originally Posted by Louderock View Post
Thrust
Interesting function. It can really change the sound of the mix and the low end. It can also make your guitars disappear a bit if you've built your mix with no thrust engaged. As mentioned in some other threads, it's good to have this compressor 'in' as you're building your mix. Seems like I wouldn't ever use the 'Loud' thrust for any loud guitar mixes. Medium does allow the low end to be really big.
Glad I found this in search, I feel the same way, Thrust can such the guitars right out of the mix.....thanks for the help.
Old 26th June 2009
  #125
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u b k's Avatar
 

Late night gem #54: loud thrust is amazing on acoustic guitars, either tracks or better yet a stereo buss. It pulls together the upper harmonics and pick noise but leaves the dynamic power of the transient, either picked or strummed, completely unmolested. Hit the output amp hard to crank up the shimmer, it does all the right things to the midrange.


Gregory Scott - ubk
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Old 26th June 2009
  #126
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Quote:
Originally Posted by u b k View Post
Late night gem #54: loud thrust is amazing on acoustic guitars, either tracks or better yet a stereo buss. It pulls together the upper harmonics and pick noise but leaves the dynamic power of the transient, either picked or strummed, completely unmolested. Hit the output amp hard to crank up the shimmer, it does all the right things to the midrange.


Gregory Scott - ubk
.
What would be you baseline settings for hip-hop and RnB records on the mix buss?
Old 26th June 2009
  #127
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u b k's Avatar
 

Quote:
Originally Posted by malgfunk View Post
What would be you baseline settings for hip-hop and RnB records on the mix buss?

About the only thing I can with any certainty is feed forward.

If the track was mostly glued I'd try 10 or 30ms attack, fastest release, soft knee; ratio 2:1, just enough threshold to move the meters 0-1db. Thrust normal or med, depending on how much movement I want on the bottom. This is also where I'd start if I were mixing into the comp from the get-go, although I might get more zealous with the ratio.

If the track is sloppy and needs reshaping, maybe try 10:1, 1ms attack, release 1.5 sec, med thrust, med knee, ignore the meters and dig in until it feels right. Could be 0-2db, could be 4-6db. Trust your ears.


Gregory Scott - ubk
.
Old 26th June 2009
  #128
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malgfunk's Avatar
 

Quote:
Originally Posted by u b k View Post
About the only thing I can with any certainty is feed forward.

If the track was mostly glued I'd try 10 or 30ms attack, fastest release, soft knee; ratio 2:1, just enough threshold to move the meters 0-1db. Thrust normal or med, depending on how much movement I want on the bottom. This is also where I'd start if I were mixing into the comp from the get-go, although I might get more zealous with the ratio.

If the track is sloppy and needs reshaping, maybe try 10:1, 1ms attack, release 1.5 sec, med thrust, med knee, ignore the meters and dig in until it feels right. Could be 0-2db, could be 4-6db. Trust your ears.


Gregory Scott - ubk
.
Aiight. Thanks.
Old 26th June 2009
  #129
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DarkSky Media's Avatar
Quote:
Originally Posted by mahasandi View Post
me too thanks i'm going to get a battery tomorrow.
I have the top off mine ATM, and am in the process of sourcing the correct battery. It will be great to have the 2500 lose it's selective amnesia.
Old 29th June 2009
  #130
Quote:
Originally Posted by u b k View Post
api and neve are, afaik, the only lines of outboard gear that were originally designed to work together inside the same large format console; in that sense, they are smaller pieces of one larger circuit. when you use api pre -> api compression -> api eq, the implications of this become extremely clear.

extreme goodness. thumbsup


gregoire
del
ubk
.


Do you have anything to share about the L/R link ?
Old 29th June 2009
  #131
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u b k's Avatar
 

The link is how I get the balance between two channels of compression that are set the same but reacting completely independently, and two channels of compression that are reacting exactly the same regardless of which channel the energy is coming from. On the former extreme the image will feel wider, but depending on how you mix (esp. how you pan) and how the arrangement's energy is distributed in the field, you can get some seasickness going as the center gets pulled around like taffy.

I tend to have the link on 70% for mixes, and for busses where the left and right channels contain different performances of the same part, e.g., a guitar buss where the same part has been double tracked and hardpanned. This setting for me is the best balance between width and glue of the image. If you've got a lot of hardpanned stuff that is not rhythmically identical, you might need to tighten that up a little or a lot.

This reminds me of a pet trick I've got for the 2500, but it's cool enough to warrant its own thread so I'll start one and post it there.


Gregory Scott - ubk
.
Old 29th June 2009
  #132
Quote:
Originally Posted by u b k View Post
The link is how I get the balance between two channels of compression that are set the same but reacting completely independently, and two channels of compression that are reacting exactly the same regardless of which channel the energy is coming from. On the former extreme the image will feel wider, but depending on how you mix (esp. how you pan) and how the arrangement's energy is distributed in the field, you can get some seasickness going as the center gets pulled around like taffy.

I tend to have the link on 70% for mixes, and for busses where the left and right channels contain different performances of the same part, e.g., a guitar buss where the same part has been double tracked and hardpanned. This setting for me is the best balance between width and glue of the image. If you've got a lot of hardpanned stuff that is not rhythmically identical, you might need to tighten that up a little or a lot.

This reminds me of a pet trick I've got for the 2500, but it's cool enough to warrant its own thread so I'll start one and post it there.


Gregory Scott - ubk
.
Old 2nd November 2009
  #133
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andychamp's Avatar
Put mine through its paces on the drums subgroup last weekend, although in a live setting.
The bands ranged from techno-inspired (with sampled beats), through all shades of indie-ish and punkrock, to lazy reggae.
The character switches lived at soft, med or loud and old, GR usually 10db or more.
The key for me so far is the attack knob: make it so fast that it starts eating away the snare punch, then make it one click slower. The release helps to shape the pump factor. This was one of the rare instances where I wasn't afraid of opening up the OHs (cymbal spot mics, really, in that setting).
And the autogain is just brilliant: set your drums where you want them and then use the threshold to determine how open or punchy you want them (though these two mustn't exclude each other with the 2500)
The inserts were unbalanced, so I wasn't hitting the transformers hard enough to appreciate their effect.
Old 2nd November 2009
  #134
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chet.d's Avatar
 

I'm mixing an ep now with 2500 & Arsenal R24 on the mix buss following 8 stems out from Nuendo and Apogee into Dangerous D box.

Without 2500 (and d box for that matter) mixes are eternal work to get something I'm ok with. With them both, it's like an "anti-digitizer" result. At least to my ears, which I trust.

To get where I wanna get, I'd be screwed w/o Mr. API 2500. That (for me) is for sure.
So much so that I'm much less inclined to mix to my 1/4 inch 2 trk Otari these days.
Well that and laziness anyway... unless the material begs for it.

I'd be glad to hit the lottery and get a nice console and radar etc. But for now. The 2500 seems to save my mixes alot. So thanks to Greg and others that helped me to rationalize finding a way to afford it.
Old 10th February 2011
  #135
Gear Addict
 
icebox's Avatar
 

Quote:
Originally Posted by u b k View Post
Late night gem #54: loud thrust is amazing on acoustic guitars, either tracks or better yet a stereo buss. It pulls together the upper harmonics and pick noise but leaves the dynamic power of the transient, either picked or strummed, completely unmolested. Hit the output amp hard to crank up the shimmer, it does all the right things to the midrange.


Gregory Scott - ubk
.
I tried this last night and fell in love with my 2500 AGAIN!! Bumping an old thread.......
Old 13th February 2011
  #136
Gear Maniac
 

Hi guys !
I wonder, can the 2500 be used also as a mastering limiter ?
Old 13th February 2011
  #137
Quote:
Originally Posted by TankT34 View Post
Hi guys !
I wonder, can the 2500 be used also as a mastering limiter ?
sure, the usual settings high threshold, fast attack and release, feed forward, I like med tone and normal thrust, and use a clean amp for makeup gain, since the one in the 2500 has API written all over it (not a bad thing, mind you).
heh
Old 15th February 2011
  #138
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Steve Honest's Avatar
 

Bout to get one

Im just waiting for mine to arrive i cant wait to start using it
steve
Old 15th February 2011
  #139
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I love mine like no other piece, the 2500 is my all time fav piece of hw
Old 18th February 2011
  #140
Gear Maniac
 

Can 2500 be used as dual mono compressor if needed for say for reamping 2 mono sources or is it stereo only?
Old 18th February 2011
  #141
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Quote:
Originally Posted by TankT34 View Post
Can 2500 be used as dual mono compressor if needed for say for reamping 2 mono sources or is it stereo only?
No dual mono, it has one set of controls, can process two different sources but with the same settings, not really meant for that.. it's a stereo bus compressor.
Old 18th February 2011
  #142
Here for the gear
 

Ive been using my 2500 for about a year now (mixing on a Neve V1 with custom discrete mix bus).
Over the mix bus I have tried SSL, Al Smart, Chandlers, custom tube limiters, Quadeights, Neves. Cranesong STC-8 etc - and The API is the best by a country mile. All the others have no vibe - or they are messy - or too clean and boring compared to the 2500.
I stopped putting anything on the mix bus after a few years as I continued to have reservations about the loss of magic,loss of bottom end, stereo image being altered, hard panned stuff triggering the compression etc.
So for the past 5 years I gave up on mix bus compression (made my mixing much better too!)
Then I tried the 2500.....
It is really the most flexible stereo comp for mixing and tracking that I have ever used. So much mojo - or really clean and polite.
Killer vocal tracking comp with a Wagner 47 - brings the vocal closer, beautiful mid top detail comes forward - insane on drum bus, rediculous on elec gtr bus - (better than my chandler TG1 which I never thought anything could surpass on elec gtrs)
I have not even tried it on bass or kick drum yet - but I know through using it that the whole midrange forward/fat low end/filter/smack/punch/juju on anything combo will be the **** -
The only problem I have with them is I need 3 of them now.
It really is one of the best vibe machines to be invented in years for mixing and tracking. It really makes mixing fun at the beginning of the mix - the mix really comes to life - put it on the mix bus and mix into it!
I could never do a mix without one being involved somewhere important.
The plug-in is pathetic compared to the box - get the real thing or pretend.
I'm curios if the Amtec Phanzen is another killer box that is going to grow into a flexible legend like the 2500.
I don't suppose anyone has compared these?
Old 18th February 2011
  #143
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Steab's Avatar
Quote:
Originally Posted by The Tasmanian View Post
Ive been using my 2500 for about a year now (mixing on a Neve V1 with custom discrete mix bus).
Over the mix bus I have tried SSL, Al Smart, Chandlers, custom tube limiters, Quadeights, Neves. Cranesong STC-8 etc - and The API is the best by a country mile. All the others have no vibe - or they are messy - or too clean and boring compared to the 2500.
I stopped putting anything on the mix bus after a few years as I continued to have reservations about the loss of magic,loss of bottom end, stereo image being altered, hard panned stuff triggering the compression etc.
So for the past 5 years I gave up on mix bus compression (made my mixing much better too!)
Then I tried the 2500.....
It is really the most flexible stereo comp for mixing and tracking that I have ever used. So much mojo - or really clean and polite.
Killer vocal tracking comp with a Wagner 47 - brings the vocal closer, beautiful mid top detail comes forward - insane on drum bus, rediculous on elec gtr bus - (better than my chandler TG1 which I never thought anything could surpass on elec gtrs)
I have not even tried it on bass or kick drum yet - but I know through using it that the whole midrange forward/fat low end/filter/smack/punch/juju on anything combo will be the **** -
The only problem I have with them is I need 3 of them now.
It really is one of the best vibe machines to be invented in years for mixing and tracking. It really makes mixing fun at the beginning of the mix - the mix really comes to life - put it on the mix bus and mix into it!
I could never do a mix without one being involved somewhere important.
The plug-in is pathetic compared to the box - get the real thing or pretend.
I'm curios if the Amtec Phanzen is another killer box that is going to grow into a flexible legend like the 2500.
I don't suppose anyone has compared these?
That's a nice lil review.
What's so pathetic about the plugin compared to the box in your opinion?
Old 19th February 2011
  #144
Lives for gear
Quote:
Originally Posted by The Tasmanian View Post
The only problem I have with them is I need 3 of them now.
Tell me about it.. I only fear I would want a 4th one then..
Stunning piece of gear, couldn't live without it.

On the plugin/hw comparison, the first word that does come in my mind is
"weight", don't get me wrong, I use and abuse the plugin every day, it's a good sounding, very versatile and useful plugin, one of the best ITB compressor for me, it's in every session, but what the plugin misses is
the weight the hw gives you, don't even need to compress, you just run
audio thru it and the bass gets granitic, the snare punches, the guitars bark,
the mix is tight, and well.. it makes your life better heh
But again, I've been using the plugin as well with satisfaction, as mentioned,
you'd need 3 and more of those, you can open as many instances of the plugin your processor can handle, but of course, it ain't the same thing..

Oh, what the plugin also misses is all those relays "clacks", they sound nice as well
Old 19th February 2011
  #145
Here for the gear
 

Pathetic is probably a bit harsh - but the difference is extreme between the plugin and hardware. Same as any pulgin trying to emulate electricity and transformers - analog hardware always sounds a ton better than its try hard plug-in non transformer/no electricity version - chalk and cheese.
Old 19th February 2011
  #146
Gear Addict
 
icebox's Avatar
 

"Weight" is a great description of the difference in HW/SW. There are mixers WAAAYY better than I am that swear the difference is small but to me they're miles apart. I can't get the plug to sound like the box at all. I wish I could run my life thru the API 2500!!
Old 19th February 2011
  #147
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Steab's Avatar
Quote:
Originally Posted by The Tasmanian View Post
Pathetic is probably a bit harsh - but the difference is extreme between the plugin and hardware. Same as any pulgin trying to emulate electricity and transformers - analog hardware always sounds a ton better than its try hard plug-in non transformer/no electricity version - chalk and cheese.
I respect your opinion on the api but you don't see to know much about plugins and emulations. Thanks
Old 19th February 2011
  #148
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Ohh... the inexperienced experienced experience again.............
Old 19th February 2011
  #149
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AllAboutTone's Avatar
 

I have sold a few, I just keep buying another and placing back in the racks, decided to stop the nonsense, the 2500 is super magic in many ways.
Old 21st February 2011
  #150
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spockstudio's Avatar
 

We own the plug and hardware. While the plug gets used quite a bit, I wouldnt think of using it as a replacement for the hardware on the mix buss.
It might be a mental thing, but I doubt it.
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