WAVES API Collection Plug-Ins
By Barry Rudolph
Waves Audio Ltd. has co-engineered with Automated Processed Inc. the API Collection of plug-in processors based on API's seminal audio hardware processors first manufactured in the 1960's. The API Collection bundles four plug-in processors: 550A 3-band EQ, 550B 4-band EQ, 560 10-band graphical EQ and the 2500 stereo compressor. The processors are carefully modeled in stereo and mono versions using 48-bit double-precision math, and they operate at up to 96 kHz, except the 560, which goes up to 192 kHz. They are available in native ($1,000) and TDM ($2,000) versions; iLok authorization is required. Simple GUI Each of the four plug-ins is encased in a virtual anodized-blue Series 500 Lunchbox with a large output level control. A pair of large VU meters dominates the GUI; even the mono versions of the EQs have two meters but instead of showing input and output level, they both show output level. Unlike the original hardware units, the plug-in offers an input/output clip indicator, polarity 'flip' switch and an Analog on/off switch. The thoughtful Analog feature switches on/off modeling of the hardware's processor noise and harmonic distortion--i.e. the juicy bits of analog gear personality. With Analog on, these plug-ins sound so close to the originals it's scary, so I chose to do all my testing with Analog enabled. With Analog off, these plugs sound and work great too--just absent some of the'je ne sais quoi' of the analog originals. As with all Waves plug-ins, the included WaveSystem toolbar manages user and factory presets with 32 levels of undo/redo, preset A/B'ing and recall/save/load functions. 550A, 550B, And 560 Equalizers The widespread and long-lived popularity of the compact API 550A, 550B and 560 hardware equalizers is due to the great sound of the proportionate Q circuit design coupled with API's famed discrete 2520 Class AB operational amplifier module. Applying more boost/cut sharpens the Q, offering a more aggressive sound. This makes them equally useful for subtle to extreme tone carving. Furthermore, the boost and cut curves are reciprocal--you can easily reverse an equalizer setting used in a recording by applying an equal but opposite amount of boost or cut in remix. This is as close as it's gets to an 'undo' button in analog. The 550A has five frequency choices for each of its three, overlapping band sections--or 15 frequencies total. The high and low bands are switchable from peaking to shelving filters. The plug-in also models the independent 50 to 15k Hz bandpass filter that's only available on the 550A. The 550B has seven frequency choices for each of its four, overlapping band sections--or 28 frequencies. Again, the high and low bands are peak/shelving-switchable. The 560 graphic EQ has 10 frequency bands, spaced one octave apart with +/-12dB boost/cut. A graphical EQ with proportionate Q means that just touching a frequency band with a small boost or cut makes a very subtle change. However, moving the fader up by more than one-third begins carving more deeply. The equalizers each have a Trim window, which, as your audio plays, displays the highest peak signal level for that track over time. When Trim shows the top level to be 1.5 dB, another 1.4 dB of headroom remains before clip. If you click on Trim, it will reset the highest peak to be at -0.1 dBFS. This is a tremendous feature to maximize channel strip signal chain gain structure. A Look At The 2500 The WAVES API 2500 Stereo Compressor models the single rack space unit that uses four discrete VCAs in each channel to minimize noise and distortion. Like the hardware unit, the API 2500 stereo compressor plug-in has separate threshold, attack, release, ratio, and fixed- and variable-release controls. Unique to the 2500 are the compressor Tone section and the 3comprehensive stereo linking. The aptly named Tone section is comprised of hard, medium and soft compressor knee choices, the patented Thrust detector filter circuit and a choice between two compressor detector signal derivation topologies: old-style feedback or the more modern feed forward method. Old-style feedback detector signal derivation is when the output of the compressor is fed back to the Thrust filter (and detector). Feed forward simply connects the Thrust filter to the input of the compressor. Having a choice means you can configure the 2500 to act more like an old smoothie, such as the Fairchild 660 (feedback) or harder sounding like an UREI/JBL 7110 limiter/compressor (feed forward). Choosing between hard, medium or soft-knee compression configures the 2500 for the desired compression task--anywhere between aggressively controlled and noticeable to gentle, smooth and subtle. Thrust inserts any of three different filters before the compressor's RMS detector. Normal position is flat; Med decreases the energy in the low frequencies and slightly boosts the high frequencies; and Loud decreases even more lows and adds more highs to the detector's input. The L/R linking system sends a mix of the left and right channels' level contributions to the left and right channel detectors. Furthermore, you can set the 'depth' of linkage from none--or 0-percent--for dual-mono setups to 50, 60, 70, 80, 90 or 100-percent linked. The Link control signal can be shaped using a three-position filter: high pass to remove lows, low pass to remove highs or both together for a bandpass filter. Waves has accurately modeled the 2500's Auto-Make-Up gain; it maintains the same output level without regard to changes made to threshold or ratio--a great feature for 'on-the-fly' adjustment. API On The Mix I tested the API Collection in a Pro Tools Accel HD3 rig running on a MAC Quadcore. I started using the 550As as if engineering on a real API desk--on everything! The 550A, with its low latency and DSP usage, is the perfect candidate for use all across your mixer as a main EQ for vocals, guitars, keyboards or program. On guitars, the Trim feature helped to maximize the channel strip for the wide dynamics of a wah-wah part, but a simple input trim control (similar to that on Waves' SSL channel strip plug-in) would have saved me the trouble of adding a DigiRack Trim plug-in to keep an over-recorded track (in the red) from overloading the EQ. I liked that on the 550A and 550B, the amount of boost/cut (2, 4, 6, 9, 12dB) changes to yellow to verify you've selected it. I recorded vocals through the 550B with no trouble at all. A smooth boost at 5 kHz and 12.5 kHz was just what my singer needed when using a Neumann U47. The 550A and -B provide subtle EQ until the boost/cut knob goes beyond 4 dB. The 550A worked with just about any track, but if I needed a fourth frequency the 550B came to the rescue. Most individual tracks benefit from a little EQ, and subtle +/-2 dB here and there can make a big difference in the overall sound. Like the hardware 550A, winding up to +9 dB at 10 kHz on a vocal track will open up the air and ambience to recover from the dulling effect of a compressor that's ahead in the chain, but beware of sibilance. The 560 graphic EQ went to work on all my drum tracks. Whether you're adding point and boom to kicks, carving out something useful from a dumpy old snare drum or dialing in tom-toms, this is the one! Good thing the output level control lowered the level-off clip when I pushed excessive 8 kHz on a side-stick sample. On kick drums, I thinned out the 500Hz area and boosted the frequencies an octave down to get more kick drum presence and a better 'marriage' with the bass guitar. 2500 On the Mix Bus I did extensive A/B'ing between the 2500 and Waves' other stereo bus compressor, the SSL Compressor. On the SSL, I normally use only about 3 dB or less of max compression at 4:1. I use this technique for the slight level jump and the way it enhances the bottom end of my mixes. Set the same way, the 2500 excels over the SSL whenever I'm after a more crushed sound. With all the ways you can program this compressor, creating specific combinations of the knee, thrust and feedback/feed-forward settings, the 2500 provides more punch and clarity when it's pushed hard. It is worth taking the time to learn and experiment here. For stereo mixes, I found myself using the Med Thrust and Knee positions most often--changing to Loud Thrust necessitates resetting threshold and/or output level. I don't use stereo linking because it always narrows the stereo width in my mixes--but then I never put superloud 'events' on one side only, which might shift the center image if linking is used. Available for both Mac and PC platforms, WAVES and API have come together to produce a plug-in collection that will become an essential DAW studio asset just like any analog outboard hardware processor rack full of desirous gear has become. Impressive sounding the first time I used them, the API Collection is a 'must have' for any DAW mixer serious about the best sound possible. Waves, 865/909-9200, www.waves.com.
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May 20, 2018 These Are The Best Bus Compressor Plugins in 2021. For your convenience, here is a list of all of the chosen plugins. Continue reading for the blog post and video below. Softube Valley People Dyna-mite. Audified U73b Compressor. Waves Abbey Road TG Mastering Chain. Waves SSL G-Master Bus Compressor. The API 2500 Bus Compressor plug-in for UAD-2 hardware and Apollo interfaces is a spot-on emulation of this classic compressor, capturing its all-discrete signal path with Thrust ® circuitry — and features a fanatically detailed modeling of API's custom transformers and 2510 and 2520 op amps.
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Article Content
API was founded in 1969 by the great Saul Walker. Known for their bright, open, punchy sound, API products have been used on countless hit records over the last 50 years.
One of their most coveted products is the 550 Series EQ. In this article, we’ll break down some of the most popular API 550 EQ emulations to help you determine which one is right for you.
API 550 A/B
Initially released in 1971, the 550A EQ utilizes API’s legendary custom 2520 op-amp to achieve a very musical sound.
The 550A features three bands of EQ, with 21 selectable frequencies. Each band can cut or boost up to 12 dB in two dB increments.
The 550A EQ does not feature Q controls. Instead, it utilizes proportional Q technology, which increases the Q value as the gain is increased, creating a narrower band and a more aggressive sound.
Each band is broken into the overlapping ranges, allowing for extreme equalization:
- Low: 50, 100, 200, 300, 400 Hz
- Mid: .4, .8, 1.5, 3, 5 kHz
- High: 5, 7, 10, 12.5, 15 kHz
The high and low bands can be used as traditional bell shapes or converted to shelves using two dedicated switches. The API 550 also features a dedicated band-pass filter set to 50 Hz and 15 kHz, which can be toggled on or off.
API 550B EQ
Decades after the release of the original 550A EQ, API redesigned this classic with an additional band, broken into the following selectable frequencies:
- Low: 30, 40, 50, 100, 200, 300, 400 Hz
- Low Mid: 75, 150, 180, 240, 500, 700, 1000 Hz
- Hi Mid: 0.8, 1.5, 3, 5, 8, 10, 12.5 kHz
- High: 2.5, 5, 7, 10, 12.5, 16, 20 kHz
The high and low bands on the API 550B can still be used as traditional bell shapes and converted to shelves, however, the filter was removed to make room for the additional components.
Now that you’re familiar with the original API 550 EQs, let’s take a look at some of the most popular emulations available today.
About the Audio Files
We put some of our favorite API 550-style EQ plugins to the test on drums, bass and guitars with the following settings:
Drums
- +6 dB at 50 Hz
- -4dB at 240 Hz
- -2 dB at 800 Hz
- +2 dB shelf at 5 kHz
- Filter on
Bass
- +6 dB shelf at 50 Hz
- -4 dB at 240 Hz
- -6 dB at 800 Hz
- +4 dB at 2.5 kHZ
- Filter on
Guitar
- -4 dB at 200 Hz
- +6 dB at 700 Hz
- +4 dB at 10 kHz
- Filter on
Here are unprocessed versions of the three audio files …
Drums
https://theproaudiofiles.com/wp-content/uploads/2019/03/Drums_1-1.wavBass
https://theproaudiofiles.com/wp-content/uploads/2019/03/Bass_1-1.wavGuitar
https://theproaudiofiles.com/wp-content/uploads/2019/03/Guitar_1-1.wavAcustica Audio Pink2
Acustica Audio’s Pink2 is the ultimate channel strip for fans of API. It features four bands of EQ with fully variable frequency and gain controls. Each band features a button to toggle proportional Q on or off. The high and low bands feature buttons to toggle between bell and shelf shapes.
Each band also lets you choose between three different circuit models, emulated after the API 550A, the 550B and a hot-rodded version of the 550B. The standalone EQ plugin even features a fourth option!
The Pink2 channel strip plugin also lets you choose between high-pass, low-pass and bandpass filters.
In addition to highly-accurate modeled API EQs, Pink2 also delivers emulations of four different preamp models and an API 2500 compressor with all of the bells and whistles — including three modes of operation!
Acustica Audio Pink2 – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/03/Drums_5.wavAcustica Audio Pink2 – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/03/Bass_5.wavAcustica Audio Pink2 – Guitar
https://theproaudiofiles.com/wp-content/uploads/2019/03/Guitar_5.wav
Acustica Audio Pink2 Demo – [American Channel Strip Plugin]
API was founded in 1969 by the great Saul Walker. Known for their bright, open, punchy sound, API products have been used on countless hit records over the last 50 years. One of their most coveted products is the 550 Series EQ. In this article, we’ll break down some of the most popular API 550 EQ em
Softube American Class A
Softube’s American Class A plugin is much more than a simple API 550 EQ clone. American Class A features four bands with stepped gain controls, with switchable increments including 1x, .5x, and .25x for fine details.
In addition to being used as bells or shelves, the high and low bands can also be set to filter shapes. American Class A also features fully variable high-pass and low-pass filters.
American Class A also includes a built-in transient shaper, compressor and saturation controls. Best of all, American Class A is entirely compatible with the Console 1 controller, giving you total access to every parameter right at your fingertips.
Softube American Class A – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/03/Drums_4.wavSoftube American Class A – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/03/Bass_4.wavSoftube American Class A – Guitar
https://theproaudiofiles.com/wp-content/uploads/2019/03/Guitar_4.wavAmerican Class A Demo – Softube
API was founded in 1969 by the great Saul Walker. Known for their bright, open, punchy sound, API products have been used on countless hit records over the last 50 years. One of their most coveted products is the 550 Series EQ. In this article, we’ll break down some of the most popular API 550 EQ em
PSP preQursor2
The PSP preQursor2 is probably the most unique plugin on this list. While it features four bands like the API 550B, the selectable frequencies don’t match either of the original models. Not only do they not overlap each other; they don’t even cover the entire frequency spectrum.
While it does offer improved variable gain controls and a selectable high-pass filter, it’s missing key features such as high and low shelves.
Despite these setbacks, the preQursor2 sounds impressive. It features push-button controls for analog circuit modeling and saturation for adding grit. It’s also the most affordable entry on the list, coming in at just $69!
*I had to use two preQursor2 EQs to achieve the same EQ curve as the API 550B emulations since the bands don’t overlap.
PSP preQursor2 – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/03/Drums_6.wav
PSP preQursor2 – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/03/Bass_6.wavPSP preQursor2 – Guitar
https://theproaudiofiles.com/wp-content/uploads/2019/03/Guitar_6.wavPSP preQursor2 a specialized EQ plug-in.
API was founded in 1969 by the great Saul Walker. Known for their bright, open, punchy sound, API products have been used on countless hit records over the last 50 years. One of their most coveted products is the 550 Series EQ. In this article, we’ll break down some of the most popular API 550 EQ em
Overloud Gem EQ550
Although Overloud may not be entirely as well known as some of the other plugin manufacturers on the list, this Italian company has some fantastic products at affordable prices — and their Gem EQ550 is a prime example.
Featuring four fully variable frequency bands and gain bands, the Gem EQ550 offers even more versatility than the original. However, instead of modeling the four bands on the 550B EQ, the Gem EQ550 models the three original bands from the API 550A EQ and includes an additional midband with the same frequency settings.
Gem EQ550 features push-button controls for high and low shelves and a dedicated switch that toggles the filter from off to high-pass to band-pass.
Gem EQ550 also features a Cue button, which allows you to hear the part of the frequency spectrum that you’re working on, giving you a clear view of how you’re affecting the sound.
*I had to use two Gem EQ550s to achieve the same EQ curve as the API 550B emulations since the bands don’t overlap.
Overloud Gem EQ550 – Drums
Api 2500 Compressor Plugin
https://theproaudiofiles.com/wp-content/uploads/2019/03/Drums_3.wavOverloud Gem EQ550 – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/03/Bass_3.wavOverloud Gem EQ550 – Guitar
https://theproaudiofiles.com/wp-content/uploads/2019/03/Guitar_3.wavOverloud Gem EQ550 Proportional Q equalizer
API was founded in 1969 by the great Saul Walker. Known for their bright, open, punchy sound, API products have been used on countless hit records over the last 50 years. One of their most coveted products is the 550 Series EQ. In this article, we’ll break down some of the most popular API 550 EQ em
IK Multimedia EQ PA/PB
IK Multimedia offers two separate plugins modeled after the API 550A and 550B; the EQ PA and EQ PB.
Both models provide accurate recreations of each model, including shelf switches, and a band-pass filter. They also feature a few new upgrades such as fine-tuned decibel controls, with a 1 dB resolution up to 6 dB and a 1.5 dB resolution up to 12 dB.
EQ PA and PB also feature a dedicated preamp button, which can be driven using the gain knob to introduce classic American saturation.
*The EQ PA Series has a slightly different sound than the original API 550B, with much more low end.
IK Multimedia EQ PA/PB – Drums
https://theproaudiofiles.com/wp-content/uploads/2019/03/Drums_2.wav
IK Multimedia EQ PA/PB – Bass
https://theproaudiofiles.com/wp-content/uploads/2019/03/Bass_2.wavIK Multimedia EQ PA/PB – Guitar
https://theproaudiofiles.com/wp-content/uploads/2019/03/Guitar_2.wavHonorable Mentions
Api Compressor Standards
In addition to the options listed above, there are many API 550 EQ emulations available.
Many engineers will remember the Waves API 550 EQ plugin as one of the first available. While it doesn’t offer much in the way of extra features, it still sounds great!
The UAD API 500 Series EQ Collection also includes an emulation of the API 560 Graphic EQ — both of which offer highly accurate recreations of the original devices.
Slate Digital recently released the FG-A, a lightweight version of the API 550B that seamlessly integrates with your Virtual Channel Strip.
Api 2500 Bus Compressor Plugin
The URS A Series EQ is a bundle of two plugins: a highly-accurate recreation of the API 550B with fully variable frequency and gain controls, as well as the hot-rodded URS A MIX EQ, which features five fully variable bands and two fully variable high and low-pass filters for added versatility.
Antelope Audio offers the VEQ-55A and VEQ-55B as part of their FPGA FX series, which model the 550A and 550B respectively.
Api Compressor Plugin Free
And that’s just the beginning! What are some of your favorite API 550 EQ emulation plugins?