Waves

October 2007 COMPUTER MUSIC | 089
reviews
this switch makes to be negligible,
and it’s obviously far outweighed by
the main guts of the emulation. Also
common to all is the familiar Waves
GUI system with its A/B comparison
and easy selection and manipulation
of multiple parameters. This means
the API plug-ins handle their preset
library from within their interfaces,
which avoids host-specific problems.
Knobby styles
The three 500 series modules are all
EQs, representing the early
development of the API sound. For the
550A and 550B, this means combo
knobs with notched gain in 2 or 3dB
steps, and notched frequencies, with
some of the bands offering selectable
bell or shelving options. The 550B
augments the pretty basic 550A with
an extra band, but also with much
greater crossover between bands.
This means that for many frequencies
you can boost or cut twice, and this
certainly makes up for the less than
stellar 12dB gain circuitry.
Like a few classic EQs, the APIs
have ‘proportional Q’ characteristics,
where the Q changes with the amount
of gain. In use, this can be really
obvious and – just as with the original
units – hitting the ‘quarter past’ point
on the gain knob (ie, 6dB) can be
quite a revelation.
Originally released in 1967, the
560 Graphic takes a slightly different
approach with its continuously
variable gain sliders. Obviously,
frequencies are fixed, but with
one-octave spacing, this one sounds
extremely sweet. Again, Q is
proportional to gain, but with 0.1dB
resolution on the sliders, there’s a
smoother transition than on the 550s.
In contrast to the EQs, the 2500
compressor looks quite complex.
Things start off pretty standard, with
the usual foursome of attack, release,
threshold and ratio controls. But move
on to the Tone and Link sections and
things get decidedly more esoteric
(see Tone it up boxout). Unusually for
a stereo compressor, the whole thing
is topped off with an automatic gain
make-up circuit, although this can be
switched to manual, if you prefer.
In use, the wealth of different
processing options makes for an
almost Jekyll and Hyde compressor,
capable of anything from gentle mix
glue to twitchy sonic destruction. But
because these differences are a
button press away, a clear starting
point is always easy to achieve. And
the excellent meters are some of the
most responsive we’ve seen on a
software compressor.
Good behaviour
The big question with any modelled
plug-in is whether it gets close to
achieving what the original hardware
does. This isn’t just about the sound,
but about the way it behaves in
general. The API Collection is
surprisingly good, managing to deliver
much of the flavour of the originals,
but with the benefits of a plug-in. In
addition, there are lots of nice
touches, ranging from highlighted
knob legends to auto output trim,
and, of course, excellent meters
throughout. Alas, for AU and VST users
there’s no external sidechain for the
2500, and, being faithful emulations
of classic gear, they’re not as flexible
as some entirely modern-day plug-ins.
Overall, the bundle offers a bit of
something old and a bit of something
new, and does at times feel like a
slightly strange combo of the clinical
and the musical. Even so, it’s one of
the best emulative bundles we’ve
used, and if you have an iLok we
recommend downloading the
seven-day trial version.
cm
3 ALTERNATIVELY
URS A series
N/A >> N/A >> £Varies
The A Series plug-ins also take their
inspiration from the API classics.
You can purchase them one at a
time or as whole bundles
Waves V-Series
N/A >> N/A >> £653
Now available on their own, these
offer another classic analogue
sound: that of Neve gear
VERDICT
FOR
+ Very flexible 2500
compressor
+ Vintage flavour EQs
+ Responsive meters
+ Easy-to-use interface
+ Great-sounding graphic EQ
AGAINST
Expensive
No external sidechain for
AU/VST users
The API Collection is right up there
with Waves’ excellent V-Series and
SSL 4000 bundles. The price is right
up there, too, but do bear in mind
that it’s still a far cheaper option
than the API hardware equivalents
RATING
9
“THE API COLLECTION DELIVERS MUCH OF
THE FLAVOUR OF THE ORIGINALS BUT
WITH THE BENEFITS OF A PLUG-IN”
The API 2500 Stereo Compressor incorporates quite a few
interesting options, including various stereo linking
features, but it’s the so-called Tone controls that are the
most intriguing.
First up, there are three knee characteristics – hard,
medium and soft – which affect the onset of compression
as the signal passes the threshold. Next up, there’s the
Thrust parameter, with normal, medium and loud settings.
For the latter two, this modifies the sidechain signal,
applying an EQ curve so that the compression is less
influenced by lower frequencies and more influenced by
high frequencies. Finally, there’s the compression type,
offering feedback and feed-forward options, labelled
respectively as Old and New. The Old format takes the
sidechain from the post-compressed signal, the New form
takes it from the pre-compressed one.
In use, this creates an amazing array of compression
behaviour. The Old and New types serve up either the
gentle ‘glue’ of a classic rack compressor, or the much
more responsive release of a modern VCA design. It’s the
Thrust control that’s the most extreme, though, with both
its medium and loud settings making an amazing
difference, allowing quite extreme compression while
retaining low-end punch.
Tone it up
1 A wealth of compression options at your fingertips
7 These are the original API hardware
EQs that the software is modelled on
CMU118.rev_api 089 5/9/07 4:26:43 pm