API 225L Compressor

Discrete single-channel compressor in the compact API 200 Series format
MFR# 225L
API 225L Compressor
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The API 225L compressor is ideal for all studio, live sound and broadcast applications.  Regardless of the threshold or ratio settings, the output level always remains at unity. This unique feature allows real-time adjustments without changing the output level.  Both "feed forward" (new) and "feed back" (old) gain reduction methods are selectable on the front panel.  There also is a soft or hard selector for either an "over easy" compression resulting in a very natural, uncompressed sound or a typical sharp knee type that has a much more severe limiting effect.  The 225L is designed for individual channel use or two units can be combined for stereo applications via a rear access pin.  The 225L also has a side chain input for the detector amplifier.


  • Threshold control from -20 to +10 dBu
  • Variable compression ratio from 0 to infinity
  • Adjustable release time from 50m/sec to 3 sec
  • "Old" or "new" sound
  • Hard or soft compression knee
  • Always at unity gain, regardless of settings
  • LED gain reduction meter
  • API 2510 and API 2520 op-amps
  • Transformer output to +28 dBu

Additional Information

Condition New
Channels Single-Channel
Chassis Other Module
Digital I/O No
Steven H

Nothing quite like an API compressor for that crushed drum sound. I added this compressor to crush a mono microphone right above the kick drum while tracking drums. This little compressor adds a whole new dimension to my drum sound. The simple controls make it easy to dial in a tone or quickly change back and forth between two different settnig to A/B a couple different sounds. A secret weapon on all my drum recordings.

By Slams!! on December 18, 2017
Awesome on drums!

I’ve been looking for a way to add some power to my drums lately, and after searching through various compressors I’m glad I landed on the 225L. It has that exact old school punchy sound that I was looking for. Slamming this compressor on the hard knee setting is one of the best tones for drums I’ve heard. The soft knee was much more subtle, I was hitting it pretty hard with gain reduction and it was remaining relatively transparent but still controlling the peaks. I really like the way to “old” style compression sounds on room microphones and vocals, a bit smoother to my ears, but I was finding “new” working very well on the close mics of the drum kit.

By B. Reilly on May 23, 2017

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