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API 527 500 Series Compressor
Discrete 500 Series compressor with classic API features like continuously variable controls and all new options for feed-forward or feed-back compression hard and soft knee shapes and API’s patented THRUST switch
MFR# 527
Product Description
The API 527 offers the features, flexibility and performance of the company’s other VCA-based compressors, such as the 225L and the renowned 2500 Stereo Compressor, in a convenient 500 Series module that packs a lot of punch into a small form factor. Plus, the 527 circuit incorporates API’s discrete 2510 and 2520 op-amps and a transformer output, so you get all the signature sonic character associated with API compressors.
Control your Tone
The API 527 offers tremendous flexibility through its front panel switches, offering a choice of Old (“feed back”) classic compressor performance or more modern New (“feed forward”) character. Soft/Hard toggles between the very natural, uncompressed sound of API’s "over-easy" type compression and the more obvious limiting effect of hard-knee operation. API’s patented Thrust switch — also found on the 2500 — ensures a punchy bottom end through the introduction of frequency-dependent side-chain control.
The attack, release and ratio settings are all continuously variable and feature detented controls, allowing you to easily return to your favorite settings. Attack times can be adjusted from 1 millisecond to 25 milliseconds while release time constants range from .3 second to 3 seconds.
Two 527 modules can be linked for stereo use via a motherboard bus connection.
Features:
- Audio circuit uses the 2510 and 2520 Discrete Op Amps with transformer output
- Continuously variable detented Threshold control
- Continuously variable detented Attack and Release controls
- Continuously variable detented Ratio control
- Output Fader level control
- 10-segment VU/gain reduction meter with selector switch
- Overload LED
- Link switch for multiple unit interdependent compression linking
- New/Old switch for feed-forward or feed-back compression
- Hard/Soft compression curve knee switch
- Patented Thrust switch for frequency-dependent side-chain control
- In switch with hard relay bypass when in the Out position
Product Specifications
| Condition | New |
|---|---|
| Tube or Solid State | Solid State |
| Channels | Single-Channel |
| Chassis | Module |
| Module Type | 500 Series |
| Module Slot Count | 1 Slot |
| Digital I/O | No |
| Compression Type | FET |
Product Reviews
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Just bought a pair of 527s for our 1608. Ryan at VK was super helpful, took the time to explain the 527s and how they could be linked in the 1608. Also offered up several other compression options that we should keep on our bucket list. Installation in the 1608 was straight forward and a little bit of soldering allowed us to link the two units for stereo link mode. Drum buss is punchy
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Compressors and limiters are some of the most important and versatile tools that any audio engineer can use. Virtually every modern recording uses compression somewhere in the chain of tracking, mixing, and mastering. This ubiquity makes them valuable but also creates confusion when considering the many choices in the marketplace. To help straighten that out, we’ll discuss the main types of compressors and the terminology that explains their usage.The purpose of a compressor is to even out the audio signal in order to tame loud transients and bring up lower amplitude material. Compressors were born out of necessity to fill that very straightforward role, to protect radio transmitters from overly hot signals, and to keep recordings in a narrower dynamic range that was easier to reproduce on tape or record. 
The 
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