"Dat API. Doing magical things to my drum bus. What a difference!"

The API 2500 compressor was used for parallel compression on Daft Punk's drum tracks during the mixing process.

Seen in the picture of his studio rack in the May 2018 Sound on Sound interview.

The second device is Kaskade's premastering hardware chain, "to thicken the transients."

Used for the drums on Echoes, Silence, Patience & Grace, as stated by mix engineer Rich Costey in this March 2008 Sound on Sound interview.

Drums: Quad 8 310, Pultec EQP1, API 550a, Neve 33609, API 2500, Lexicon 960, Urei 1176, Smart C2, SPL Transient Designer, room mics

"I had just gotten some Quad 8 310 EQs before I began the Foo Fighters project, and I found that cranking the s[**]t out of the mid-range with the Quads helped the drums quite a lot. On most of the album the bass and snare drum went through the Quad 8s, with severe amounts of mid-range added. Quad 8 grew out of Electrodyne and was very popular in the 1970s, particularly with film companies. I obtained some channels that came out of the Motown Sunrise console and they're basically three bands of EQ and a mic pre and output level, and the Q gets tighter as you push it up. The Quad 8s are a little bit rounder and warmer-sounding than similar API modules. I also used the Pultec EQP1 and API 550a on the bass drum.

"I had a bunch of different side-chain compressors on the drums that would change from song to song. On some songs it would be the Smart C2, medium ratio and fast recovery, on others the Neve 33609, the Urei 1176, the API 2500 or the Empirical Labs Distressor, and the SPL Transient Designer on toms. You can use the SPL to lengthen the sound of the toms. I don't compress all the drums at the same time, I'll compress individual parts and mix the compressed sound in with the natural sound of the drums. There was relatively little compression implemented on the drums in this song, because the band didn't care for it. They wanted the drums to sound more raw.

"Throughout the album mix I might have used a bit of Lexicon 960 on the drums for reverb, but the room mics — amongst them a heavily compressed foldback microphone — were so good that I tended to use those. I tend to like room mics that are on the darker side. If they're too bright, you can't turn them up very loud because you then also get all kinds of messy cymbal noises. One other thing to note is the drums that come in after the intro of the song. When the whole band is slamming accents like that, you want to make the drums sound very aggressive, and this meant pushing room mics, pushing compression mics and so forth. As I said, there were a lot of rides."

In an Instagram post featuring new music with @DAwallach, Wolfgang Gartner is shown using the API 2500, highlighting its role in his studio setup.

Used for the soundtrack of Deadbeat, as specified in the appendix of this August 28, 2014 Electronic Musician interview.

James Iha’s Studio Gear

Thanks to Clear Lake Recording and engineer Brian Blake for the specs on James Iha’s Deadbeat music and recording equipment:

Recording/Studio: API DSM console, KRK V8 monitors, Mac Pro, Pro Tools 11

Guitar Recording Chain: Neumann U87 and M49B mics, Focusrite ISA 215 mic pre/EQ, Focusrite Red 2-channel compressor, Neve 1073 mic pre/EQ

(Borrowed) Guitar Amps: Matchless DC30, Swart AST, Ampeg B15, Fender Deluxe

Other Essential Recording Pieces: API 2500 compressor, API Channel Strip, Empirical Labs EL8 Distressor, Radial DIs

The API 2500 is part of Owl City's studio equipment.

A FOH stage hand sent out a couple pictures of Chris Stapleton's live rig on May 27, 2016 in Simpsonville, SC at the Charter Spectrum Amphitheatre. The stage setup clearly matches the setup seen in various videos around the web from early-2016 shows. The API 2500 Stereo Compressor can be seen in Chris' rack setup.

the API 2500 can be seen in the image

at 0:11 you can see his API 2500 in the rack.

can be seen at 1:42 in the video