In this livestream at 1:06:47 steve talks about how they use this plugin for the piano sound

Lenno mentions ''I really like the sound of the Waves API-2500 for master and drums, gives them a nice pop.'', in an AMA.

In this Splice file that Nom De Strip posted, the Waves API-2500 is on the list of plugins he used.

It can be seen at 25:59 on the video.

At 2.09 you can see the plug-in load into the mixer.

Used for Quavo and Offest's features on Beyoncé and Jay-Z's "Apeshit", as stated by producer Stuart White in this September 2018 Sound on Sound interview.

The first four aux tracks feature SoundToys effects, namely Little Microshift, two EchoBoy delays, and a delay from the Little PrimalTap. Next are a Hall Reverb aux and a Church Reverb aux, both using Waves’ RVerb, an EMT plate from Audio Ease’s Altiverb, four aux tracks with the Waves H-Delay and various other plug-ins on them as well, and four more reverb auxes with the Avid Revibe II, two Avid D-Verbs and another RVerb.

White: “I use the Little Microshift in pretty much every mix, with the left-right micro pitch-shift effect that’s similar to the classic effect in the Eventide H3000 shift where you pitch one side down six cents and one side up six cents to create width. It’s a good way to get your vocals wider without them being out of phase. It thickens up vocals, and is kind of like a doubler. I do quite a lot of filtering on some of the EchoBoy delays, for example with the Waves REQ, and I am adding colour with the SoundToys Devil-Loc, which is great if you want to colour the delay so it is separate from the main vocal, and compress it with the UAD LA3A and mix that in to taste.”

(...) “The Migos vocals came in as seven audio tracks, with the Avid D-Verb on each of them. Putting a D-Verb on a track before EQ is not something I normally do, but it sounded great. So I adjusted them a bit, but otherwise left them as they were. The tracks also came in with the Aux track above, and the EQ3, with a high pass at 60Hz and notches at 430Hz and 1.41kHz and a high boost, the Waves API 2500 compressor, the RComp, the Waves Q10 EQ, following a slightly similar curve to the EQ3, the Waves De-esser, the Waves Aphex Aural Exciter, and the Avid Dyn3 expander/gate. I added the EQ3, with another high-pass filter at 144Hz, and the RComp, with a ratio of 10:1.”

In the video titled "Restored Aurosonic Videoblog 3," Aurosonic demonstrates the use of the Waves API 2500 Compressor for mastering.

In an interview with La Tlmes, Riot praised the Waves API 2500 Compressor for its ability to cohesively shape mixes. Describing it as both powerful and versatile, Riot highlighted its capacity to enhance kick and snare dynamics while maintaining a smooth, balanced sound.

In this video at 20:38 Tobi from Neonlight shows how he uses this plugin for a percussion bus.

Naten is using "API 2500" in the mixer of FL Studio, in this Facebook post.

In this video at 1:11 we can see Waves API 2500 Compressor

Tom Alexander Schmitt has confirmed his use of the Waves API 2500 Compressor, as stated on his Backstage PRO profile.