I think they are exactly the same. I LOVE the JDK build. Army Green with handles and military-grade styling. The only downside is on JDK is the small VU meters. I wish it had larger VU meters. Otherwise find a used JDKr22 and R24 and you are cannot go wrong with it.

Love these.

An unbelievably awesome sounding and versatile compressor, perfect for tracking and mixing. Let's go over it.
Appearance: The unit was well packaged, and it came with a "white glove inspection" card. I personally love the look of API products, especially this unit. It's both classic and futuristic to me. The controls are well-laid out, easy to understand, and it only took me a few seconds to dial in the sound I was looking for. The I/O on the back has both XLR and TRS, which should be the standard. 100% American made.
Sound: I am blown away by how awesome this thing sounds. I put it on my vocal chain, dialed in my settings, and gave it a whirl. I immediately noticed the pleasing compression. To my ears, it sounds transparent, yet commanding, with warmth and body. I could hear it "correcting" my transients with absolute perfection. This unit features both automatic attack and release settings, and boy does it do a fantastic job. I can hear it tracking my voice and clamping down and smoothing in an extremely musical way. My vocals finally sound polished and professional before hitting the recording interface. It's hard to describe the smoothness, but it's intoxicating. I also love the continuously variable Ratio, so I can dial in a 3:1 or lower. Often this isn't available on many other comps, and you are stuck going 4:1 or higher, which seems constricting to me. I've used plenty of software compressors in my day, and I can't say I've ever loved any of them, except for API emulations. I find the 1176 style a little overrated. Some others are too transparent, to the point that you're not even sure if they are compressing the signal. Many compressors also have overly obvious attack and releases. Not so with this API, it has the perfect balance of character and transparency. The auto attack and release circuits are flawless. I will also be using this for mixing duties, and I have no doubt that it will perform exceptionally for most applications.
Complaints: Nothing really. The knobs/potentiometers are very easy to move, and do not offer much resistance, undoubtedly due to the choice of pot. That doesn't mean they are any less quality, but some might complain. My only minor gripe is that the knob labels should be above the knobs, not below, as 99% of the time you would be looking DOWN on the unit.
Final thoughts: This is an exceptional and versatile two-channel compressor that would suit well for tracking and mixing. It's easy to dial-in, and sounds fantastic. Very reasonably priced for two high-end, hardware compressors. It would not be suitable for mastering due to lack of attack and release settings.

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i have several different recording chains at my disposal. i have several tube pre-amps and several analog ones. my methodology is to feed the microphone output from the micpre into a compressor (a ratio range of 1.5 up to 4:1 and then feed that output into a limiter then into my hard disk recorder. sometimes i use a stereo compressor/limiter or two different compressor/limiters. this always gives me a nice, solid vocal mix. the SR22 works perfectly. the sound is smooth and powerful. it is as good as my other chains:
1) FMR Leveler into FMR Compressor (used as limiter)
2) WA2A into WA76
3) stereo ART ProVLA (Revive upgrade) left channel used as compressor, leveler, feeding right channel as hard limiter
4) SR22 as stereo compressor in channel 1 feeding limiter in channel 2

all of these units produce excellent vocal chains, which require no EQ, since the vocal sits in the mix perfectly

each of the above chains produce a slightly different sound, and the SR22 is also unique. for voice over work i use a compression setting of 1.5:1 and for singing i use between 2:1 or 3:11
the sound is clear, open, and defined. and the unit is quiet as an empty church.

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I love this compressor. It's a set it and forget it compressor. No fiddling with attack and release. I used this on the mix bus of Teen on Limb (1986) which I will include in this review. Not too much Info for reviews on this specific item. I have an API 2500 which I used on the drum bus. This sounds great as well. Sometimes not having as many options helps with creativity and is less stressful.