1. Introduction

Simple design and controls, epic looks, massive sound. Stay-Levin is a unit that shaped the sound of the US 1960s classics. Without a doubt carrying a character and color of its own, it recreates a valve compressor legend that will add a desired analog edge to your contemporary production. Its simple front panel set of controls, featuring only two knobs and two switches, can result in a surprisingly varying compression styles, which can enhance vocals, acoustic guitars and synth leads. Treat your bass and drums with it and they’ll grow bigger and meaner. Vintage compression at its finest, recreated in the FPGA domain for real-time FX perfection.

2. Original Hardware Specifications

Up to 62dB
Frequency Response
50Hz – 15kHz, +/- 1dB
Maximum Compression
Harmonic Distortion
Less than 1% at 30dB of compression, 50Hz – 15kHz

Noise Level
65dB below +8dBm
Attack Time
Factory wired
Release Time
Factory Wired
Up to +12dBm
Compression Ratio
Approximately 3:3.1

3. Layout

Stay Levin Layout

1. Input Gain Control

Adjusts the input gain.

2. Recovery Time Control

Switches between Slow to Fast recovery (release) times.

3. Mode Switch

Switches between Single and Double recovery times mode.

4. Gain Reduction Meter

Visualises the gain reduction occurring as the result of compression.

5. Power On/Off Switch & Diode

Bypasses the compressor. The diode lights up when the compressor is On.

6. Output Gain Control

Adjusts output gain.

4. Quick Start & Usage Tips

  1. 1. Get a -10dB to -12dB signal from your microphone going into your computer.
  2. 2. Adjust input gain until the meter is reading around 15 on peaks.
  3. 3. With the compression meter peaking on 15, adjust the output gain control until you have a satisfactory signal level.

Different types of musical content require different recovery times. That’s why Stay-Levin has a switch marked “Double” and “Single” for changing the recovery time. In the Single position, the recovery time is fixed and does not change much with occasional short peaks or steady re-occurring peaks. It is best used on classical music or material requiring the most dynamic range. For speech and most popular music, it is best to use the Double recovery time position.
The Attack times in the different positions are as follows: 75 milliseconds for Single and 25 milliseconds for Double.

5. Contacts

Having difficulties with Stay Levin or anything else Antelope? Get in touch with us by the following means:
European Direct Support Line
+44 2039578550
10:00 a.m. – 10:00 p.m. (EET), Monday – Friday
USA Direct Support Line
+1 734 418 8661
7:00 a.m. – 6:30 p.m. (EST), Monday – Friday
Online (live chat and e-mail)
Antelope Audio Support Page

6. Glossary

Adjusts how quickly the compressor starts to work after the signal exceeds the compression threshold.
Controls how soon the compressor will stop after the signal goes below the compression threshold.
Controls how much compression is applied. For example, a 3:1 ratio means that every time the input signal crosses the threshold by 3dB, output signal will be attenuated 1dB.
The Threshold is the level above which the compressor considers the signal too loud and starts applying compression.
Knee and Attack have a lot in common, but they are not the same. Like Attack, Knee controls how the compressor will react once input signal passes the threshold. Hard Attack makes the compressor engage immediately while Soft Knee shapes its attack time to make it slower and smoother.