I found it pretty remarkable that a compressor originally designed as a clearly technical solution (leveling audio for broadcast) can have such a musical and rich sound. Not to discredit its “leveling” abilities, this compressor is near impossible to “over-push” into hearing undesirable compression artifacts. While producing extremely dense, full-bodied audio, the Sta-Level adds a layer of tube polish and warmth that is unmistakably musical, smooth, and pleasing, making it just as excellent at controlling levels as it is making a voice or instrument shine with full-tube glory. You may asking asking yourself, “Why this over an LA-2A?” Definitely a good question, as they have a lot of similarities. There are two main differences though, being a Vari-Mu, you’re able to push the Sta-Level harder without getting over compression artifacts. With that, you’re also driving the tube circuit harder, resulting in the ability to produce more color and tone out of the Sta-Level. Speaking generally, LA-2A’s have less color.  Because the Sta-Level has “Recovery” control, this allows you to prevent over compression caused by slow recovery times during large dynamic shifts. This is one weakness of the LA-2A design, as the compressor is not able to respond fast enough during this shifts and can result in unpleasing compression. If you like the simple control layout of a tube opto but are after slightly more control and more access to rich, tube color, the Sta-Level is one of the best options out there.