I usually send pretty much all the drums into a drumbuscompressor, and go from there. then I take out the channels that doesn't sound good in there, and send them to another mixbus (I mix on SSL 6000G - 3 mixbusses). Then I use the routingmatrix to send some uncompressed parallells from the channels that need more air, like the snare. If necessary then sum all the drumparallellbusses threw a limiter.
back to the topic: I've started using SSL comps in serie, and really like the extra 384 color. Thats one on the drumbus, one on the master. In the latest mix I used a XL logic on the drumbus set to 4:1 ratio hitting about 4 db gainreduction. Attack set to 10 mS, and fastest release. Then on the master, I set it to 10:1 ratio, never hitting more then 3.5 dB. This time attack set to 1 mS, and fastest release.
This settings may sound insane to some of you out there. It actually works, because most of the energy going to the master is already taken care of earlier in the chain, so the 384 doesn't give you any surprises. This might be the only compressor I've used that actually works with a 10:1 ratio on the masterbus, though. And to get all that nice 384 sound, especially on the drums makes me wanna bring that compressor with me in bed
In this case I use a master eq to recover some of the bass, the air, and transients. Just a touch will do. For example 1 dB @ 50 Hz, 1 dB @ 1,5 kHz, and 1 dB @ 15 kHz shelving.
These settings doesn't work all the time though.
I've also compared Waves SSL comp with the real deal. The first A-B I did between them got me very impressed by the plugin. The more I listened (blindtest) the more obvious it became which one was the real deal. The analog 384 gave a bit more punch to it, and worked smoother with the music dynamics. It also sounded better in the high frequencies.
Still, the Waves SSL sounds pretty god damn good.