All of the compressors that you guys mention are great pieces, but the choice is really determined by the amterial that you are compressing.
I recently mastered a CD project that was recorded on black face ADATs (this was out of neccesity and not desire) and although we were able to use very nice mic pres (Neve 1073s, Spheres, UA 2610 and a Manley Voxbox) and very nice mics the final mix still had "ADAT" high end with "edgy" cymbals and high end. It was rock stuff that went from hard to soft ballads.
The signal chain that we used was a Neve 1073 for a low end boost (I mixed on Genelec 1029s and missed on the low end) and a mid boost on a few songs, a GML 8200 for a specific 200 hz cut and 26K "air" on top. We ended up using versions with only a small amount of "air" because it emphasized the ADAT sound, but it was a nice touch that added greatly to the mixes.
Once we had a good EQ going we tried different compressors.
We tried a Manley Variable Mu (serial #2) an Alan Smart C2 and settled on an original issue Neve 33609.
The Variable Mu was too "edgy" or "quick" for the already "edgy" ADAT recordings and the C2 was just too severe. We were hitting the 33609 with a 2:1 ratio and digging in with about 3 dbs of reduction at most. The end result sounds like a "record."
Interestingly enough I experimented with finding an overall EQ by using my Sphere 920s (all discreet) and running several versions over a few weeks and evaluating the results. I had a TC Electronics Finalizer in a borrowed rack of gear and even played with it. Although those versions sound pretty damn good, the 1073, GML 8200, 33609 versions are in a whole different universe. We almost used the Spheres instead of the Neve 1073s, but felt the Neves would add "magic."
If I had to buy one do-all piece it would have to be the 33609 because it yields a comfortable result in most instances.
Danny Brown