I think the strength of VCC is using the different channels for different instruments. I use the 4k on my drums and drum buses for my transient saturation and the pop it gives, I usually end up with the Neve on bass due to the low-mid hump it brings. I'm enjoying either API or Neve on guitars as it focuses the mid-range in a spot that I like my guitars to sit in whilst giving a subtle widening effect. Vocals usually get nothing or a little bit of RC tube.
I'm also using quite a few less channels then I think most people are. The way I have my sessions set up is I have all of my Audio tracks feeding appropriate buses, so for example if I have 5-6 kick tracks they are sent to a kick bus where they are processed, then to a drum bus, then a Drum VCA then a "Music Bus" then finally the 2-bus. The only stage my kick will hit VCC is on the kick bus as they have been summed together, on the drum bus itself and the 2-bus. I have a feeling that a lot of people who are complaining about the smearing effect are having each source hit VCC 4-6 times as they have it on every channel and Aux before the source reaches your ears.
You also have to be really careful with the gain staging on this plug-in which is something I adjust on a instrument by instrument basis. The advantage I find with sending each of my multiple drum channels to an Aux is I can decide how hard I want to push VCC for each part of the drum kit. I usually get the kick, snare and toms hitting just above 1 on the meters whilst my Overheads, Rooms and spot mics are barely hitting 0 on the loudest peaks. I think the main strength of the plug-in is on transient heavy sources like drums where its weakness is anything with a lot of sustain such as guitars and big groups of backing vocals.
If you spend some time properly calibrating each instance of VCC and use that as a template for each mix you'll find you'll achieve more of the pleasing elements of what the plug-in brings without feeling like you're working against it.
