Agreed. In fact, these are some of the easiest units to get compressing with. Most early/plain digital comps have an array of features all that take their tone from being 'shit' to 'abhorrent'. The LA3 and LA2s with their reduction and output knobs are a god-send in many applications. Likewise the 1176 with its 'slam it fucking hard' to 'bring rapture upon thy audio' range is easy in itself. Attack ranges from a few microseconds to 1ms, so you're still compressing fast no matter what's going on. You get to know their character and you're sorted. It's such a musical approach to mixing, and one that's much needed in today's very sterile, digital environment.
As the man behind Kush audio said... compression is one of the hardest things to get right, and one of the easiest to screw up. You can know all the concepts, but still not know how to incorporate them into your process when you mix.
To think of the compressors musically, imagine it this way:
The Attack controls the thickness of your transient. It controls how strongly your drums punch, how much breath pop comes through on a singer, and how up-front the bass guitar will sound. Reduce the attack to send tracks 'into the back' or keep them 'in the pocket'. Slower attack is looser, but punchier.
The Release controls how quickly the compressor 'recovers'. Quick releases can be transparent, but too quick under certain settings will cause your audio to go hopping around like a 'roided pogo stick champ. Good starting point is to let the release complete it's cycle just before the next 'hit' or phrase of audio comes through. Keep it musical, see if you can get the pumping to be in time with the music.
The ratio basically controls how brutal the compressor is with your audio. If you want to take off a lot of dBs, then be gentle and keep this thing between 2:1 and 4:1. Higher ratios are for limiter-like compression where you just want to shave the peaks.
The threshold is fairly self explanatory. Most comps I use these days have this tied into the input gain, so it can even be overlooked as a control.
Now, there are other controls which can complicate things on some compressors. Controls like the 'knee', which alter how the compressor responds as the audio nears the threshold. Then there are the program-dependent compressors which will adjust their attacks, ratios and releases based on what you're feeding them. Designed well, these can be some of the most musical out there. The LA2 and LA3 are great examples of this. Their ratio is in effect variable, and their release depends on how strong the transient feeding them is. A fast, sudden transient will cause a fast, sudden release. A 2-stage release, at that. It's said that the first 50% of the release happens after 60ms on an LA-2, and the rest happens over a few seconds, depending on the GR. Sweet.
Anyway, the practical effect of all this only becomes evident when you dabble with these kinds of compressors.
I'm all about workflow and simplicity, so the LA2 and 3 models work great for me. I want to pull up my 'tone', being the box itself, and just choose 'how much'. The in-line SSL Channel comps are great too. Program dependent slow attack, a 1ms fast attack, with threshold/input gain tied together, auto-adjustment of output volume, and a ratio control. About as flexible as I need it to be. I don't want to be messing about with the side-chain filter, the knee, the release characteristic, 'thrust' and whatever else. It is the designer's job to create a tool that will sound great on a variety of sources, and it's my job to decide how much of that characteristic is needed on my tracks. Those who provide an array of options - many of them sounding purely bad - are simply just copping out.