if you want a warm analog compression before going digital why don't you try the AnaMod ATS-1? You can control how much is fed into the Orville with the Output control (so that you don't overload its converters). Just an idea.
1) I have too many expensive compressors now from trying to follow Manley's instructions on mastering and my own ideas about dynamics (do whatever it takes to make the sound move).
It isn't a mystery why Manley recommends an analog peak limiter. Maybe their ELOP & Slam second stage will put an edge on the sound without mucking things up, but Apogee's soft limit is a lot cheaper since I already have it on a couple converters; does the job; and is transparent. Though I do like the solid state crunch that the UA1178 can add, that unit and the Chandler compressor just muddy up a mix when used after the Vari-Mu.
I didn't mention that I have an Avalon UA pres purchased when I only had mono mics. Since those got stolen, I only use stereo mics now.
2) Nuendo comes with a tape compression plug-in, Dynamo(?) that sounds great on guitars, but not whole mixes.
3) Warm, I got too much of with all the tube gear. I also have a UA mic tube pre that is handy for DI, talkback, and side on M/S vocal tracks with the Avalon on mid.
4) I am almost out of space for these expensive toys and should have plenty enough already to do the job.
Though I would like to hear how Chandler's single channel EQ fattens up sound with feedback. This should be reproducible in principle with a harmonizer EQ patch and in practice by adding: compression, harmonix, and distortion (in moderation) modules.
Harmonizers I got. The idea was one for the studio and one for live work. After someone who should be dead stole my mics, I got sick of the whole field. If I was sure of who it was they would be dead and I would be in jail.
How do we post patches here? Or do we?
TC's AES mastering papers would tend to recommend the Anamod ATS-1 since nowadays a lot of music that isn't on tape tends to distort consumer gear. You may not hit a peak when mastering, but interpolation on the listener's gear can cause it to happen with ugly consequences. Mastering has gotten to be a war of Sound Pressure Levels. There was something to said for the limitations imposed by disk cutters – too loud and they skidded off the platter.