New to Mu. Any tips appreciated

Not sure if use a Sta on the mixbus...but never tried it. I think the V Comp is a little less of a sonic pillow compared to the Retro version. But that’s a good thing to me. Also doesn’t seem as glassy which is a good thing. The Retro - imo - could be an “either it works or it doesn’t” kind of thing...while this one gives that same fantastic varimu transparent reduction...with maybe a little more sonic transparency.

I haven't tried the Audioscape, but I use a pair of RS124s. Those are absolutely great on drums, actually. Floor tom, snare, and overheads especially.

Also good for strings and sometimes acoustic guitar.

Well. I only have 1 hardware Vari MU - a Retro STA Level (I bought it after brother John K. raved about it) to be honest the Retro feels like cheating when tracking a vocal, I just aim for about 5-7 dB of GR and make sure I use good mic technique and I get this really smooth, warm, larger than life super star vocal.

I love MU comp's they just interact so musically - though personally I'm not keen on Vari MU's on the 2 bus where I normally go for a snappy VCA style comp - but that's a reflection on my musical taste not on Vari MU's.

It's a Stalevel copy so use it where people use Stalevels, up to and including the original use which is mono bus.

The time constants of vari-mu types are all over the place, so they aren't comparable in that regard. A Stalevel is a low ratio AGC, where others may be limiters with high ratios and very fast attack times. BA-6A has no low ratio or slow attack, while a Stalevel is very slow attack.

I like the idea of a Sta-Level type compressor that's not quite as heavy handed.

As mentioned in another thread - CONGRATS man!  ;-)  And of course, thank you for choosing the V-COMP as your first foray into vari-mu compression!

As for as 2BUSS duties go - I wouldn't use the V-COMP in that application while applying any actual gain reduction (unless you're doing some type of mono, throw-back / indie thing) BUT using the V-COMP in bypass over a whole mix is indeed VERY sweet sounding.  It adds a subtle thickening effect - making things a bit "fatter" sounding without getting tubby and reigns in any harsh high-end VERY nicely.  Definitely a super cool way to use the V-COMP!

Now, on to the good stuff - well, you've already nailed it!  Vocals & BASS GTR = Hard to beat (as far as compression topologies go - this would be totally up to taste obviously) but also try it on big, acoustic guitars!  Adds a lovely richness to them and really bring out some of the more woody characteristics of certain acoustic guitars (especially of the vintage variety).

I also quite like the V on brass instruments, certain drum shells (again, depending upon genre) and clean electric guitar (thing tele through a fender tweed type of thing).

There's so many uses for it and as John pointed out - anything where you want gain reduction but you don't necessarily want it to sound overtly compressed or pumpy.

The V-COMPs guts are essentially a 1:1 Gates STA-Level - with added mods that are actually found in the original manual from Gates (download it and read it over for some good historical information!).

The biggest difference with the V-COMP are the Recovery Time Constant options, of which, we made the fastest 3 settings even a bit faster than some other units out there.  The fastest recovery time works great in Single Mode and Double Mode if not pushed extremely hard.  Triple starts to get a bit strange with the 6386 sometimes struggling to keep up (which we affectionately called "Glitch Mode", hahaha) which amounts to a cool, rhythmic gating type effect.  Neat as a creative sound!

I slap the V on many, many sources but often times in tandem with another compressor - putting "XYZ" compressor first and then following it with the V to add a final coat of sonic sugar, thickness and character.  Only exceptions to this would be on Bass GTR and LD Vocals, where more often than not, the V is perfect.  I'm guilty of pushing compressors to their limits so it works for me but YMMV!

Either way - we're confident you'll find a few sources you'll love it on and it'll likely LIVE on those sources as your "go-to"... but as always, we recommend experimentation and throwing it on anything and everything and listening to what YOU like it on!  ;-)

My fave combination is a 76A followed by the V-COMP.  Mmmmmm.... so many different timbres, colors and tones to be had!

Thanks again and enjoy all!  Sorry in advance for my rambling, hahahaha

Mine just arrived today, have been following this thread closely - really great advice offered as usual.  In the midst of significant changes to my little home set-up so may not really get a chance to explore for a few more weeks - but I'll try to remain patient.  

Operating tips in vocal production.

The signal chain was a Heiserman 47 tube mic set to cardioid, into an original Focusrite Red pre.

Then into an audioscape V-comp FOLLOWED bu the audioscape A76. (half of us believe you smooth then grab the peaks afterwards. :-)

Now . . . look at the setting on the V-Comp. The output is Hee-UGE, high, YUGE and biggly for a chain, so what do you do?

Get an attenuator. Here are some pictures.

How did you modify the input and output attenuation compared to the original?  What is the output control range?