We live in strange times...Behringer 369

the workflow is important but much of this stuff just makes more workflow more difficult later on and impedes translation to different playback systems unless the musician is using it like a pedal or something. it gets in the way of you, the musician with instruments, the mixer processing it to come out of a stereo and be audible without the visual cortex telling the brain how to filter the inputted auditory signal, the masterer fitting it all together, and the listener experiencing it on systems from hifi towers to a cellphone or is mostly use to make work more difficult for the mixer, i.e. 1176 and la2a hit outside of their small sweetspots because the engineer wasn't turning the knobs as it was being played so what could be simple automation for emphasis or verse / chorus becomes word by word or lets be real, syllable by syllable automation sometimes. or most analog eqs being broad tonal shapers or problem solvers but often eqed without decent monitoring or in the context of everything else to filter out the thing the brain filters out naturally just creates more work later on (scooping scooped guitars with a broad channel strip eq) when what they often really need are just filters (and these can be much more drastic than soloed or prominent in a monitoring mix) and a bell in the mid mids or the high end to get out some ringing or fizz that isn't immediately audible until you think about it or listen to the halfway done mix and realize it's highly annoying. you're not recording to tape anymore so there is no need to maximized the signal to noise ratio to hit the tape as hot as possible before the transients disappear to try to get as most done as possible because additional dub downs will further kill the immediacy of the sound just like additional truncation events but much much worse.

then you have to consider that "workflow" in many analog processors is from barely doing anything like how a 1-2 db cut on many eqs is more a volume boost or drop than anything else especially if q increases with greater bell shapes like api 550 or more drastic cuts can become a volume dip on a modern paratmetric eq with constant q unless you know this and have your fingers on both the q and the filter boost/cut knobs. or consider dynamics, many of these processors don't do that much outside of distortion or protecting the tape that doesn't exist anymore by making it quieter. they are set up for that and to not totally fuck up unless they are something that doesn't have good "workflow" unless it's some later vca compressor set up so it's action does a lot but it is inaudible like a drawmer 241 or aphex 661 auto settings. i love the daking compressors but 500 ms fastest release is lol for peak suppression. that's some protect the radio transmitter, cutting lathe, tape, or pa thing but it will even out a drummer or a singer, it just won't change stick hit/shell resonance blend of a drum and the auto releases seem a little faster on transients but not that much and have the cushion to even out the whole thing a bit but they're faster than an ssl bus or la2a but still designed to not fuck up the sound by design. then there are other things like the mpressor or the drawmer 1978 or chandler germanium whose whole purpose is to fuck up the sound.

a behringer diode bridge compressor will probably just add a ton of noise, distortion, and smack/thump/goop in ways you don't want unlike the ones not designed to fuck up the sound or made with 60s-80s parts that people using years after they were released, unserviced, and out of spec decided sounded cool because they fucked up the sound but often that limits the translation, fidelity, and dates the recording see the overmixed 80s records and the late 90s early 2000s distressored and L1/L2 records or the current popular music and most commercial hip hop that abuses very specific processors to get a sheened, gritty, poly carbonate goop. they are using these because they want to belong, to conform, to sound cool, to pass as legitimate music because they know they're music is not that unique so they must sublate themselves into the zeitgeist and then their physical releases will end up in used cd bin somewhere and be described by the clerk as "like x but not as good". then the worship of stuff used to mess up the sound of drums entirely like the compex and boss samplers but most people don't really want to sound like bonham and dilla. ive built the my bloody valentine and slowdive chains for shoegaze wannabes in hardware and sometimes an almost equivalent software template to just import into their daw and play if they are diing but often they don't really want to sound like that, they want to sound contemporary or find the comformity strangling. madlib's work with freddie gibbs is excellent but mostly clean outside of beats from old, oft poorly recorded records he dirtied up to sound like old hip hop and the fx sends.