And you can do that, at least to some degree, on any listening system. After a while, you do start to hear what things are doing and then you can’t “unhear” it. For example, focusing on the low end, or high end, or attack, or the balance with another sound, something like that. I know you said you’re on inexpensive headphones, but something that has really helped me over the past year is deciding to listen carefully to only certain parts of a sound when trying to hear what new things are doing. Compression is certainly not needed on everything either, so knowing why you want to use it is really important. And you are right, effects are generally subtle (although you can certainly push many compressors to be not subtle) and accumulate with tracks summing together. With any compressor, there are tonal changes and there are the effects that compression is causing, so learning those helps you choose what to use in a given situation. The 670 would be a vari-mu design, so the ratio changes depending on how much it is compressing (it’s constantly varying), and it can have a much slower attack and release. And it maintains its ratio fairly consistently. 1176 can act really quickly and be very aggressive, even on the slowest attack setting. Spend some time working each of the 1176 and 670, you’ll start to hear the difference. Like premium gin with stale gasless tonic. With these emulations, compressors, eqs, channel strips and so it’s more about how they add up little by little and it becomes noticeable at the end. You pay the extra, it tastes lovely, but on a blind test you’d have your doubts. It depends on the source material, which means I really can’t. Never could, although sometimes I think I can. I can’t tell the difference between an 1176 and a 670.
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