Corey Y wrote:I think there's a lot more mojo to hardware compressors than eq.
Though there's certainly really great hardware EQ's, cool thing they ever really added for me was a baked in curve (which plenty of plugins emulate well) and "character", which really just means subtle distortion. Which you can get from plenty of other sources. Lots of good compressor plugins (including from Kush), but there is undeniably a lot of use for a really cool hardware "character" comp. I'd go that way, since you can use a compressor a lot of different ways. If it's more for character than "surgical", you can even just push it hard without any actual compression to impart that character to whatever tracks you want.
If it's a concern for you at all, I would hold out/save up for a stereo comp though. Depends on the usage. I don't use any hardware anymore, but when I did I had stereo units that were great for my drum buss or subtle buss compression/glue and single channel ones better suited for bass, vocals and the other mono sources. If you want that kind of super hard pushed, crazy over the top compression (even if it's for a parallel wet/dry mix) for drums, a stereo unit is just a must IMO.
It used to be you could find great deals on used stuff, because GAS extends to recording too (unfortunately, OUCH)...dunno how much is out there used now, I'm almost 10 years removed from that market now.
Bruh, have you seen how many Pultec EQP clones exist?
EQ was the first audio effect, born out of necessity for everything from attenuation, compensation & feedback suppression.
Check out Warm Audio. They now make 1176, EQP, La2a clone-ish boxes. 1176 can be found used for around $400, the EQ around $600, the La2a is new...but new at $800 iirc. That's 3 legendary circuits for under 2k. Granted it's only 1 channel, but that's all you need if you're working ITB. You just gotta run multiple takes.
That said, I got an 1176LN first before buying an EQ...because it was deal-of-the-decade timing. Shop around, bide time. Most people are willing to negotiate because as Corey said, GAS is brutal. Especially in the world of studio hardware.