I had 3 songs to compare, one electronica and two metal.
I'm mainly into rock-metal (and mastered many in the past for friends and clients) but since things are "clipped" these days I guess tools for electronica are somehow getting more and more acceptance in rock genre(like waveshapers or extra punchy comp.s).
what I noticed mainly was sub material peaks with help of this comp. can be heard easyer on smaller systems. Worked better than something like r-bass or inflator, just a touch to the peak of transients with strong settings and its there
Electronica in that matter was easy, just crank the ratio highest with relatively fast timing and rest is up to threshold setting. I can see people using this a lot for lower-range material individually or for a some-what A*I 2500 character (punchy but still harmonically rich sounding) on buss.
Rock was a little harder; it was a dense mix with lots of loud elements. What worked was basicly higher input lvl., a little lower threshold with little longer release. I guess depending if material accepts, behemoth can help for a better "flow".
Loud rock song was experimental and interesting, waveform was simply a brick so lets call this re-mastering
I lowered the gain and added behemoth cause it was impossible for any comp. to detect and deliver punch in some aural balance, so I had to excite them somehow in a way with "tempo" (simply needed more than a de-clipper).
It worked nice with setting 2 (or 3, can remember exactly) on behemoth and a small tweak on drive. That thin sounding brick started to sound like something commercial
This time I almost nebula-radically drived the input of greensqueeze (realized it isn't tender like eq's when it comes to drive stuff) and used lesser ratio's. I wasn't expecting miracles (never truly happens in audio mastering ) but with fast attack and mid release (plus with behemoth) a really nice balance happened...with only 2 nebula instaces!
I'm not composing or recording these days so it won't find its way to (for example ) my drum group or buss for a while but I can see myself using this before a limiter or clipper on a full mix to get better loud masters...
Just to add; before this I almost never needed to use plug-in compressors when mastering