The DC-2 is a plug-in-controlled analog compressor that works in conjunction with the McDSP APB ("analog processing box") units (APB-8, APB-16) [Tape Op #134]. As I've noted before in APB-based reviews, the APB is a one-space rackmount box that attaches to your computer via Thunderbolt and locks into your audio interface's clocking in order to convert signals to analog, digitally control the analog processing in the APB, and then convert it back to digital and return the audio in real time via McDSP's APB plug-ins. Totally recallable analog processing that acts like a plug-in.
Let's get this out: I prefer mixing with analog gear. Utilizing a console, outboard racks, electro-mechanical effects, and printing back into a DAW (or even tape) is my favorite way to mix. But it's not always practical for working remotely, or if clients want mix recalls, or when my Jackpot! Recording Studio is booked up, so I offer in the box mixes at a lower cost. But damn, I miss the extra something that analog gear imparts. The APB system offers a recallable way of working, though it requires real-time, old-school mixdowns (duh, it's running analog processing). Because of the dual nature of the DC-2, it uses two channels of the APB's processing (8 or 16 channels) in mono and four in stereo.
The DC-2 might be the ultimate APB plug-in so far. A two-channel compressor with two analog compressors per channel, digital EQ, and controllable saturation, it allows all sorts of routing and parameter controls, so much so that I won't be able to cover it all here. In fact, I had to resize it on my screen to see all the knobs, buttons, and such. Let's just say it's the opposite of the "mystery box" plug-ins that offer little control (but can be amazing tools); the DC-2 has an abundance of flexibility one can implement. The two main compressor channels can run independently, linked, or as mid-side. They have peak and RMS detector modes, and they even have Type modes for FET, VCA, and optical-derived algorithms. The two compressors in each channel can be run in series or parallel (Split). The EQ can be run pre- or post-compression. It might sound daunting, but to a seasoned engineer it all makes easy sense at a glance as it's laid out really well. For anyone else, the presets offer excellent starting points.