I barely ever compress individual tracks, but if I do, I might use either TDL Kotelnikov GE (my fave compressor, hands down) because of its unobtrusive musicality (if set accordingly), Airwindows ButterComp for its smoothness or either DMG Audio TrackComp's SSL Channel algo or Brainworx bx_console SSL 4K G's compressor if I want that SSL bite. Setting wise, whatever's necessary, whatever works.
But damn I love to compress busses :D
On the master bus, Kotelnikov GE is king: it sounds bloody awesome and I know it like the back of my hand. It's so flexible I keep on coming back to it when trying other options, as it basically is a huge sweet spot, no matter how you set it. Devs are considering adding their Limiter 6 compression algos (Alpha, Sigma and Leveler) to it, and it'd turn K GE into an insane beast.
DMG Audio TrackComp's SSL G Comp is pretty amazing as well, with much more hmmm funk to it than The Glue (that I also own). Damn flexible, and it simply sounds right. I'm really looking forward to testing the Glue HD update though, I bet it might make its action a bit less hmmm mechanical.
Outsiders are Airwindows comps: Pyewacket, Logical4 and ButterComp are the main contenders, you owe yourself to give them a try. They're free, and you can support Chris's work via his Patreon (I do).
On the 2buss, I'm currently found of long attack times (10 to 30ms), auto-release when going for the SSL vibe, mild ratio (like 4:1), a nice amount of GR (especially if bringing back some dry signal afterward), and HPF side chain set to taste, sometimes quite high (up to 300/500Hz). If possible, I enjoy targeting the mids more than the rest of the frequency spectrum, to me it can really emphasize the groove / movement of a tune.
On the drum bus, I've tried many options (including the ones aforementioned). They all work, sometimes in a stellar way... but I'm currently leaving my drums uncompressed most of the time, relying on the instance on the 2buss more.
If looking for more characterful compression / saturation there, Goodhertz's Faraday and Vulf are amazing on drums. Each has its strength : Vulf is instant breakbeat, Faraday is rock n roll!
No matter the plugin, I'll strongly recommend trying long attacks: it may seem weird on such transient heavy, percussive material, but boy it can make a beat sing! Release is so material dependent though.
FWIW, I try almost every non-UAD compressor that gets released. I have an ilok, just in case, even if I'dd rather not rely on it. I'm not found of Slate's ones, way too heavy handed and gimmicky to me. I'm not found of Arouser either, I don't really get the hype. Kush Novatron is amazing... yet it's almost too smooth for me somehow, even when set aggressively : as if I could hear it doing its thing... and at the same time as if I couldn't.
Oh and I forgot about Klanghelm. MJUC is allover the LP in my sig, on the 2buss of all the tunes. DC8C3 is deep as fuck, sounds fantastic (I love how it can be authoritative) but for some reasons I can never settle to one setting when using it (too many parameters, feels like an invitation to never-ending tweaking)...
As time goes by, I'm looking for lush sounding processors that I can set in a few clicks and commit to right away. Hence my love for TDR Kotlenikov GE and DMG Audio TrackComp.
By the way, I'm not the one to master my tracks. I use buss compression to emphasize groove and movement and don't give two fucks about loudness (as you can hear on my Ellipses LP, the mastering engineer did an amazing job respecting that, using his Culture Vulture and Shadow Hill Compressor for tone enhancement rather than gain-reduction).
And I always gain-match dry/compressed signal, too easy to be fooled by volume variations otherwise. That's crucial when mixing IMHO.