Worth a read, even if you are well-versed in compression. It's not surprising in the slightest that there is "mythology" regarding compression, it's taken a while for me to hear some of the variants, it isn't as obvious sometimes as EQ. Both the FMR RNC I used to own and the compressors in the Eureka channel strips I'm using now are capable of nearly inaudible (to me) compression, which I suppose makes them ideal for tracking going in, pretty transparent so there is considerable freedom to add a bit of "character" compression" at mixdown.
I didn't know about the Waves Vocal Rider but I've been well aware of "riding the fader" while tracking for a long time. In today's world, with the Artist also being the Engineer one must learn to control vocal dynamics by changing position between the mouth and the microphone, riding the fader while singing would be a bit much. I've been tracking a singer who goes from a whisper to a scream and she is learning to move closer for quiet passages and to raise her head up and sing over the mic when she launches the glorious rise in volume. I've also used Automation curves to boost the quiet and tame the loud without changing the sounds dramatically like a compressor can sometimes do.
As to limiters, it's probably an outlier and not in common use but my Art Levelar has 2 ratios -- 2.5:1 which is labelled Compression on the switch, and 6:1 which is labeled as Limiter. Limiter mode crushes a guitar, giving it that Andy Summers "Walking On The Moon" dynamic. With the limitations of very few controls, the Threshold becomes the primary way to adjust to compression sound.
I agree completely with the advantages of parallel compression and have a learning curve ahead with Eventide Physion, which can separate the transients from the tones and allow independent adjustment of each factor.
Anyway, a fine article and perhaps a good topic for discussion?
I'm here more to learn than to preach but others at MPN may have some interesting thoughts.