Thomas Juth runs the same vocal through three compressors at once, in parallel, then blends them to get punch, richness, and natural dynamics in one track.
The LA-2A stays almost invisible, pulling only a couple dB of gain reduction just to glue the performance together without flattening it.
The 1176, set with a slow attack and fast release, pushes the vocal forward and gives it a natural kind of presence rather than an obvious compressed sound.
A DBX 160 handles the heavy compression, bringing out nuance and acting almost like a natural high shelf for character and detail.