I might have misunderstood what quality about the sound in the reference material Vedant Rana likes, but I was thinking that maybe he/she likes it a bit in your face with a bit of rear-front and mid-side movement. Yes I know the 1176 has very soft compression curves at 4:1, but you need to feed it enough input also. An 1176 style compressor with low ratio, medium attack and long release applied on the instrument level and a similar compressor with slower attack and faster release on the group level will make the attack of the group soft and when that releases the individual sound sources will jump in the face due to the slower release and temporarily widen the stereo image as well. The instrument level compressor must be pushed much harder than the group compressor. The group level compressor works to contract and is more focused on the attack and stereo (since the center panned instrument track(s) in the group are reduced in level using the volume faders, relative to the side panned instrument track(s) so that the compression hits the sides), the instrument level compressors work to release and when they do they do so at specific locations in the stereo field dynamically depending on the content. So the aim is to focus the attack energy into the center and the decay energy into the side (the more the louder they play which is dynamically determined), while also providing some in your face and dynamic stereo qualities about those tracks for energy and excitement and get some added softness into the mix as well. One can experiment with a delayed very dry reverb on the side panned instrument tracks in the group to further amplify the release.