The Future Sound of London's Garry Cobain and Brian Dougans explain how, in order to emulate the compressed sound of their songs played on the radio, they ran their entire mixes through a Fostex 3070 Compressor:

"Our best tracks were mixed as we went along because the sound basically dictated the mix, and in the case of 'Papua New Guinea' we acquired a compressor and Brian stuck the whole mix through it", says Cobain.

"That was a very dodgy Fostex 3070 that I got from my dad," Dougans recalls. "It seemed to give the track a gel which we played into. As I was mixing it the whole track went through that compressor, and as you know, compressors can cause a real squeeze effect when you put too much through them. So, we were sort of mixing through the compressor but pulling it back — taming it, pushing it, taming it — and that's how it gelled together."

"We were really in love with hearing our music on radio and it didn't happen enough for us," says Cobain. "However, we loved the compression on Kiss FM and Radio One, so our dream was to get the music sounding like that before it hit radio. That's why Brian stuck the whole mix through that compressor, which was something we'd never done before — it gave a certain squashed sound, and by the time that then went back through the Radio One compressors it just sounded like magic. We always say that track came alive on radio, and after that we coined the term 'twice-baked' — in other words, if you overdo the compression and then it goes through the broadcast network it's twice-baked and it just sounds crap; totally mushed. However, with 'Papua New Guinea' it worked really well."

Original article here.

To the left is an effects rack with Signex CP44 patchbay, a custom-made device to make the trigger point of a signal tighter, an MXR 01 reverb, Roland SDE3000 delay, Yamaha SPX90 multi-effects unit, Boss DE20 digital delay, Fostex 3050 digital delay, Fostex 3070 compressor/limiter, Marshall 5002 Time Modulator, JVC cassette deck and Ibanez UE4000 multi-effects unit.