Le son de New York ?

The New York style is perhaps the easiest to identify because it features
a lot of compression that makes the mix punchy and aggressive, just like
New Yorkers. In many cases, the compressed instruments—mostly the
rhythm section—are even recompressed several times along the way. It
seems that every New York engineer that I interviewed—even the transplanted
ones—had virtually the same trick, which is to send the drums
(sometimes with the bass) into a couple of busses, send that through some
compressors, squeeze to taste, and then return a judicious amount of this
compressed rhythm section to the mix through a couple of channels. You
can enhance this even further by also boosting the high and low frequencies
(lots of boost in most cases) to the compressed signal (more on this
“New York Compression Trick” in Chapter 7, Element 5: “Dynamics—
Compression and Gating”). For an example of this, listen to any of the
mixes that Ed Stasium (a proud practitioner of this method) has done,
such as the Mick Jagger solo album She’s The Boss, or anything by The
Smithereens or Living Colour.

The Mixing Engineer’s Handbook, Second Edition

Parallel compression, also known as New York compression, is a dynamic range compression technique used in sound recording and mixing. Parallel compression, a form of upward compression, is achieved by mixing an unprocessed 'dry', or lightly compressed signal with a heavily compressed version of the same signal. Rather than bringing down the highest peaks for the purpose of dynamic range reduction, it reduces the dynamic range by bringing up the softest sounds, adding audible detail.[1] It is most often used on stereo percussion buses in recording and mixdown, on electric bass, and on vocals in recording mixes and live concert mixe.

Wikipedia

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