I don't really agree with the notion that the specific sound of the 160 lies in the potted VCA and RMS detector. I'm not saying either they don't have their own sonic signature, but there are essential differences in the side chain that are surely accountable for most of the differences.
In the 160VU, the RMS detector charges a single cap, where in most other incarnations of the 160 (and other compressors), the RMS is loaded with an active variable Time Constant cap, in order to present a large value to small level changes, and a smaller value to large level changes. One of the criticisms to the first 160 was that the attack time wasn't fast enough for some instruments (in particular kick and snare), although it has some kind of accelerating circuit in the side-chain (two diodes and a cap). This also gave it a soft knee. The dbx engineers worked out this variable TC detection in response to the criticism. Then they had to implement the soft knee in a slightly different way. This and a few other differences may account for a large part of the sound difference.
The control voltage is not an issue, since it is obtained with a voltage divider in the 50mV/dB and 100mV/dB types. The control voltage is scaled accordingly.
I had the opportunity to make a comparison between two issues of a broadcast mixer, one with a very early 202, and one with a 202XT. I must say there was not much difference, except for the higher noise of the latter, due to the fact that the designer had chosen too high resistor values around the VCA, which was ok with the early 202, with its FET input, and not right for the modern 202, with its 8 paralleled bipolar devices.