using a limiter when tracking?

If a limiter is what I need to use on a track to create exactly the characteristics I want, I will absolutely use it.
I think it's a good thing to use what ever tools you want in any way you want to use them, to achieve the result you're looking for.
 
Following the existing "rules" of how everything should be done will constrain the creativity and prevent you from discovering new innovative ways that may (or may not) be exactly what will make your sound unique.
 
It's a good thing though, to also really study the traditional techniques of how to work with these things. To understand exactly how they function and their intended purpose.  That way you can expand the thinking from where others left off instead of starting from scratch.

Yep from time to time on individual tracks in a mix if needed instead of automation.
 
I wouldn't recommend any mastering tools on your stereo bus and keep mastering a separate final process for your album.
 
Just make your mix as good as you can get it.
 
Edit: The thread topic says during tracking and in the hardware domain to save overs, especially if you are tracking your own takes

Loptec is spot on !!! There are no rules to break and if it enhances creativity then why not but I always use the -6db rule on all stems without a limiter first but sometimes those pesky peaks just will not be tamed . I use a Freq Analyser to look at what each particular freq is peaking at so as to EQ any problems out where I can on any given stem 

I avoid putting anything I can easily apply in post on the actual recording.  There are times it is somewhat necessary, like recording live events where volume can fluctuate drastically

CJ's got the right of it....
 
Although you may put a digital limiter in the plugin-in chain for artistic reasons - during tracking - it cannot prevent clipping in the analog domain. The only way that can be done is with an outboard analog limiter, placed in the recording chain before conversion to digital.

Elffin
Hi, thanks for the input guys - would have responded earlier but for some reason I wasn't auto subscribed to my own thread! 
Just one more question then ... would you use a limiter sparingly when creating the final mix    and then again when mastering?
 

It depends on the mix and what kind of dynamics you want for that specific mix. There is no right or wrong answer and there is no right or wrong way to use a limiter when mixing and mastering. Your ears will let you know when to use one and how to configure the settings that are on the limiter.

Elffin
Hi, thanks for the input guys - would have responded earlier but for some reason I wasn't auto subscribed to my own thread! 
Just one more question then ... would you use a limiter sparingly when creating the final mix    and then again when mastering?
 

I use Boost11 for gain staging but make sure it is not doing any real limiting. Just there to catch odd peaks past my output setting. Sometimes I back it off (the boost) even if it catches any peaks. Someone told me just to normalize the track after export to set the highest peak of my choice -.11db, -.03db, etc. Then to mastering in which I try to match it somewhat to other songs on my (sort of) album. I do no slamming for loudness as I am a against the overly compressed sound completely. Hate it. Anyway, too many options with this stuff...

I've done exactly what gswitz described - used the Concrete Limiter on a bass track from a live show whose level was all over the place and just not "solid" enough.   It worked rather well.
 

I use compressor/limiters (hardware) frequently when I'm recording.  As far as mixing and mastering, I use whatever gives me the sound I am trying to get on a particular song.  I make it a point not to limit myself to any specific set of rules (other than common since things like keeping the levels reasonable).  I think most every song requires a slightly different approach to get what I'm shooting for.

Tracking is recording.  Adding any software effect makes no difference at that point - you can just as easily do it during the mix.  Unless you are using the Apollo interface, w/ UAD effects sent before the DAW.
 
Many people use a limiter (or more likely a compressor) on the main buss during mixing.  This came out of mixing through an analog mixer, esp. the SSL w/ built-in effects.  Their mix buss comp is very good and mixers used it for their 2 track output.   You shouldn't need it for in the box stuff esp., but I bet most of us have, either to raise the vol a little, add a little glue, etc.  It does give you an idea of how a song will sound post mastering (louder), you are doing some of the lifting for the master engineer (or process).  The down side of this is if you push your mix too hard (-3 dB, say), it gives the mastering engineer vary little room to work w/.  It matters less for home mastering, since you will be mixing and mastering, but a hot mix and a little EQ can cause overs, which means using a hard limiter, which means etc. etc. etc.  And for most of us it is easier (and better) to break things out into the traditional steps - tracking, mixing, mastering the 2 track.  Once you can do that consistently then start breaking the rules.  You'll have a better idea of when and why to break them, and not depend upon dumb luck.  On the other hand, most compression sounds ... smoother, if it is done in series.  If you know what you are doing a little compression while recording gives you a more controlled track, which you can then massage a bit w/ a channel compressor.  Then perhaps again as you send it through a buss comp.  Then your recording, which has already been slightly compressed a couple of times, goes out to through the master compression before getting another dose during mastering.  A few dBs at each step usually sounds better than squashing the devil out of a track w/ Boost during mastering.
 
If a track is low in volume, your best bet is to normalize it.  Not to -.3 dB, but something like -10 to - 6 dB (which is hot in the digital world).  Then you can use a compressor/limiter to firm up the sound rather than as a vol knob.
 
That is the great thing about recording/mixing - there are lots of ways to do the same job.  There are plenty of ways to do things  right, but just as many to damage the sound of the song. The art is knowing the difference before you print and send it off.
 
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