Posting to see if anyone else has experienced same thing:  Assume you have a vocal bus, and you've got maybe compressors on each track feeding into the bus, or on the bus itself.  What seems to work really amazing is put Concrete Limiter at the end of the bus-effects chain, and bring it down until its smashing the louder bits a bit.  It works so well, at least it seems to work so well, that I am almost tempted to go back and redo all my previous stuff.  Comments?

I have been tooting the CL horn ever since is came out. However I would try the CA 2A on vocals. Leave the CL for the master buss for taming those pesky peaks.

I think both CL and CA2A are great plugs. I even prefer the CA2A over UAD LA2

Remember ca2a has a limiter mode too. You could follow one instance with another.

CA2A is $50.  Concrete Limiter I already got.

Greg . . . Concrete Limiter on vocals ? Never tried that, and probably because I don't want to smash the vocalist's performance, vocal dynamics are important to me, and it sounds like you are applying it after some compression.
 
I have used CL on a drum bus, though many would say that I shouldn't smash the drum dynamics. I've always thought that limiters were more of a mastering tool, or could be used to tame a track recording where the peaks are out of control. Anyways, it seems there aren't any hard and fast audio rules, if it just sounds good to you.
 
I clicked on your link, to see what kind of music you create, and BTW really like your tunes.
The vocals in your mixes are very clear already, and sit in the mix nicely, so I wonder why you would need to apply CL to help it out further ? Just my opinion.
 

 
The link below takes you take "Under Your Spell" where I used CL on both harmony and vocal bus at the end of those chains prior to being sent to the Master Out bus.  It seemed to me that when used judiciously it made the vocals sit fat in the mix.  I also notice (now that I looked) that Izotope Nectar comes out of the box with a limiter, and that tasty $300 plug-in was created for vocals.  So I think the reality is that I "thought" I found something cool and new, but in the Real World in which I am forced to live, its old news, been done, yep silly me.  But I'm definitely keeping this in my bag of tricks.
 
https://soundcloud.com/five-foot-wall/under-your-spell
 

I use the Concrete Limiter on vocals to trap transients and bring down peaks, and then go into the CA-2A to put more focus on the part. Using both in series means each can be set to relatively conservative settings, so you preserve dynamics better and don't hear artifacts.

GregGraves 
...https://soundcloud.com/five-foot-wall/under-your-spell

Greg,
 
Nice Work!
 
Walt