rodreb
I wonder which settings on the Adaptive Limiter would be closest to the way the CL effects the signal? Anyone know?

I don't know, but Craig said in post #21 that they have a different sound.
 
When it comes to limiters, I'm looking for transparency, which they both claim to offer. A recent blog post had this information about the Adaptive Limiter which might help you narrow it down:

• The default Adaptive Mode provides program-dependent attack, and when combined with auto-release mode it becomes a high-impact, set-and-forget limiter ready for anything in its path.
• Aggressive Mode uses a linear release curve capable of adding a warm overdrive to tracks and masters.
• Dynamic Mode is a more transparent processor that includes an enhanced transient shaping stage to emphasize percussive sounds
• Pumping Mode is similar to Aggressive mode, but has a quadratic release curve that adds body, great for track limiting and EDM masters.

There's not yet much information available online, but there's supposed to be some videos on the way. I guess we'll need to look to the built-in help for the time being.
 
EDIT: I should also mention there's some info about it starting on page 10 of the new eZine "Tech+Music" in case anyone missed it.
http://forum.cakewalk.com/Tech-Music-issue-201705-its-out-heres-the-link-m3613187.aspx

telecharge

rodreb
I wonder which settings on the Adaptive Limiter would be closest to the way the CL effects the signal? Anyone know?

I don't know, but Craig said in post #21 that they have a different sound.
 

 
It's important to remember that the main sonic differences will show up when you push units harder. The biggest difference to me with the CL is the Bass button.
 

Craig, I'm just curious as to which configuration in the AL would be closest to the way the CL operates. Since I'm happy with the way the CL handles things, I would like to see how the AL does at similar settings.

A few thoughts on new limiter, after playing with it today for the first time. First, it made me re-sign to my rent to own program...even though I can't afford 27 dollars a month :). Poor and unsuccessful polymath, it might be looking up though, depending on marks for Master of Philosophy due next week, sorry I digressed. 
 
But the 27 dollars a month is worth it, and this is only after playing with the limiter for an hour or so. Amazing device, it really creams the competition...Waves L3 and all that. The meters built into the device, Luffs, and the K set are awesome. I always knew that I was close in regards to my Luffs, this is because understanding the analogue emulation aesthetic and proper gain staging means it's hard to go over the desired Luffs range for various applications...but having the meter there reassuring me is nice, as is the K meters, again reassuring me I have got the track within range.
 
One of the differences between the aforementioned Concrete Limiter that some have mentioned in the above posts, is even though I suspect the soft switch on both devices does the same thing, the adaptive limiter just having more options, the adaptive limiter doesn't sound as woolly in the low-mids. This is a good thing and a bad thing, because that wooliness is great for certain types of tracks, and is a signature of the analogue emulation aesthetic or the sound of tape...because of the transparency...I think, the adaptive limiter just doesn't seem to be able to get that sound. Of course, you can push the bass up slightly on the passive EQ just before the limiter ;), but that wooliness is still gone. Maybe I will figure it out, after all it's only been an hour lol.
 
Ben

This Adaptive Limiter is a very cool tool.  A couple of days of evaluation alongside the Ozone 7 limiter have been interesting. Ozone is a fine product, but to my ears usually makes whatever you run through it just a hair brighter than it was. I do a lot of acoustic instrument recording and want things to sound as natural as possible, so this often sends me back to the track eq after applying Ozone.  Not so with AL. It seems to keep the highs sounding more natural. Also, if your vocal has ANY sibilance Ozone will let you know about it, so I really like AL on vocals as well. I'm liking AL applied to individual tracks more than entire mixes at this point, but still learning and experimenting. Best addition to the arsenal that we have had for a while. 

I am loving the Adaptive Limiter. Applied it to a rock instrumental i just finished recording and sounds great. I agree with Tom P above, I prefer it over Ozone. Great to have all these awesome stock plug in's. I just recently moved to Sonar and just find my mixes are sounding more pro. I am not having to use my purchased plug ins much as Sonar just delivers!

sycraft, that's the first thing I did with it, put it on a master bus against Stealth. I don't fully "grok"  AL yet, so take this with a grain of salt, but I liked Stealth Limiter from IK better. I noticed that AL seemed to pump a little bit, even after I tried a few different  AL algorithms. It definitely doesn't replace Stealth. I will say that the visual feedback you get is much more telling than Stealth, and in some situations that might help fine tune it.

I'm very happy having The Adaptive Limiter .Thank You Cakewalk .
It certainly holds it's own compared to a few of the 3 rd party Limiters I have .
I have used The Adaptive Limiter on the past few tunes I have done ...
My preference has been to mix my song , export it , and then bring my exported mix back into SONAR as a fresh project for a Pseudo Mastering session with the goal of posting my tune on social media.
The Adaptive Limiter is certainly more than adequate for that intended use combined w the Pro Channel EQ .
 
I also still use the CL and the Boost 11 ....I  like using the CL on a track per track basis within my song projects ..
 The CPU is pretty light . Most of the time finding a sweet spot is only a few clicks away ...
The Boost 11 seems well suited for a real fast down and dirty lets put a  little Hair of the Dog back on to 3 rd party loops or loops I have chopped up from my own song creations that I'm introducing into a current song project ..
 
all the best,
 
Kenny

I tried a test last week on a track and could get it to sound almost identical to Pro-L using the aggressive setting.  Not a big enough difference on that test to justify spending the $$ on Pro-L if I hadn't already.  Good job Cakewalk!

Speaking of limiters ... I attach a link where there is a comparator of limiters, I hope it will be very useful and I think it will throw many concepts of some brands of prestige.
 
https://www.saintpid.se/en/isp-true-peak-limiters-test/
 
Greetings.