I was thrilled to get it. However, I can't get it to sound (to my ears) as good as the Concrete Limiter as my final limiter on the mix bus. Maybe I'm doing something wrong?
I've tried all the presets and all the different characters. I've tried everything I could think of. If there is something anyone can suggest that I may be missing, I'd appreciate it. In the meantime, I'm still using the Concrete Limiter. I just had hopes that this new one would be even better than what I have.
As a side note, in the past I have used Waves L2, Sonnox Oxford Limiter, Limiter #6, etc. I personally like the Concrete Limiter better.
Maybe it's just me. 
 

Rod, could you elaborate on what you mean by "sounding good"?
 
I know certain Limiters will impart a certain sonic signature, but by and large, you should not really be able to hear a lot of difference between them as their job is to simply limit the signal with as much transparency as possible.
 
Maybe, the Concrete Limiter isn't as transparent as the Adaptive Limiter and this is what you're hearing.

I have found that Adaptive is extremely transparent!! It's almost like it's not even there other than really cranking the mix volume. There is a little more coloration to my ear with the "pumping" setting. That setting seems to replicate the sound of Concrete. I have always noticed a bit of pumping and in extreme settings on the threshold, a very crunchy to distorted sound with CL. I have a friend of mine who has multiple gold and platinum albums hung on his wall for his work in the early seventies. I master for him all the time using Sonar and he always prefers for me to absolutely POUND the CL on the threshold!!! The results for him is always bordering on distortion and pumping. To me, the resulting sound has NO dynamics at all. I tried getting him to use Adaptive instead and his comment was that he didn't hear any of the character in the master that he prefers in CL. To each his own. I have switched for now to Adaptive simply for the transparency and the dynamics do seem to stay intact.
CL still will find a use, I am sure. It has been my goto for as long as it has been around. Adaptive is going to be hard to beat!! Especially, at the price!

Not sold on it yet.
1st time I tried to use it I found it rumbly and distorted.  I tried several presets.
Used it last night and it was transparent, but I barely added any additional gain.
I'm hoping more chime in with their experience.

It might depend on what you expect to get out of a limiter. If you expect to squash the dickens out of your mix, pull up the RMS average to -3 dB, make it pump & breathe -- and still be able to make out the transients, that's asking an awful lot from a plugin. Better to use one that's designed expressly for that purpose.
 
OTOH, if you use limiters for safety and modest volume increases, AL does do that quite well. However, if you fall into that category chances are you won't hear huge differences between any two limiters of comparable quality.
 
Which type of limiter user are you, Rod? On a scale of 1 to 10, with 1 being "who needs a limiter?" and 10 being "my perfect waveform is a brick".

Hi. I like this a lot. Nice GUI, an easy to use. Transparent when needed, and pumping and aggressive when called for.
I use it on instruments / parallel processing, as well as on bus duty. Like everything, it's how you use it 
All the best.

I've seen references in this and other threads to applying a limiter to individual busses. I assume this is in addition to the limiting applied to the master bus. Could someone elaborate on why this is done? I can't wrap my head around why I would want or need to limit (for instance) the guitars or drums TWICE. Thanks in advance for any feedback!

If you record a drum track that tests the limits of the 0bd ceiling while the rest of the mix barely makes 6db then you might need some control compression or limiting on that track. If the kit is split into multiple tracks, then you have more control. Could be an extra loud snare drum. Putting a limiter on that track can help bring the mix into better focus. I just used drums as an example, It could be anything really. I wouldn't use a limiter as a first response. I might try EQ and volume first. If I couldn't tame it I might try a limiter set very low.
 
If tracks or buses are individually limited through buses you can use different types of limiters for different material in the same song. When it comes to mastering stage you shouldn't need very much limiting at that point. 
 
This is only one example. I most commonly use track limiting on guitars recorded with a lot of snap, drums that overwhelm the mix or bass. It's usually a last resort for me. I'm more likely to use a dynamic compressor or side chain into a compressor.
 
I don't want to kill my parts. I only want to tame the more aggressive places. Over using EQ can kill the interesting frequencies in a track.

I used it the other day and was pleased.

Loving the Adaptive Limiter here.  I will still use th concrete limiter in certain circumstnces - it does do a great job of "bringing up the room" on drum parts, and the bass switch is very useful.
 
In response to some of the comments above, it is important to check your levels going into a limiter.
 
If your mix is already at -0.1db, you will get a very different response from a limiter than if your mix is at, eg. (random figure) -6.0db.
 
Make sure you leave enough headroom to play with.