SOLVED Using Concrete Limiter during recording

I should know or just try it and see but I'll ask anyway.
 
Can I use the concrete limiter to be a peak limiter during recording?  Or do I need to use something else or do any limiting in my recording interface unit??  
 
Just a thought.  I've got an upcoming on site recording with our band and can't be monitoring channels all the time as I'm also playing pedal steel guitar in the band.  A limiter, especially on the vocal track, would be an asset as there are a couple of singers.

To use the Concrete Limiter route the incoming audio to a track with the Concrete Limiter enabled and set the output (or better a send) to another track via a patch point (this could be an aux track).
 
SONAR records the input signal. This is true for all track types. It is the reason why regular audio tracks record dry. However, input to patch points may be an affected signal from another track. When using this technique consider recording both the raw and affected track, just in case.
 
The problems with recording software FXs include latency and the inability to remove the effects after recording. Of course, this will not do anything to correct too hot a signal at the interface input.

I really like Scook's answer...best of both worlds.  The raw vocals and the vocals limited.

I'll have the input down (I usually record vocals at -8 and 24 bit), but that doesn't account for a singer with an extra loud voice.  I can't be monitoring and tweaking the input level and playing my guitar at the same time.  Got to rely on help, such as a limiter as I won't have an extra person to assist with recording.  5 piece country band and several "guest" vocalists. 

If you have them available you really are better off using hardware compression set for limiting on certain tracks like Bass, Vocals and kick. You don't need to overdo it, just a fast attach and low ratio to catch potential overs. And that said even if a few overs sneak in they are often not going to ruin the recording. 
You just edit them out later with a volume envelope or whatever. 
Turning it way down the track will lose punch. Don't forget, the send to the computer may be digital, but Pre amps are analog and need to be driven to give out their full potential and some tone.  A wimpy signal is a wimpy signal. 
Your Motu was designed to make good live recordings and that's why it has the compressors built in.It's one of the reasons I was looking to buy one just for live recording. 
Right now I can use my 01V as I have 6 outs from that. 

I'll use the limiter in the MOTU. I'll set it for 0DB and it should never get there and thus will not affect the dynamic range of the vocals. If it does, a limiter is better than a compressor for this purpose. 
 
I've been using -8 as I've got one "hard of hearing" singer and he complains he can't hear himself unless I have him at a higher volume level.   I don't argue with him as he is a retired Nashville songwriter and has done major label producing at the old "Bradley's Barn" and for Columbia records.  I've learned a lot from him as he is a Billy Sherrill protégé.