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?
 

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?
 

Unless my intent is for an over the top effect or I am attempting to emulate a particular sound by request (aka known as "make my song sound loud with no dynamic range like my favorite pop radio song" syndrome", I use all effects and processes sparingly.  If I find myself needing to use  massive limiting, I prefer to figure out where I went wrong in my mix and fix it.  I find i get a better sound by tweaking tracks and buses than trying to sledgehammer it all at the end.

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...

Yes, I will sometimes use a limiter when tracking, always outboard in the analog domain.  My A/D converter has both analog and digital limiters built in that I employ (in addition to attentive gain settings) to avoid clipping the converter, and I'll also sometimes use other outboard limiting/compression ahead of that as the situation requires, especially with vocals, using e.g., 1176, Dave Hill Titan, Avalon or the like.  Some of that's for gain control and some of that's for color.  It's a personal taste thing and you should use whatever makes your ears happy.  But as another post here mentioned, you'll be printing this while you track so there's no undoing it.

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.
 

SuperG
CJ's got the right of it....
 

I must be chopped liver LOL

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.

John

SuperG
CJ's got the right of it....
 

I must be chopped liver LOL

Nope! Just Chopped I think.

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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