Title says it all...my usual routine is to bounce all my 24/44.1 tracks to a stereo track within X1, then use Ozone for "mastering" on the mix, then export out of X1 into 16bit wave file.  Usually, I dither out of Sonar as I'm exporting, but is Ozone "better equipped" to handle this?  I just read the dithering guide from Ozone and am curious...
 
And I guess the follow up question is -- depending on the "winner" between X1/Ozone, which dithering setting would be most appropriate for my Nashville modern country demos?? (not anything that would ever be professionally mastered.)
 
Thanks for any help!

You should be able to export a silent track with dither and then import it (or bounce it with dither.
 
Then normalize and view the shaped dither with a spectral analyzer. This should show the shape of the dither. Different dithers shape differently. They should all have a similar amount of randomized noise, but the spectrums where the noise concentrates differs.
 
Give it a try...
find the one you like best.
 
This is an image of Power3
 

 
Keep in mind that dither just gets you a few more DB of useable headroom. For most high quality 24 bit digital recordings it is more of a best practice than something one can hear.
 
You can do the same to see the noise added by the tape sim for example. it has a bump at 60 hZ.
 
I think the console emulators depend on the sound being fed through them. Discovering what these add is a bit more complicated, but you take one track and copy it, flip the polarity (phase) and then bounce the two together, where only one has the Console Emulator to get an idea of what they are adding.
 
 

Use whichever is more convenient. The audible difference between Pow-R and MBIT+ is too trivial to be concerned about.

Thanks a bunch.  One thing that I WON'T be doing anymore is dithering more than once (which I didn't realize I was even doing)...one was in L2 on master bus...one was in Ozone...then the final one on the way out of X1...
 
I guess I love white noise!  Ha