For the last few years I have had great success using the LP 64 Multi Band on my Master buss. 
I use a fast attack on all bands and the lowest band is set at 0db and the rest are at 3 just above the line. Seemed to be the default. This gives me a visual of where a song has problem frequencies. 
If the low end is showing a steady level then I need to go back to my Bass and Kick and either turn them down or apply a hi pass filter at around 100hz. 
But what this does is I'm hearing warmth disappear from vocals and guitars when the LP 64 is on. So I use it to trouble shoot then turn it off before exporting. I get better results with loudness and levels at the sacrifice of warmth when I leave it turned on. 
I tried the CA limiter and all it did was either nothing or instantly squash things. ( I guess I don't understand the controls?) 
 
What do others do to maintain a safe level for export using a limiter? 

Cactus Music
For the last few years I have had great success using the LP 64 Multi Band on my Master buss. 
I use a fast attack on all bands and the lowest band is set at 0db and the rest are at 3 just above the line. Seemed to be the default. This gives me a visual of where a song has problem frequencies. 
If the low end is showing a steady level then I need to go back to my Bass and Kick and either turn them down or apply a hi pass filter at around 100hz. 
But what this does is I'm hearing warmth disappear from vocals and guitars when the LP 64 is on. So I use it to trouble shoot then turn it off before exporting. I get better results with loudness and levels at the sacrifice of warmth when I leave it turned on. 
I tried the CA limiter and all it did was either nothing or instantly squash things. ( I guess I don't understand the controls?) 
 
What do others do to maintain a safe level for export using a limiter? 

I think the important part is to get your mix as solid as possible before slapping anything on your master buss. Although this is just m opinion. I think many times people put eq, limiter, compressor etc, on the master buss prematurely to compensate for things that could be fixed in the raw mix. If you are putting something on the master buss that makes your mix sound inferior to when you didn't have it on, the answer is somewhat simple.

"But what this does is I'm hearing warmth disappear from vocals and guitars when the LP 64 is on. So I use it to trouble shoot then turn it off before exporting. I get better results with loudness and levels at the sacrifice of warmth when I leave it turned on. "
 
I see this as a mix -and the lumping together, of two different aspects, or goals.
One being the 'fast attack processing (presumably transient control for loudness perhaps?).
The other, I would question as a presumption', that frequencies' -or tone balances that may or may not be more prominent in a mix, necessarily represent problems in a mix'.
Should tone balances be 'equalized? Or are the 'shapes and balances at least in part, be part of the mix we made? 
:>)
Re the 'CA Limiter, it could very well be the major diff you're seeing is 'the general treatment of a low (lower?) ratio of a multi-band vs the extremely high ratio and aggressive response of a limiter.
Try/choose full bandwidth low ratio compression -when that's where it leads, multi-band, to target specific 'issues, limiter last as needed.
 
 
 

Johnny, If this is a mix down and not a master I would like to make a suggestion,
Use instrument bus compression/limiting vs. master bus limiting/compression.
More often than not, in a mix down scenario I never put compression or limiting on the master bus during export.
I use it instead on the instrument buses. This helps me zoom in on key issues without effecting other issues (like adding punch to drums, without effecting guitars)
 
You will need to get surgical by operating on 1 patient at a time and personally I find instrument buses are the only way to do this.

I always separate the "mastering" process from mixing into two separate projects. I find that I can get in a situation where I am playing whack-a-mole trying to chase down a perceived problem when doing both at once. Just make sure the mix output leaves a good amount of headroom when exporting and leave the limiting to the mastering stage.
 
Regards,
Dan
 

Thanks to all good information and I will chew it over, 
And yes I do not intend to master at this step, a you might be aware from other posts I use Wave Lab exclusively for this for a long long time now. 
But I am always fighting with the mix being way up close to the top end of the scale in the master buss. 
So my reason for using the multi band has been it will act like a spectral scope and show me ( broadly) where I have the culprit that is pushing the meters up. I turn it off when done. 
Turning the whole mix down just transfers the problem over to the mastering stage where your still going to need to identify loud frequencies or end up compressing the whole mix to get the RMS level where I need it. So for me that has not worked. 
I think Chucks idea might work for me best. I would not need anything more than a guitar buss. 
I already always have a compressor on the vocals
All drums and keyboards are 1 VST each so they get processed there
But guitars I will have 2 or 3 tracks so I'll try a sub buss on that. 
 
My method has worked well for me but I guess I feel I'm stuck using the same tools I used in 8.5 and need to progress and explore some of the new stuff like the CA etc. 
With me it's I'll try something like pro channel, can't get anything to work and never give it another chance and return to what I understand. 
 I'm in the mixing stage of a 14 song acoustic type album and not happy at this point in what is happening so looking to do something different this time around thanks to all who take the time to read and make recommendations I'm all ears! 

Myself, I am miles behind where I would like to be in the mixing and the mastering stages. I can do enough to get by and im pleased with my results but im never 100% happy. it sounds like you have similar feelings about your mixes.
That is a good thing. It means your trying to reach new heights and better your mixes. Nothing wrong with that.
 
I have found through trial and error (and being ignorant ) the best way to improve my work is to try new things and step outside that box, That comfort zone. For many years I didn't use instrument buses and adding more FX to instrument buses seemed a waste of resources. But then I stepped outside that comfort zone looking for new ideas and new solutions to the same old problems. Where im at right now, a little better but still not happy. Like I said before, that's okay. That's what makes us strive to get better. I look forward to hearing some of your songs when they are mixed + mastered and my apology's my post has no resource value, more of a philological view.
 

by limiting on the master bus,
you are letting things like the SNARE, dictate the dynamics of the song.
 
i'd suggest not using a limiter on the master bus while mixing.
 
 
now, compression is another thing,
but a caveat:
if you are going to use a compressor on the master bus,
put it on from the very beginning of mixing (not tracking) and mix with it on from the beginning.
 
and always consider it one of TWO compressors on each individual track...
assume you are compressing at the track level, AND at the master output,
you may not need as much compression on either individually.
 
 
and always turn it off, gain balance, and check to see if it's actually doing what you want it to!
 

Awsome Chuck,  I really appreciate your insight. Yes this is what it's all about, this IS only a hobby now for me, I stopped taking on clients as the small income from that is just not worth the hassle anymore. I end up putting in a lot of unpaid hours just trying to perfect other peoples songs. The good side of that is I reap the benefits when I do my own stuff,,, but there's never enough time!  
 
So this year I'm finally returning to some songs I recorded 20 yeas ago to a Yamaha MD 8 (mini disk 8 track) that I always felt needed re working. I also added a few new songs that needed new a direction.
I was asked to play a live set on Sept 9th at the local Fall Fair and thought this could be a fun project. Play a 45 minute set of originals as well as have that set on a CD.   
 
I am addicted to using backing tracks as I find I really need at least a bass player, so that's what I started with.
So this is a pretty simple recording with very few tracks as the idea is it's what I sound like live. I have always kept my backing tracks to just Drums, Bass and a little keyboard to fill in the space.
 
But because it is so sparse you notice everything because it's in your face.
So it needs a nice warm in your face vibe.
I'm almost temped to try NO REVERB??? what a concept! do I dare?
 

chuckebaby: You are far too modest, my friend. I always love your mixes! You are one of the very few people I ever look to for critiques of my own mixes, because I respect your abilities so much. You rock!