Bus compression: what I'm looking for there is sort of like a glue for the multi instruments being sent to that particular bus, if that makes sense? It's like I no longer hear say 2 guitars, I hear an entity of the group. I just comp the bus track until it sounds right and stays tight. I never try to over think anything. However, you can try that attack/release thing you mentioned to see how it works. I haven't felt the need to get that deep with it in all honesty.
 
As for Rx advanced, I believe it has the same capability to raise and lower peaks like adobe, but I don't use it for that. What I meant about the comparison I made was, the interface in Rx really reminds me of adobe. It's laid out in a similar fashion. But if I'm not mistaken, I believe it does adjust volume peaks the same way. I'll  check on that for you if you need me to?
 
-Danny
 

Thanks Danny, I appreciate the replies. You don't have to check on the RX thing, I appreciate though. Between your automation trick and the GVST GClip, I think I have some ways I can handle rogue transients effectively.

That's quite a ride.  Thanks for the discussion.  Always informative when you experts weigh in.
 
I'm using maximizers - limiters/compressors by another name I guess - I've never used a limiter on a track.  As a singer-songwriter, I record vocals and sometimes guitars, but all the other instruments and drums I use on a song are either wav files I import or from drum synths (EZD 2 is my fav).
 
I record vocals somewhere around -18db to -12db.  The imported instrument tracks might be louder than that, but I just use the track/bus Gain, Blue Cat's gain plugin, or even a compressor at 1:1 if needs be to get levels close before I adjust faders.  It's stuck in my head that faders are best near unity (M. Senior).  I do use volume automation envelopes depending on the situation.
 
Mostly I EQ and gently Compress to even out the performances - mine or those on the pre-recorded wav files.   I export the entire mix as a wav and import that to a new Sonar project where I'll either use Ozone 5 or a couple of mastering type plugins like the Sonitus MB and Waves L3 to get the final sound and loudness.
 
I aim for -6db to -3db on the final mix I export.  That way I figure the maximizer doesn't have to work too hard when it's applied in that mastering project.  I use instrument and vocal buses to group and sum and apply subtle glue compression to the Music bus, then usually add final glue/compression to the Mix bus where Drums, Music and Vocals buses are routed.  I like the T-Rack S Bus Compressor and the Waves V-Comp.
 
I do have Cakewalk's Concrete Limiter, but I have never used it.  In this thread I noted that Batsbrew uses it on tracks for added color.  I'd like to experiment with that on my current projects and I want to try MB Compression on vocals in the mix vs. static EQ.  I'm also planning to use parallel compression on vocals that need some bite or grit.