bitflipper
Zo's right about that, for a bus anyway. Zo usually is. But the immediate problem is specifically a bass track, and the peaks are almost certainly low-frequency and can be easily limited by a broadband limiter without impacting harmonics. I've used Pro-L for just this purpose, and it works great. I've even used it for leveling a rock vocal, and it worked surprisingly well for that, too.
 
My only caveat is that with bass it isn't always rogue peaks that are the problem, but often specific rogue notes. For that, a multi-band compressor or dynamic equalizer might indeed be better.
 

Bit , how do you find the Limiter in PRochannel versus the Pro L or Sonnox ....? never used it but i'm in a midlle of a new install and wanted to replace my Master "Safety" Lim by one on the PC ....

Thanks for the replies above.  All useful info.  In this particular case it was a simple bass line where on occasional notes it hit too hard, so I used the Pro L to limit to the db target value to just affect those few peaks, and left the rest of the bass unaffected.   As it happened, it still SOUNDED different on those limited peak notes, even thogh I could see in db terms they were corrected.    I suppose that's having the peak chopped off, can also affect the tone?     I am not an expert in dynamics, though thinking logically, if I used a compressor instead of hard limiter, it could be set to push peaks down, and the rest up to give a more even result.  Is that in fact the same result as just chopping off the occasional peaks?

Zo
 
Bit , how do you find the Limiter in PRochannel versus the Pro L or Sonnox ....? never used it but i'm in a midlle of a new install and wanted to replace my Master "Safety" Lim by one on the PC ....

Sorry, Zo, I don't use ProChannel, as I am on 8.5. I have never used the Sonnox, as I avoid dongles. I can only compare Pro-L to limiters that I have used: Ozone, Barricade, Elephant, and whole bunch of lesser plugins.
 
I like Pro-L a great deal, for its efficiency and visual aids that make it appropriate for remedial and thickening applications on tracks and sub-mixes, as well as on the master. But on the master, I mostly reserve Pro-L for more aggressive material and still prefer Ozone for everything else.
 
In the OP's particular situation, I would turn to a dynamic equalizer such as Pro-MB or MDynamicEQ, because a) I can apply it to specific notes (and optionally their harmonics), and b) the degree of gain reduction will be a function of the signal level rather than an arbitrary threshold.