lol I'm aware. What I'm saying is there are often better ways to deal with 'limiting' stage than with a hard limiter itself. If a tune is only going for online and/or CD release, you can get away with square-waving and a soft-clipped master will usually sound better than a limited master because transients don't get squished the same way. For the vinyl route where you can't cut squares, harmonics and saturation can sometimes bring levels up to the right place without limiting either.
oh I'm not arguing AGAINST limiting, I'm trying to shed some light on the various METHODS of limiting. Believe me I know the difference between compressors and limiters, I do mastering for a number of artists and labels and am much more in tune with the technical side of things than the 'creative/musical' side lol
I guess I came off the wrong way or something, I'm not anti-limiting... I'm all for music being nice and loud. What I AM against is unexperienced users just mashing stuff with a limiter because "hey, that's what everyone does, right?" There is a different way to compress and/or limit each track depending on what works best for that track. I think limiters are too often thought of as some magical device that makes everything loud without any kind of consequence.
Proper, tasteful limiting is contextual and can be somewhat of an art, it shouldn't be thought of as something that you just throw onto the master and crank up so that your tune is loud.