I think in this case we are talking about distortion effects due to clipping and aliasing rather than compression/saturation>harmonic enrichment which originates from overloading the physical components of an electrical system.
Smartass mode off.
1 Like
Good God…what damage a simple “n’t” can cause…I meant to write “Shouldn’t” MAN, I’m on a roll today 
2 Likes
Sorry bud, I meant to write “shouldn’t” typing too fast…yeah, so, again, can’t hurt to have one on the bus, but in any case, the mix should be on safe levels.
Yes I’m on c14 pro but I’ve never got to learn the control room!
My problem with the control room has been , I have one simple usb Yamaha THR 30 amp as an I/o interface which is either headphones OR speakers. My DAW is in a separate building to my old analogue studio equipment (mixers digital recorders, tape recorders) that I use to capture vocals guitars etc. I use C14 to process the captured audio. So basically I don’t know how to utilise the control room. 
I knew what you meant 
The great thing about this thread is that it rather well illustrates how many people approach a common process in different ways. And the great thing about this community is that it shows how folks with different opinions can be gracious in the way they share and discuss disparate views.
Depending on what we’re talking about and with whom, “limiting” and “compressing” are (or can be) two different things. In the sprit of the OP, I think @cubic13 's approach of putting a limiter (maybe not “Brickwall” per se, but fair enough) in CR is smart. It provides protection from unplanned events while also preventing unintended limiting on the bounce.
One could argue that the internal 32-bit default project resolution of the mix isn’t going to “clip” anyway until it’s forced to by a bounce/export, but regardless, putting a “limiting compressor” on the master can also help preview perceived loudness of the mix outside of strict dB constraints.
But I’m not sure if that’s what the OP is asking. If I was to offer-up an overall opinion it would be to "try it, and make your decisions based on what you personally experience based on goal-oriented empirical evidence and not when some random dude on YouTube thinks the concept of ‘headroom’ is a ‘trick.’ "
2 Likes
In my opinion, it’s definitely worth digging into. Control Room is one of the reasons I moved to Cubase, single interface or not. It’s fantastic once you get past the initial “huh?” curve (for me, anyway).
The Control Room is actually one of the outstanding features of the Pro version. Even with one single stereo output - there is much more to it than you probably think. I hesitated, too, when the Control Room was first introduced many years ago. Now, I couldn’t live without it.
Here´s a quick tutorial if you are interested
It’s worth it!
3 Likes
Thanks, I’ll have a look again. I’m a long time Chris subscriber so viewed this when I first used c10.5 or c11 and I didn’t get how I could apply it at the time.
1 Like
Ok, I get it now.
I think way back, when first viewed, as soon as Chris said at the very beginning
“if you’re a musician working alone it’s probably not for you” (paraphrased),
I decided it wasn’t for me.
Soo, after re-running the Chris’s video, and spending 15 mins setting up the Control Room, I’m seeing stuff that I’ve completely missed out on, like Listen mode, and, even though I largely work alone, Cue Sends!
Now with cue sends when I want to re record say, acoustic guitar, in my remote analogue building, I can very quickly do a bespoke guide track mix minus the AcGtr track !
Light bulb moment … do I next put the +6dB Limiter “trick” on a Control room insert???
1 Like
Yes, the Control Room is a great feature. Cue sends are also perfect for reference tracks. Combine them with their own markers for different sections, switch forth and back with a key command, set up even more reference tracks with track versions, put correction software on your monitor without worrying that you accidentally kept it on the mixbus and much more.
I decided to go for a 12dB Limiter trick to fire up a new career as an influencer. Nah, seriously, to each their own. Many of the most iconic sounds that are now a standard originated in doing the exact opposite of what critics once considered to be the only right way. As we now know, history proved them wrong 
2 Likes