I would place something like YFM before M&T. another idea would be to place YFM before M&T, bypass the limiter function and, like Fan51 said, add a limiter after M&T in order to handle transients.
I will say this, though: I used to make extensive use of mastering VSTs like YFM, Izotope Ozone4, and BBE Sonic Maximizer in order to compensate for both a less than ideal source and the extraction process that takes place with converting. While the effect those VSTs has can sometimes lead to a more powerful result on your average HT system, on a very high-end system, you will hear every little bit of compression you add. In the past few months, I've dropped the mastering VSTs almost altogether (except for when, for example, I really do need some extra de-essing) in favor of utilizing the best source possible from the very beginning. Lots of 24-bit sources, vinyl rips, etc. My results are much more natural-sounding.
This is also where I recommend careful live-monitoring. You don't want to set all those humidity sliders at 1.0 and just run with it. You want to set them where you have just enough separation to give good results, but not so much where you're negatively affecting the overall sound quality by tearing your source apart too much.
That being said, what I liked about YFM as a mastering tool (as far as I know, YFM is also no longer commercially available. sorry, folks!) is that your setting are all right there, in front of you, and not hidden in the way they are with Ozone. Even if you really bring in the compression ratios, YFM is going to color your overall sound, though, which is something you may, or may not, want.
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