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I just purchased one and I am using it for mix down and monitoring,,,,,, HOLY S$%T! It's like night and day. It sound so good. any way I was noticing after mixing down and then dumping it through the 2192 into WaveLab and all is good. But when I put the precision limiter on my stereo mix the signal is hitting hard back out with the limiter settings pretty much the same that I have been using without the 2192. So I guess my question is what is the best setting for the precision limiter w/the 2192? since the settings I was using \"Pre\" 2192 are to hot!

Thanks! in advance



Basically The signal I am getting now from the 2192 is way hotter then when I was just going from my board into the analog inputs on my sound card. So I guess my question is what kinda settings should set my UA precision limiter to master my rock mix's. I also am using the UA Precision Multiband. Should I be using those together or not.
I am currently going from my bd into the 2192 into an E-MU 0404 soundcard into wavelab at 44.1/24Bit.

Does that make more sense?



Active Member
Again, your setup and intentions are kind of unclear.


Make sure that you are leaving some headroom in your output from the 2192 and place any final limiting or dithering after the transfer from one device to another. The mutliband would be safely placed before the outgoing signal.

Why are you even going out of the box at this point in the process?

If you are trying to warm up the signal, make sure you are at least running it through something with a transformer or tubes or tape.

Otherwise, any good converter (alone) should not impart any beneficial color.

If I am missing something or need to be corrected, please feel free to clarify.


Thank you...

For working with me, sorry i'm so unclear. Here's my set up>

Protools HD(multi track) - Soundcraft ghoast mixing consoule - 2192 - wavelab (For Stereo Mastering).


Active Member
I see...
You are using the desk for analog summing...

Then yeah, just leave about 6db of headroom coming into the 2192 from the desk and then hit it with whatever mastering chain you have once you are ITB.

There should never be any presets for things such as a master buss compressor/limiter. It assumes too much about the mix, like how well balanced it might be, how much dynamics are left in it, etc.

To properly use the PL, just increase the gain reduction until you acheive the desired results. Your final outupt should be -0.1db all the way down to -3db. I have seen albums of all different final peak levels, depending on the philosophy of the mastering engineer. I leave my work at -0.1db, but I am very cautious about average level and take precatuions to avoid unexpected peaks.

Again, if I am misunderstanding or I said something silly, please let me know so that we can clear things up.


Thank You TheEastGates. That makes sense to me. I don't usually don't master my own mix's I just like experimenting a little with it to make sure my mix's are on the right track.
Where are you located and how much do you charge? I am always looking for different mastering engineers to send my mix's to.


Compound Recordings


Active Member
I am in Upland, California (USA)... On the east border of Los Angeles County (not where the name \"EastGate\" comes from - heh 8) ).

Mastering starts at $39USD per track, but can be as cheap as $14 per track, under the right conditions. I also give freebies to studios who have me do a lot of work so they can pocket some money in the process.

The EastGate Mastering page
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