![best waves plugins for mastering gearslutz best waves plugins for mastering gearslutz](https://d29rinwu2hi5i3.cloudfront.net/article_media/1e382530-4f8a-4d5b-b6ec-aa64b030e74c/w512/headline-f-m-s-processing.jpg)
TG Mastering Chain isn’t the plugin to reach for if you’re after transparency and precision. And lastly, the Output module allows for final levelling and monitoring of any channel source (Left, Right, Mid, Side, Stereo, Mono), and includes a model of the TG12416 stereo Spreader for ‘tilting’ the mid and side signals by up to +/-5dB. Intended for final sweetening and attenuation of extreme highs and low, the Filter module houses High Pass, Low Pass and Presence (medium-width bell) filters, each with a fixed set of cutoff/centre frequencies. The Ratio is dialled in as a percentage of the maximum 2:1 setting for both compressor models, or 7:1 for Limit the aforementioned sidechain filters - 48dB/octave Low (1-22kHz) and High Pass (25Hz-1kHz), and a +/-40dB gain Bell (100Hz-12kHz) - are accessed in Expanded View and the Mix knob enables parallel compression. The Recovery knob switches between six increasingly slow envelope timings, with 3-4 feeling like the sweet spot for mastering, and 2 for mixing. The Limiter module offers not only the behaviours and harmonic distortion of the original Zener diode compressor/limiter (each a separate mode: Original and Limit), but also a much less colourful alternative to it in the Modern algorithm. TG Meter Bridge looks great and is perfectly responsive, although some level of ballistics adjustment for the VUs wouldn’t go amiss.
![best waves plugins for mastering gearslutz best waves plugins for mastering gearslutz](https://i.ytimg.com/vi/C6Qi7jLMtRg/maxresdefault.jpg)
The monitoring source signal for all three meters is set using the red knob, which steps between Input, Gain Reduction (only active when the Limiter is active, natch) and Output. And on the left hand side, the vertically orientated linear phase correlation meter lets you keep an eye on the phase relationship between the left and right channels, and, consequently, how mono-compatible your mix is. Below that, a pair of VU meters give feedback on the RMS average, and can be calibrated using the unmarked screwheads below. The topmost section models the Genesis Systems DPM 101 peak programme meter, and features a Hold option for persistent indication of the highest peak until reset. Handily, you only need one instance of it in a project, too, as the Track Menu drop-down enables any instance of TG Mastering Chain running in the host project to be routed to it. While TG Mastering Chain’s onboard metering amounts to nothing more than an LED ladder peak meter, the included TG Meter Bridge plugin provides the same three meters used by Abbey Road’s engineers with the real TG12410. Up to 10dB of cut or boost is on tap, and a band solo function is available in the Expanded View. Each band has a fixed set of five detented centre/corner frequencies (32-128Hz, 181-724Hz, 1.02-3.25kHz and 4.1-16kHz), and can operate in any of five modes: Low and High Shelf, and three widths of bell filter - Sharp, Medium and the not-overly-wide Blunt.
![best waves plugins for mastering gearslutz best waves plugins for mastering gearslutz](https://i.ytimg.com/vi/SDuSUJCS5PA/maxresdefault.jpg)
The Tone module is a four-band EQ of the ‘musical’ rather than surgical kind, as you’d expect, given its primary designation as a mastering aid. The Tape Equalizer - used to provide compatibility between NAB- and IEC-equalised tapes and decks at 7.5 and 15ips - is in place for historical accuracy, but the very particular low/high responses of its four response curves are well worth experimenting with for creative purposes. Here, you can adjust the input level, stereo balance (up to +/-5dB towards either side) and phase (+90o left or right), invert the phase of either channel, and swap the two channels around entirely. The Input module is where fundamental issues with the incoming signal are sorted prior to EQing, filtering and limiting.