my ableton default template is just 2 simplers, 2 audio channels and aom invisible limiter on the master. used to have a really intricate template but found i wasn't using most of it to start anyway

my master chain is usually something around this:

EQ: one linear phase removing < 35hz, one mid/side removing side <100hz, and then a 3rd eq to do any subtle attenuation
Imaging: ozone imager if necessary
Compression: series of compressors - favorites are oxfords inflator just to bring up the RMS, cytomics the glue, and TDR feedback compressor II. sometimes reach for the waves SSLG comp usually on more aggressive sounding tunes. if i do any multiband compression, it's before any of these and usually pro-mb
limiting: AOM invisible limiter doing most of the heavy work, and then if i want to push it any further fabfilter pro-l to go any further and also dithering

that's generally it. sometimes other additions: some subtle saturation using fabfilter's saturn or if a track is really, really dry a subtle ozone reverb. been doing some parallel compression pre-master chain and that's been yielding some awesome results

i always strongly recommend the yamaha HS8 versus the Rokit series. the KRK VXT series are great, but everyone i've ever known who has had a pair of Rokits has hated them / switched over to their yamaha counterparts or moved further up the chain. endless stories of the rokits breaking, and ultimately being too bass heavy to get a proper mix done. the HS8 are super well built, and an excellent speaker even holding its ground against more expensive monitors

ive been using mark sherry alot. and usually i send a mastering "blueprint" (roughly mastered version by myself) to insure that what i get back wont be something out of the blue (bass vs drums relationship)
nothing more devastating then sending your demo to the mastering guys at the label you're releasing on and then you hear your track butchered on beatport

hah too true and so many trance labels are guilty of it. i've made the mistake of leaving it in the hands of labels before and i was never happy. in those cases when i can't afford to have an engineer handle it, i always prefer to self master rather than leave it in the hands of a label who doesn't care about what it sounds like in the end. 

working with mark was a great experience and he always nails the final product - although i will say he leaves them quite dynamic. wasn't a problem with me but the label wanted a louder product in the end i'd also like to plug Andy Tau, he's my go to guy and knows exactly how my tracks should sound in the end. like i said, really important to find who works for you!