Hey so mastered my new track today and found some pretty nice thing !

So !

Utility to have -5 Db to get more headroom
J37 from Waves (Tape Recorder) Wich give a little bit of warmth in my mix
Ableton Eq M/S to cut Side 150hz so everything beside that point is Mono
Fabfilter Eq tu cut Everything 28Hz let me get more Headroom
Native Instrument Passive Eq to get some boost and cut where I needed
SSL Compressor to glue the overall thing (Not that much don't hit 4 GR)
Pro Q for little bit of surgical Eqing

And here's comes the limiter so
I've tried all the limiter I got , finally I Used Voxengo elephant then Pro L because Waves limiter in my opinion is really shitty , it cut the transient really fast and make the song crash instantly , with Elephant and Pro L I achieved a proper loud (mix -6.5 Rms loudest part) and still got the transient of my kick and the rest

Hope I Helped !

I don't know what genre do you usually produce, but if it's EDM, then -6.5 Dbs of RMS isn't that loud. My suggestion is to use Izotope Ozone Maximizer, which can bring your track to around -3 Dbs of RMS without distortion.

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

EQ: one linear phase removing < 35hz, one mid/side removing side <100hz, and then a 3rd eq to do any subtle attenuation

Can I just ask why linear phase? It often causes really weird ringing sounds when I use it.

usually:

UAD Brainworx B2
UAD Massive Passive
Multiband comp:  Could be Fabfilter Pro MB, UAD Precision Multiband, McDSP ML4000... depends what I'm feeling on that day.
Slate VCC
UAD Maximizer
Slate FGX

Voxengo Tube Amp going into Ozone for EQ, multiband compression, stereo width, and the master limiter.

Multi band mid/side comp, and a mid/side limiter. If i want some color ill add different comps with 1-2 db reductions, or do some mid side distortion. Nothing crazy though, its just to get all the sound a sheen.  I try to get the color i want without stuff on the master besides a limiter to make sure I don't accidentally play a sound too loud and break my speakers or monitors. Ill have my master chain grouped and only turn it on when i want to hear what it sounds like.

EQ8/Multiband Compressor/Limiter

I consciously try not to do any sum processing if I can get away without it, so there's only monitoring/analysis going on my master bus usually. I try to fix issues in the tracks, and sometimes I have a bus for certain elements that I want to treat together, but usually I'm just very very careful when I'm choosing sounds and mixing, and I try to have really clean premasters. My releases were then mastered by an engineer. For stuff I just put up on soundcloud I do a lazy limiting/maximizing pass that's literally just me in a wave editor looking at where the busiest portion of my mix sits and then dialing that into the limiter.