https://mastering.to/assets/AudioMasteringSoftwarePage-DsRbVh-w.js

1import{u as F,j as e,D as E,A as z,E as L,a as P}from"./index-DGKNtf3q.js";import{L as g,b}from"./vendor-Djr1IunZ.js";import{P as I}from"./platforms-DUbC6pLN.js";const n="#00c8a0",W="#00d4ff",C="#30d158",k="#c084fc",A="#ff9f0a",j="#ff5555",f="#0a0c14",h="#1a1d28",a="'JetBrains Mono', monospace",m="'Space Grotesk', sans-serif",B=i=>{const s=Math.floor(i/60),t=Math.floor(i%60);return`${s}:${t.toString().padStart(2,"0")}`};function q(){return b.useEffect(()=>{document.title="Audio Mastering Software: iZotope Ozone, FabFilter, Weiss & More | mastering.to";const i=(l,p,y=!1)=>{const T=y?`meta[property="${l}"]`:`meta[name="${l}"]`;let u=document.querySelector(T);u||(u=document.createElement("meta"),y?u.setAttribute("property",l):u.setAttribute("name",l),document.head.appendChild(u)),u.setAttribute("content",p)};i("description","An authoritative guide to audio mastering software — iZotope Ozone, FabFilter Pro-L 2, Pro-Q 3, Pro-MB, Newfangled Elevate, StandardCLIP, Flatline, KClip 3, SSL G-Bus Comp, Weiss DS1-MK3, Weiss EQ1, Oxford Inflator, and Oxford Limiter. How each tool works, where it fits in the chain, and what it's genuinely designed to do."),i("og:title","Audio Mastering Software: The Complete Guide | mastering.to",!0),i("og:description","Ozone, Pro-L 2, Pro-Q 3, Elevate, Weiss, Oxford, SSL — every major mastering plugin covered. Signal chain positioning, honest assessments, and what each tool is actually designed for.",!0),i("og:type","article",!0),i("og:url","https://mastering.to/audio-mastering-software",!0),i("og:image","https://mastering.to/hero-mastering-software.jpg",!0),i("og:image:width","1800",!0),i("og:image:height","1200",!0),i("og:image:alt","Professional mastering hardware — LAAL analog limiter and Maselec MLA-2",!0),i("twitter:card","summary_large_image"),i("twitter:title","Audio Mastering Software: The Complete Guide | mastering.to"),i("twitter:description","Every major mastering plugin — honestly assessed. Ozone, Pro-L 2, Weiss, Oxford Inflator, and more."),i("twitter:image","https://mastering.to/hero-mastering-software.jpg");let s=document.querySelector('link[rel="canonical"]');s||(s=document.createElement("link"),s.setAttribute("rel","canonical"),document.head.appendChild(s)),s.setAttribute("href","https://mastering.to/audio-mastering-software");const t={"@context":"https://schema.org","@type":"FAQPage",mainEntity:[{"@type":"Question",name:"What is the best audio mastering software?",acceptedAnswer:{"@type":"Answer",text:"There is no single 'best' mastering software — the right tool depends on your workflow, genre, and what role in the signal chain you need filled. iZotope Ozone is the most widely used all-in-one mastering suite and is used by professionals at Sterling Sound. FabFilter Pro-L 2 is considered the gold standard mastering limiter. FabFilter Pro-Q 3 is the standard for mastering EQ. For engineers who want specialist hardware emulations, the Weiss DS1-MK3 and Weiss EQ1 are reference-quality options. The tool matters far less than the ears and experience behind it."}},{"@type":"Question",name:"What is iZotope Ozone used for?",acceptedAnswer:{"@type":"Answer",text:"iZotope Ozone is a full mastering suite covering every stage of a mastering signal chain: EQ, multiband dynamics, imager, limiter, spectral shaping, and more. It's the most widely used mastering plugin in the world and is used by professional mastering engineers including Chris Gehringer at Sterling Sound, who used Ozone to master 'Houdini' by Dua Lipa. Ozone's AI-assisted Master Assistant can provide a starting point for engineers at any level."}},{"@type":"Question",name:"What is the difference between FabFilter Pro-L 2 and Newfangled Elevate?",acceptedAnswer:{"@type":"Answer",text:"FabFilter Pro-L 2 is a single-band mastering limiter with multiple algorithm modes, designed for transparent limiting across any genre. Newfangled Elevate is a multiband adaptive limiter — it uses 26 frequency-adaptive bands that independently limit different frequency ranges, which can achieve higher loudness levels with less audible distortion than single-band limiting. Pro-L 2 is often the first choice for its simplicity and transparency; Elevate is particularly useful for dense electronic or hip-hop material where a single-band limiter would pump or distort."}},{"@type":"Question",name:"What does a clipper do in mastering?",acceptedA

1nswer:{"@type":"Answer",text:"A clipper in the mastering chain is used before the limiter to shave transient peaks. Hard and soft clippers (StandardCLIP, Flatline, KClip 3) remove the loudest transient spikes from the signal, which reduces the amount of work the final limiter has to do. This results in a louder master with less limiting distortion — the limiter isn't being asked to catch as many high peaks, so it sounds more transparent. Clippers must be used carefully: too much clipping adds obvious distortion to transient material."}},{"@type":"Question",name:"What is the Oxford Inflator?",acceptedAnswer:{"@type":"Answer",text:"The Oxford Inflator (Sonnox) is a harmonic enhancement and psychoacoustic loudness processor. Unlike a limiter or clipper, it increases perceived loudness and density without significantly raising peak levels — through a combination of subtle saturation and harmonic manipulation that exploits how the ear perceives loudness. It's often used before the final limiter to add presence and apparent energy to a master without making the limiter work harder."}},{"@type":"Question",name:"Is the Weiss DS1-MK3 plugin worth it?",acceptedAnswer:{"@type":"Answer",text:"The Weiss DS1-MK3 plugin (developed by Weiss and Softube) is considered one of the most faithful hardware emulations in mastering — a plugin version of one of the most respected hardware dynamics processors ever made. Its compression character is extraordinarily clean, with mid-side processing and a high-quality de-esser built in. It's expensive relative to other plugins, but for engineers who want reference-quality hardware dynamics in a plugin context, it's genuinely exceptional."}},{"@type":"Question",name:"Where does the SSL G-Series Bus Compressor fit in mastering?",acceptedAnswer:{"@type":"Answer",text:"The SSL G-Series Bus Compressor emulation fits in the compression/glue stage of a mastering chain — typically after EQ and before saturation or clipping stages. It's known for its ability to add cohesion and glue to a stereo mix without drawing attention to itself, with a characteristic 'pump' at faster attack settings that can add rhythmic energy to certain genres. It's not designed for precise surgical compression — its fixed-ratio options and specific character make it best used for glue and subtle dynamic shaping."}},{"@type":"Question",name:"Do I need dedicated mastering software to master my music?",acceptedAnswer:{"@type":"Answer",text:"No. You can master using any combination of plugins that produce the results you're listening for — including stock DAW plugins. The tools don't determine the quality of the master; the ears, reference experience, and monitoring environment behind them do. That said, tools like iZotope Ozone were designed specifically for mastering workflows and include relevant metering, true peak limiting, and platform-specific guidance that can be genuinely helpful for engineers at any level."}}]},o={"@context":"https://schema.org","@type":"BreadcrumbList",itemListElement:[{"@type":"ListItem",position:1,name:"mastering.to",item:"https://mastering.to"},{"@type":"ListItem",position:2,name:"Audio Mastering Software",item:"https://mastering.to/audio-mastering-software"}]},r={"@context":"https://schema.org","@type":"Article",headline:"Audio Mastering Software: The Complete Guide",description:"An authoritative guide to every major mastering plugin — iZotope Ozone, FabFilter, Weiss, Sonnox Oxford, SSL, Newfangled, and more.",url:"https://mastering.to/audio-mastering-software",publisher:{"@type":"Organization",name:"mastering.to",url:"https://mastering.to"},about:[{"@type":"Thing",name:"Audio mastering software"},{"@type":"Thing",name:"iZotope Ozone"},{"@type":"Thing",name:"FabFilter"},{"@type":"Thing",name:"Mastering plugins"}]},c="ams-schema";let d=document.getElementById(c);return d||(d=document.createElement("script"),d.id=c,d.type="application/ld+json",document.head.appendChild(d)),d.textContent=JSON.stringify([t,o,r]),()=>{document.title="mastering.to — Free Audio Analyzer | LUFS Checker";const l=document.querySelector('meta[name="description"]');l&&l.setAttribute("content","Free browser-based audio mastering quality control tool. Analyze loudne

1ss (LUFS), true peak, dynamics, stereo width, spectrum, and get platform-specific assessments for Spotify, Apple Music, YouTube, vinyl, and 35+ formats. Your audio never leaves your browser.");const p=document.getElementById(c);p&&p.remove();const y=document.querySelector('link[rel="canonical"]');y&&y.remove()}},[]),null}function O(){return e.jsxs("nav",{"aria-label":"breadcrumb",style:{display:"flex",alignItems:"center",gap:6,fontFamily:a,fontSize:10,color:"#333348",marginBottom:24,letterSpacing:"0.06em"},children:[e.jsx(g,{to:"/",style:{color:"#9aa0ad",textDecoration:"none"},onMouseEnter:i=>i.target.style.color=n,onMouseLeave:i=>i.target.style.color="#9aa0ad",children:"mastering.to"}),e.jsx("span",{style:{color:"#2a2d38"},children:"›"}),e.jsx("span",{style:{color:"#888898"},children:"audio mastering software"})]})}function x({eyebrow:i,heading:s,subhead:t,children:o,id:r}){return e.jsxs("section",{id:r,style:{marginBottom:56,paddingTop:16},children:[e.jsxs("div",{style:{marginBottom:24},children:[i&&e.jsx("div",{style:{fontSize:9,textTransform:"uppercase",letterSpacing:"0.18em",color:`${n}55`,fontFamily:a,marginBottom:10},children:i}),e.jsx("h2",{style:{fontFamily:m,fontSize:28,fontWeight:700,color:"#e8e8f0",lineHeight:1.2,margin:"0 0 10px"},children:s}),t&&e.jsx("p",{style:{fontSize:15,color:"#9aa0ad",lineHeight:1.65,margin:0,maxWidth:640},children:t})]}),o]})}function v({eyebrow:i,heading:s,desc:t,children:o}){return e.jsxs("div",{style:{background:f,border:`1px solid ${h}`,borderRadius:10,padding:"28px 24px",marginBottom:40},children:[e.jsxs("div",{style:{marginBottom:20},children:[e.jsx("div",{style:{fontSize:9,textTransform:"uppercase",letterSpacing:"0.15em",color:"#9aa0ad",fontFamily:a,marginBottom:8},children:i}),e.jsx("h3",{style:{fontFamily:m,fontSize:22,fontWeight:700,color:"#e8e8f0",margin:"0 0 8px",lineHeight:1.2},children:s}),t&&e.jsx("p",{style:{fontSize:13,color:"#8888a0",lineHeight:1.6,maxWidth:620,margin:0},children:t})]}),o]})}const S=[{id:"eq",label:"EQ",icon:"⏃",color:n,headline:"Equalisation — tonal correction and sweetening",position:"First in chain (typically)",purpose:"EQ is usually the first active processor in a mastering chain. At this stage the engineer listens for tonal imbalances in the mix — an overly bright top end, a congested low-mid, a thin or boomy low end — and makes targeted adjustments. Mastering EQ adjustments are generally subtle: fractions of a dB over broad shelves or moderate Q values. Surgical narrow cuts are rare and usually a sign something was wrong in the mix.",approach:"Many engineers split EQ into two stages: a corrective EQ early in the chain (addressing tonal problems) and a sweetening EQ later (adding air, warmth, or presence). The order relative to compression matters — EQ before compression changes what the compressor responds to; EQ after compression shapes the final tonal character after dynamic processing.",tools:["FabFilter Pro-Q 3","Weiss EQ1","iZotope Ozone (EQ module)"],tip:"Linear phase mode on Pro-Q 3 is valuable for broad mastering moves — it introduces no phase distortion that could affect stereo imaging on complex material."},{id:"dynamics",label:"Dynamics",icon:"〰",color:W,headline:"Compression & multiband — glue, density, and frequency-specific control",position:"After EQ",purpose:"Dynamics processing in mastering ranges from subtle glue compression — a few dB of gain reduction at a slow attack/release that makes a mix feel more cohesive — to more aggressive multiband processing that controls frequency-specific dynamics. Mastering compression is generally light: many engineers aim for 1–3 dB of gain reduction at most, with the goal of making the master feel more consistent without audibly compressing.",approach:"The SSL G-Bus Comp is used for its characteristic glue and musical pump at faster attack settings. The Weiss DS1-MK3 is used for transparent, reference-quality compression with mid-side capability. FabFilter Pro-MB occupies the multiband/dynamic EQ role — taming a frequency range that behaves dynamically inconsistently, or de-essing broad sibilance at the mastering stage.",tools:["SSL G-Series Bus Compressor","Weiss DS1-MK3","FabFilter Pro-MB","iZotope Ozone (Dynamics module)"],tip:"The SSL Bus Comp's 'all buttons in' mode (4:1 ratio, fast attack, auto release) is one of the most recognizable sounds in mastering — used carefully, it can add significant perceived energy without audible pumping."},{id:"enhancement",label:"Enhancement",icon:"✦",color:k,headline:"Saturation & harmonic enhancement — presence, density, perceived loudness",position:"After dynamics, before clipping",purpose:"Harmonic enhancement at the mastering stage adds subtle saturation, harmonic content, or psychoacoustic loudness that the limiter alone can't provide. The goal is to increase perceived de

1nsity and presence without raising peak levels — allowing the limiter to sit lighter while the master sounds fuller.",approach:"The Oxford Inflator is the most purpose-designed tool for this — it operates on a combination of harmonic generation and psychoacoustic exploitation to make audio feel louder and more present without the ceiling-management of a limiter. Tape and tube saturation emulations (including Ozone's Tape module) add gentle even-order harmonics that round transients and add warmth. This stage is often subtle — the ear tires quickly of heavy saturation, but a little goes a long way in perceived loudness.",tools:["Oxford Inflator (Sonnox)","iZotope Ozone (Tape / Exciter modules)"],tip:"The Oxford Inflator's 'Effect' control above 50% begins adding harmonic content above the ceiling — an unusual processing approach that can feel like 'more of everything' without clipping."},{id:"clipping",label:"Clipping",icon:"⌇",color:A,headline:"Pre-limiter clipping — transient management and loudness headroom",position:"Before the final limiter",purpose:"Clipping before the limiter is a technique used to shave the loudest transient peaks from the signal — reducing the ceiling height that the limiter needs to catch. Because limiters create more audible artifacts the harder they work, reducing peak energy before the limiter arrives allows the limiter to operate more transparently. The result is a louder master with less pumping and distortion artifacts.",approach:"Hard clippers (StandardCLIP) apply a precise ceiling — anything above is cut flat. Soft clippers (Flatline) apply a gentler curve with more saturation-like character at the clipping boundary. Multiband clippers (KClip 3) apply different clipping characters across frequency ranges — often using softer modes for low frequencies to preserve bass energy, and harder modes for transient-heavy high-mid content. All require careful use: too much clipping on complex material adds obvious harmonic distortion.",tools:["StandardCLIP","Flatline Clipper","KClip 3 (Kazrog)"],tip:"A good starting point: set the clipper ceiling to catch only the top 1–2 dB of peaks, and compare A/B against the unclipped signal. If you can hear the clipping on anything other than transient peaks, you've gone too far."},{id:"limiting",label:"Limiting",icon:"⬛",color:j,headline:"Final limiting — output ceiling and loudness delivery",position:"Last in chain",purpose:"The final limiter is always the last processor in a mastering chain. It catches any remaining peaks above the output ceiling, sets the true peak compliance level for the delivery format, and — in conjunction with the processing before it — determines the integrated loudness of the finished master. Modern mastering limiters offer multiple algorithm modes for different material types.",approach:"FabFilter Pro-L 2 is the standard choice for its algorithm flexibility and exceptional transparency at high limiting amounts. Newfangled Elevate uses 26 frequency-adaptive bands to limit more intelligently than a single-band limiter — particularly useful for dense material where Pro-L 2 might audibly pump. The Oxford Limiter includes a Transient Recovery circuit that attempts to restore transient character after limiting. Ozone's Limiter module integrates with the rest of the Ozone chain and includes LUFS metering and true peak detection.",tools:["FabFilter Pro-L 2","Newfangled Elevate","Oxford Limiter (Sonnox)","iZotope Ozone (Limiter module)"],tip:"Set your output ceiling to −1.0 dBTP for streaming delivery. True peak — not sample peak — determines whether your master will introduce intersample distortion through AAC or Opus encoding."}];function Q(){const[i,s]=b.useState("eq"),t=S.find(o=>o.id===i);return e.jsxs("div",{children:[e.jsx("div",{style:{overflowX:"auto",paddingBottom:4},children:e.jsxs("div",{style:{display:"flex",alignItems:"center",minWidth:560,marginBottom:24,gap:0},children:[e.jsx("div",{style:{display:"flex",flexDirection:"column",alignItems:"center",gap:4,flexShrink:0},children:e.jsx("div",{style:{width:36,height:36,borderRadius:"50%",background:"#1a1d28",border:"1px solid #333348",display:"flex",alignItems:"center",justifyContent:"center",fontFamily:a,fontSize:7,color:"#9aa0ad"},children:"IN"})}),S.map((o,r)=>

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1y Dua Lipa. The tool is not the craft — but this specific detail permanently settled the argument about whether Ozone is a professional tool.",format:"Plugin (VST3/AU/AAX) · Subscription or perpetual license",ideal:"Engineers who want a complete, integrated workflow in one plugin. Self-mastering artists. Engineers who want AI guidance as a starting point."},{id:"proq3",name:"FabFilter Pro-Q 3",short:"Pro-Q 3",category:"Mastering EQ",developer:"FabFilter",stage:"EQ",color:"#00d4ff",icon:"⏃",what:"The gold standard mastering EQ among engineers at all levels. An exceptionally designed parametric EQ with zero-latency and linear phase modes, per-band dynamic EQ functionality, spectrum analysis with collision detection, and a dedicated stereo/mid-side field display.",depth:"Pro-Q 3's linear phase mode is particularly valuable for broad mastering moves — it introduces no phase distortion that could affect stereo imaging on complex material, though it adds latency. The dynamic EQ mode — where each band only activates when signal exceeds a threshold — bridges the gap between static EQ and multiband compression, making it a versatile alternative to a dedicated multiband tool for frequency-specific dynamic control.",context:"The spectrum analyser that can display output from other Pro-Q 3 instances across your DAW is one of the most useful mastering features in any plugin — allowing precise A/B of tonal balance between your master and a reference track.",format:"Plugin (VST3/AU/AAX) · Perpetual license",ideal:"Any engineer doing mastering EQ. The dynamic EQ mode makes it a viable substitute for Pro-MB in less demanding scenarios."},{id:"prol2",name:"FabFilter Pro-L 2",short:"Pro-L 2",category:"Mastering Limiter",developer:"FabFilter",stage:"Limiting",color:j,icon:"⬛",what:"The industry-standard mastering limiter. Multiple algorithm modes — Transparent, Dynamic, Aggressive, Bus, Allround, Punchy, Safe — each optimized for different material types and different limiting amounts. True peak limiting, LUFS metering, ISP detection, and oversampling.",depth:"The algorithm modes are genuinely different, not marketing. 'Transparent' is exceptional for acoustic or orchestral material where maintaining transient integrity matters most. 'Dynamic' handles dense electronic and pop material that would pump audibly through a single fixed algorithm. 'Aggressive' is for material that needs to push hard. The ability to compare algorithms on your specific material before committing is one of Pro-L 2's most valuable workflow features.",context:"Pro-L 2's true peak limiting is calibrated to ISP (intersample peaks) — it will catch peaks that appear between digital samples and that standard sample-peak meters won't show. Essential for streaming delivery, where AAC and Opus encoding can amplify intersample peaks above 0 dBFS.",format:"Plugin (VST3/AU/AAX) · Perpetual license",ideal:"Any engineer doing final-stage limiting for streaming delivery. The true peak detection makes it technically correct for platform compliance."},{id:"promb",name:"FabFilter Pro-MB",short:"Pro-MB",category:"Multiband Dynamics",developer:"FabFilter",stage:"Dynamics",color:k,icon:"〰",what:"A multiband compressor that can operate in either traditional multiband compression mode or as a dynamic EQ — where each band is a frequency-specific compressor that only activates above or below a threshold. Linear phase crossovers preserve stereo imaging across band transitions.",depth:"Pro-MB's dynamic EQ mode is particularly useful in mastering: rather than compressing a full frequency range statically, you can target a frequency range that only behaves problematically when it exceeds a certain level. A common use is low-end dynamic control — setting a low-frequency band that activates only when the bass becomes excessive, leaving the low end otherwise untouched. The linear phase option is essential for mastering use to avoid phase artifacts at crossover points.",context:"Pro-MB can serve as a de-esser at the mastering stage — setting a high-frequency dynamic band targeting the sibilance range. More surgical than a standard de-esser, but more appropriate for the mastering context where isolating individual elements isn't possible.",format:"Plugin (VST3/AU/AAX) · Perpetual license",ideal:"Engineers who need frequency-specific dynamics control. A good alternative to a dedicated de-esser for sibilance management. Dynamic EQ workflow for engineers who prefer it to traditional multiband compression."},{id:"elevate",name:"Newfangled Elevate",short:"Elevate",category:"Adaptive Limiter",developer:"Newfangled Audio / Eventide",stage:"Limiting",color:C,icon:"△",what:"A multiband adaptive limiter using 26 frequency bands that independently limit different parts of the spectrum. Rather than applying a single amplitude ceiling to the full signal, Elevate allows different frequency ranges to be limited by different amounts — resulting in significantly less audible distortion at high loudness levels compared to single-band limiting.",depth:"Elevate's band limiting works on the principle that a kick drum hit and a high-hat hit don't need to be limited by the same amount simultaneously — the kick might be hitting the ceiling while the high-hat is well below it. Traditional single-band limiting catches both equally; Elevate's multiband approach can let the high-hat pass freely while only catching the kick. The transient shaping module allows independent control of transient attack across bands, which can recover detail that limiting would otherwise remove.",context:"Elevate is particularly effective for dense electronic music, hip-hop, and heavily produced pop where conventional limiting at competitive loudne

1ss levels produces obvious pumping or distortion. The learning curve is steeper than Pro-L 2, but the results on appropriate material can be significantly cleaner at the same LUFS output.",format:"Plugin (VST3/AU/AAX) · Perpetual license",ideal:"Dense, competitive material where single-band limiting pumps or distorts at required loudness targets. Engineers who have already hit the wall on Pro-L 2."},{id:"standardclip",name:"StandardCLIP",short:"StandardCLIP",category:"Clipper",developer:"SIR Audio Tools",stage:"Clipping",color:A,icon:"⌇",what:"A clipper sometimes used in the pre-limiter position to shave transient peaks. StandardCLIP can function as a hard clipper or soft clipper. It's particularly useful pre-limiter. This reduces the amount of gain reduction the final limiter needs to apply, resulting in a louder master with less audible limiting artifacts.",depth:"Hard clipping adds harmonic distortion — this is unavoidable. The technique works because transient energy at the very top of a signal's peak often contains little musical information and significant limiter-triggering energy. By removing the tips of the tallest peaks before the limiter, the limiter receives a signal with a lower peak-to-average ratio, reducing its gain reduction and preserving more of the transient character of the mix. The key is using minimal clipping: 0.5–2 dB of peak reduction is typical. More than that, and the distortion becomes audible.",context:"StandardCLIP is an inexpensive but powerful tool from SIR Audio Tools. With hard clipping, soft clipping, and oversampling up to 256x, it's a powerful tool for the mix or master buss.",format:"Plugin (VST3/AU/AAX) · $25",ideal:"Engineers familiar with clipping as a pre-limiting technique. Transparent pre-limiter peak control. Anyone wanting to reduce limiter gain reduction without adding obvious saturation character."},{id:"flatline",name:"Flatline Clipper",short:"Flatline",category:"Clipper",developer:"SubMission Audio",stage:"Clipping",color:"#ffaa44",icon:"⌇",what:"A clipper that allows for everything between hard clipping and soft saturation — applying a progressively gentler curve as signals approach and exceed the ceiling, rather than the sharp flat cut of a hard clipper. This makes Flatline more forgiving at higher amounts while adding a subtle saturation character at the clipping boundary.",depth:"The soft knee of Flatline's clipping curve means it begins gently rounding peaks before they fully clip, producing less obvious harmonic distortion than hard clipping at equivalent amounts.",context:"Flatline's character varies from tape saturation to hard clipping — appropriate for material where you want to soften transients and add subtle density as well as precisely remove the tops of peaks.",format:"Plugin (VST3/AU/AAX) · Commercial",ideal:"Pre-limiter transient softening with saturation character. Material where a slightly warmer, more saturated clipping character is appropriate."},{id:"kclip",name:"KClip 3",short:"KClip 3",category:"Multiband Clipper",developer:"Kazrog",stage:"Clipping",color:"#ff7744",icon:"⌇",what:"A multiband clipper offering multiple clipping algorithm options — hard, soft, tube, tape — with a 3-band multiband mode that allows different clipping characters across different frequency ranges. This frequency-specific approach enables precise control of how different parts of the spectrum are handled at the clipping stage.",depth:"KClip 3's multiband mode is its most powerful and differentiated feature. Low frequencies can be clipped with a softer, more forgiving algorithm to preserve bass warmth; transient-heavy upper-mid content can be clipped harder without the audible distortion that hard-clipping bass frequencies would produce. This frequency-selective approach addresses the main limitation of full-band clipping: bass harmonics are more audible than high-frequency clipping artifacts, so being able to apply different intensities across bands significantly extends how far you can push clipping without obvious artifacts.",context:"KClip 3 is more complex to set up than StandardCLIP or Flatline — its power requires engagement with its options. For engineers who have explored basic clipping and want more control over the frequency-specific character, it's a meaningful step up.",format:"Plugin (VST3/AU/AAX) · Commercial",ideal:"Engineers who want frequency-specific clipping control. Dense material where full-band hard clipping at useful amounts produces bass distortion. Anyone who has outgrown single-band clipping."},{id:"ssl",name:"SSL G-Bus Compressor",short:"SSL G-Bus",category:"Glue Compressor",developer:"SSL / Waves / UAD",stage:"Dynamics / Glue",color:"#60a5fa",icon:"⊡",what:"The plugin emulation of the SSL 4000 G-Series stereo bus compressor — one of the most recognized compressor sounds in recorded music history. Known for its ability to add cohesion and 'glue' to a stereo mix without drawing attention to itself. Fixed ratio options rather than fully variable controls.",depth:"The SSL Bus Comp has a character that's difficult to quantify but immediately recognizable: a way of making elements within a stereo mix feel like they belong together, with a subtle forwardness and energy in faster attack settings. The classic 'all-buttons-in' mode — 4:1 ratio, 30ms attack, auto release — is one of the most used settings in mastering and mixing history. At just 1–3 dB of gain reduction, it can add a sense of cohesion and presence that's hard to achieve with transparent compression. The Waves emulation is the most widely available version; the UAD version is generally regarded as marginally more faithful to the hardware.",context:"The SSL Bus Comp is not a precision tool — it's a character tool. Its fixed attack options and specific release curves are what give it its sound. Engineers who want transparency should look elsewhere; engineers who want the specific glue and energy that decades of hit records have used it for will understand immediately.",format:"Plugin (VST3/AU/AAX) · Waves, UAD, and other emulations available",ideal:"Adding cohesion and glue at the mastering stage. Material that sounds slightly disconnected or uncentred. Engineers who want the characteristic 'SSL sound' on their master bus."},{id:"weiss-ds1",name:"Weiss DS1-MK3",short:"Weiss DS1",category:"Mastering Compressor",developer:"Weiss / Softube",stage:"Dynamics / De-essing",color:"#a0c4ff",icon:"⊟",what:"A 1:1 plugin version of the legendary Swiss-made Weiss DS1-MK3 hardware mastering dynamics processor — one of the most respected pieces of hardware in professional mastering studios worldwide. Developed in close collaboration between Weiss Engineering and Softube, it faithfully captures the hardware's clean compression character, mid-side processing capability, and high-quality de-essing.",depth:"The DS1-MK3 hardware is found in mastering studios at the highest level — its compression character is extraordinarily clean and musical, adding gain reduction without the coloration or pumping of more character-driven compressors. The plugin's mid-side capability means you can apply different c

1ompression to the centre and sides of the stereo field — a particularly useful mastering technique for controlling stereo width dynamically. The integrated de-esser is more surgical and less coloured than most dedicated de-essers.",context:"At a higher price point than most plugin options, the Weiss DS1-MK3 is positioned at engineers who want reference-quality hardware mastering dynamics in software — not a starting tool, but a destination tool for engineers who have outgrown generic alternatives.",format:"Plugin (VST3/AU/AAX) · Premium pricing",ideal:"Engineers who want hardware-grade mastering compression in a plugin. Mid-side dynamics processing. High-quality de-essing at the mastering stage without obvious character."},{id:"weiss-eq1",name:"Weiss EQ1",short:"Weiss EQ1",category:"Mastering EQ",developer:"Weiss / Softube",stage:"EQ",color:"#b8d4ff",icon:"⏃",what:"The plugin version of the Weiss EQ1 hardware mastering equalizer — a parametric EQ designed specifically for mastering, known for its extraordinarily musical and transparent character. Like the DS1-MK3 plugin, developed in close collaboration between Weiss Engineering and Softube.",depth:"The Weiss EQ1 has a character often described as 'effortless' — adjustments that sound immediate and right without the over-correctness of some surgical digital EQs. Its mid-side processing mode is directly equivalent to the hardware, allowing independent EQ of the centre and side signals. The hardware Weiss EQ1 is found in many of the same studios as the DS1-MK3, and the plugin is designed to sit alongside it in a plugin mastering chain with equivalent transparency.",context:"Where Pro-Q 3 excels at precision and surgical control, the Weiss EQ1 excels at musicality and finesse — the kind of gentle, broad adjustments that mastering EQ is designed for, with a character that many engineers find more pleasant to work with than analytically transparent EQs.",format:"Plugin (VST3/AU/AAX) · Premium pricing",ideal:"Subtle, musical mastering EQ adjustments. Engineers who want hardware EQ character and mid-side capability. A companion to the Weiss DS1-MK3 in a hardware-emulation-focused mastering chain."},{id:"inflator",name:"Oxford Inflator",short:"Inflator",category:"Harmonic Enhancer",developer:"Sonnox",stage:"Enhancement",color:"#d084ff",icon:"✦",what:"One of the most unique processors in mastering — the Oxford Inflator increases perceived loudness and density without raising peak levels, through a combination of harmonic enhancement and subtle saturation that exploits how the ear perceives loudness. The result is a master that sounds louder without the limiter working harder.",depth:"The Inflator's processing is based on a psychoacoustic principle: human loudness perception is influenced by harmonic content and spectral distribution, not just amplitude. By adding specific harmonic relationships to the signal, the Inflator makes audio feel denser and more present at the same peak level. The 'Effect' parameter above 50% introduces processing above the signal ceiling — an unusual approach that can produce a sense of 'more than the signal' without clipping. At moderate settings, it adds presence and density that's particularly noticeable on material that feels thin or lacks fullness.",context:"The Inflator is often used before the final limiter — adding perceived loudness before the amplitude ceiling, so the limiter's job is reduced. It's not a replacement for EQ, dynamics, or limiting, but an enhancement layer that can make a master feel more complete.",format:"Plugin (VST3/AU/AAX) · Sonnox commercial",ideal:"Adding perceived loudness and density without increasing peak levels. Material that feels thin or lacks presence after standard mastering. As a pre-limiter enhancement stage."},{id:"oxford-lim",name:"Oxford Limiter",short:"Oxford Limiter",category:"Limiter",developer:"Sonnox",stage:"Limiting",color:"#e879a8",icon:"⬛",what:"A sophisticated mastering limiter with a built-in 'Enhance' circuit (similar to the Inflator's harmonic enhancement) and a unique 'Transient Recovery' feature that attempts to restore some of the transient character that limiting removes. A more musically engaged approach to limiting than most transparent limiters.",depth:"The Oxford Limiter's Transient Recovery is its most differentiated feature — a circuit that analyses the pre-limiting signal and attempts to restore transient character to the post-limiting output. The result can sound noticeably less 'limited' at the same loudne

1ss compared to limiters without this processing. The Enhance circuit integrates the Inflator's harmonic processing directly into the limiter stage — allowing enhancement and limiting to interact as part of a single stage. This integrated approach can produce a more cohesive result than placing an Inflator before a separate limiter.",context:"The Oxford Limiter is a more complex and characterful tool than Pro-L 2 — it's not a 'set the ceiling and move on' tool, but one that rewards engagement with its parameters. Engineers who prioritize transparency at output will likely prefer Pro-L 2; engineers who want a limiter that contributes positively to the sound beyond gain reduction will find the Oxford Limiter compelling.",format:"Plugin (VST3/AU/AAX) · Sonnox commercial",ideal:"Engineers who want their limiter to sound less like limiting. Material that benefits from transient recovery at high limiting amounts. When you want the Inflator's enhancement integrated into the limiting stage."}];function M(){const[i,s]=b.useState("ozone"),t=w.find(r=>r.id===i),o=[{label:"Suite",ids:["ozone"]},{label:"EQ",ids:["proq3","weiss-eq1"]},{label:"Dynamics",ids:["promb","ssl","weiss-ds1"]},{label:"Enhancement",ids:["inflator"]},{label:"Clipping",ids:["standardclip","flatline","kclip"]},{label:"Limiting",ids:["prol2","elevate","oxford-lim"]}];return e.jsxs("div",{children:[e.jsx("div",{style:{display:"flex",flexDirection:"column",gap:8,marginBottom:20},children:o.map(r=>e.jsxs("div",{style:{display:"flex",alignItems:"center",gap:8,flexWrap:"wrap"},children:[e.jsx("div",{style:{fontFamily:a,fontSize:7,color:"#6a6f7c",textTransform:"uppercase",letterSpacing:"0.1em",width:72,flexShrink:0},children:r.label}),r.ids.map(c=>{const d=w.find(p=>p.id===c),l=i===c;return e.jsxs("button",{onClick:()=>s(c),style:{background:l?`${d.color}18`:"transparent",border:`1px solid ${l?d.color:h}`,color:l?d.color:"#9aa0ad",padding:"5px 12px",borderRadius:5,fontSize:10,fontFamily:a,cursor:"pointer",transition:"all 0.15s",fontWeight:l?700:400},children:[d.icon," ",d.short]},c)})]},r.label))}),t&&e.jsxs("div",{style:{background:"#07080f",border:`1px solid ${t.color}33`,borderLeft:`3px solid ${t.color}`,borderRadius:8,padding:"22px 24px"},children:[e.jsx("div",{style:{display:"flex",alignItems:"flex-start",gap:14,marginBottom:18,flexWrap:"wrap"},children:e.jsxs("div",{style:{flex:1},children:[e.jsx("div",{style:{fontFamily:m,fontSize:20,fontWeight:700,color:"#e8e8f0",marginBottom:8},children:t.name}),e.jsx("div",{style:{display:"flex",gap:8,flexWrap:"wrap"},children:[{label:t.developer,color:t.color},{label:t.category,color:"#9aa0ad"},{label:`Chain: ${t.stage}`,color:"#6a6f7c"}].map(r=>e.jsx("div",{style:{fontFamily:a,fontSize:9,color:r.color===t.color?t.color:r.color,background:r.color===t.color?`${t.color}12`:"#0a0c14",border:`1px solid ${r.color===t.color?`${t.color}22`:h}`,padding:"2px 8px",borderRadius:4},children:r.label},r.label))})]})}),e.jsxs("div",{style:{display:"grid",gridTemplateColumns:"1fr 1fr",gap:18,marginBottom:18},className:"ams-tool-grid",children:[e.jsxs("div",{children:[e.jsx("div",{style:{fontFamily:a,fontSize:8,color:"#9aa0ad",textTransform:"uppercase",letterSpacing:"0.1em",marginBottom:8},children:"What it is"}),e.jsx("p",{style:{fontSize:13,color:"#8888a0",lineHeight:1.8,margin:0},children:t.what})]}),e.jsxs("div",{children:[e.jsx("div",{style:{fontFamily:a,fontSize:8,color:"#9aa0ad",textTransform:"uppercase",letterSpacing:"0.1em",marginBottom:8},children:"How it works in depth"}),e.jsx("p",{style:{fontSize:13,color:"#8888a0",lineHeight:1.8,margin:0},children:t.depth})]})]}),e.jsxs("div",{style:{display:"grid",gridTemplateColumns:"1fr 1fr",gap:14},className:"ams-tool-meta-grid",children:[e.jsxs("div",{style:{background:f,border:`1px solid ${h}`,borderRadius:6,padding:"10px 14px"},children:[e.jsx("div",{style:{fontFamily:a,fontSize:7,color:"#9aa0ad",textTransform:"uppercase",letterSpacing:"0.1em",marginBottom:6},children:"Context & notable use"}),e.jsx("div",{style:{fontFamily:a,fontSize:10,color:"#888898",lineHeight:1.65},children:t.context})]}),e.jsxs("div",{style:{background:f,border:`1px solid ${h}`,borderRadius:6,padding:"10px 14px"},children:[e.jsx("div",{style:{fontFamily:a,fontSize:7,color:"#9aa0ad",textTransform:"uppercase",letterSpacing:"0.1em",marginBottom:6},children:"Ideal for"}

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The tool matters far less than the ears and experience behind it."},{q:"Do I need iZotope Ozone to master music?",a:"No. Ozone is widely used because it's capable and convenient — a complete mastering workflow in one plugin. But any combination of plugins that achieves the tonal, dynamic, and loudness decisions your material needs is legitimate mastering software. Mastering can be done with stock DAW plugins, hardware, or a combination of specialist tools. What Ozone provides is integration, metering, AI guidance, and a well-designed interface — not a capability unavailable elsewhere."},{q:"What is the difference between clipping and limiting in mastering?",a:"A clipper removes signal above a threshold by cutting it flat or applying a saturation curve — introducing harmonic distortion at the clipping point, but doing no time-based gain reduction. A limiter applies fast gain reduction to bring peaks below a ceiling, without introducing harmonic distortion but potentially affecting transient character and creating pumping artifacts at high amounts. In mastering, clippers are typically placed before the limiter to reduce peak energy, which allows the limiter to work less aggressively and sound more transparent."},{q:"Is FabFilter Pro-L 2 better than Newfangled Elevate?",a:"They're different tools for different scenarios. Pro-L 2 is a single-band limiter with multiple algorithm modes — flexible, transparent, and simple to use correctly. Elevate is a 26-band adaptive limiter that applies frequency-specific limiting — more complex, but capable of achieving higher loudness levels with less audible distortion on dense material. For most engineers, Pro-L 2 is the first choice; Elevate is for situations where Pro-L 2's single-band approach creates audible artifacts at the required loudness target."},{q:"What does the Oxford Inflator actually do?",a:"The Oxford Inflator increases perceived loudness and density through a combination of harmonic enhancement and subtle saturation — exploiting psychoacoustic loudness perception rather than amplitude. It makes audio sound denser and louder without raising peak levels, allowing the final limiter to sit lighter while the master feels fuller. It's used as an enhancement stage before the limiter, not as a replacement for limiting."},{q:"Should I use the SSL G-Bus Compressor in mastering?",a:"The SSL G-Bus Compressor is a character compressor, not a precision tool. It's appropriate for mastering when you want to add cohesion, glue, or the specific SSL pump character to a stereo mix — typically 1–3 dB of gain reduction. For transparent mastering compression, it's not the right choice. For adding the specific energy and cohesion that decades of hit records have used it for, it's entirely legitimate."},{q:"What true peak ceiling should I use for streaming?",a:"−1.0 dBTP is the standard recommendation for streaming delivery. True peak measures intersample peaks — the actual reconstructed amplitude of the signal including peaks that occur between digital samples. Streaming platforms encode your WAV to AAC or Opus, which can amplify intersample peaks above 0 dBFS and introduce distortion. Setting your limiter's output ceiling to −1.0 dBTP provides a safety margin against this. Use a limiter with true peak detection — FabFilter Pro-L 2, Ozone's Limiter, or the Oxford Limiter — to verify the TP ceiling."},{q:"How much do mastering plugins cost?",a:"Mastering plugins range can be very low cost (StandardCLIP from SIR Audio Tools is just $25 USD) to several hundred dollars for specialist tools. iZotope Ozone is available on subscription or as a one-time purchase around $300–500 for Advanced. FabFilter tools are typically $150–200 each. Sonnox Oxford plugins are in the same range. The Weiss DS1-MK3 and Weiss EQ1 are premium-priced — around $300–400 each. Bundles and regular sales significantly reduce the effective cost across most developers."}];return e.jsxs("div",{children:[e.jsxs("div",{style:{marginBottom:20},children:[e.jsx("div",{style:{fontSize:9,textTransform:"uppercase",letterSpacing:"0.18em",color:`${n}55`,fontFamily:a,marginBottom:10},children:"Common Questions"}),e.jsx("h2",{style:{fontFamily:m,fontSize:26,fontWeight:700,color:"#e8e8f0",lineHeight:1.2,margin:0},children:"Audio mastering software FAQ"})]}),e.jsx("div",{style:{display:"flex",flexDirection:"column",gap:2},children:t.map((o,r)=>

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9not handle any one thing as well as a specialist tool. Understanding where each plugin belongs (and what it's genuinely doing there) is more valuable than any ranking.","The tools on this page span the full mastering signal chain: equalisation, compression, harmonic enhancement, clipping, and limiting. Some, like iZotope Ozone, cover all stages in one interface. Others, like FabFilter Pro-L 2 or StandardCLIP, do one thing with exceptional precision. The honest assessment of any mastering tool asks two questions: what is it designed to do, and does it do that well? The third question — is it appropriate for your situation — depends on your material, your ears, and your workflow.",e.jsxs(e.Fragment,{children:["One note worth making at the outset: no mastering software produces a good master on material that doesn't need mastering. ",e.jsx(g,{to:"/what-is-audio-mastering",className:"ams-anchor",children:"Mastering is a discipline of subjective judgment"}),", not a processing recipe. The tools here are instruments; the craft is what you do with them. Before evaluating any of them, you can"," ",e.jsx(g,{to:"/",className:"ams-anchor",children:"analyse your own track with mastering.to"})," ","to see exactly where it stands before any mastering is applied."]})].map((d,l)=>e.jsx("p",{style:{fontSize:15,color:"#8888a0",lineHeight:1.85,margin:"0 0 20px",paddingLeft:16,borderLeft:l===0?`3px solid ${n}44`:"3px solid transparent"},children:d},l))}),e.jsx(v,{eyebrow:"Interactive signal chain",heading:"The mastering chain — five stages, thirteen tools",desc:"Every plugin in a mastering chain has a position and a purpose. Click any stage to understand what happens there and which of the tools on this page belong in it.",children:e.jsx(Q,{})}),e.jsx(x,{eyebrow:"What to evaluate",heading:"Criteria that actually matter when comparing mastering plugins",children:["Transparency is the most cited quality in mastering plugin marketing — and also the most misunderstood. A transparent tool is one that achieves its processing goal without introducing audible side effects. A transparent EQ makes the tonal adjustment you asked for without phase smearing, pre-ringing, or intermodulation artifacts. A transparent limiter catches peaks without pumping, distorting, or affecting the timing relationship between transients. Transparency is a virtue, but it's not the only one — some tools are valued precisely for their character, their specific sound, the way they do something to audio rather than just to peaks.","The second criterion that matters is workflow integration — how well a tool fits into the way you work. Ozone's integrated interface is genuinely valuable for engineers who want to see the whole chain in one view with shared metering. Pro-Q 3's ability to show another instance's spectrum in the same EQ display is genuinely useful for referencing. These aren't premium marketing features; they change how quickly you can make accurate decisions.","The third criterion is appropriate power for the task. A multiband adaptive limiter like Elevate has significantly more parameters to engage with than Pro-L 2 — that's not a disadvantage if you're limiting dense electronic music at competitive loudness targets, but it is if you're doing simple, transparent limiting for acoustic material. Match the tool's capabilities to what the material actually needs."].map((d,l)=>e.jsx("p",{style:{fontSize:15,color:"#8888a0",lineHeight:1.85,margin:"0 0 20px",paddingLeft:16,borderLeft:l===0?`3px solid ${n}44`:"3px solid transparent"},children:d},l))}),e.jsx(v,{eyebrow:"Interactive tool explorer",heading:"Comparing the best and most popular mastering plugins",desc:"Click any tool to read the full profile: what it is, how it works in depth, its context and notable uses, and what it's genuinely ideal for.",children:e.jsx(M,{})}),e.jsxs("section",{style:{marginBottom:56,background:f,border:`1px solid ${n}22`,borderRadius:10,padding:"28px 28px"},children:[e.jsx("div",{style:{fontSize:9,textTransform:"uppercase",letterSpacing:"0.18em",color:`${n}55`,fontFamily:a,marginBottom:10},children:"An honest conclusion"}),e.jsx("h2",{style:{fontFamily:m,fontSize:24,fontWeight:700,color:"#e8e8f0",margin:"0 0 16px"},children:"The tools don't determine the master"}),e.jsx("p",{style:{fontSize:14,color:"#8888a0",lineHeight:1.85,margin:"0 0 16px",maxWidth:680},children:"Chris Gehringer — one of the most celebrated mastering engineers working today — used iZotope Ozone to master 'Houdini' b

9y Dua Lipa at Sterling Sound. Ozone retails for under $500. The master was one of the most-streamed records of 2023. What Gehringer brought to it wasn't a superior signal chain; it was three decades of listening, a calibrated room, and the musical judgment to understand what the record needed."}),e.jsx("p",{style:{fontSize:14,color:"#8888a0",lineHeight:1.85,margin:"0 0 20px",maxWidth:680},children:"The tools on this page are all capable of producing professional results in the right hands. None of them — not the Weiss hardware emulations, not Elevate, not the Oxford Limiter — will produce a professional result in the wrong ones. Develop your ears first; the plugins are instruments, and instruments require skill."}),e.jsxs("div",{style:{display:"flex",gap:10,flexWrap:"wrap"},children:[e.jsx(g,{to:"/what-is-audio-mastering",style:{fontFamily:a,fontSize:10,color:n,textDecoration:"none",padding:"6px 14px",border:`1px solid ${n}33`,borderRadius:5},children:"What is audio mastering? →"}),e.jsx(g,{to:"/audio-mastering",style:{fontFamily:a,fontSize:10,color:n,textDecoration:"none",padding:"6px 14px",border:`1px solid ${n}33`,borderRadius:5},children:"Audio mastering guide →"}),e.jsx(g,{to:"/mastering-for-indie-artists",style:{fontFamily:a,fontSize:10,color:n,textDecoration:"none",padding:"6px 14px",border:`1px solid ${n}33`,borderRadius:5},children:"Guide for indie artists →"})]})]}),e.jsxs("section",{style:{marginBottom:56},children:[e.jsxs("div",{style:{fontSize:10,textTransform:"uppercase",letterSpacing:"0.15em",color:"#9aa0ad",fontFamily:a,marginBottom:14,display:"flex",alignItems:"center",gap:8},children:[e.jsx("div",{style:{width:12,height:1,background:`${n}66`}}),"Check your master — Free",e.jsx("div",{style:{flex:1,height:1,background:h}})]}),e.jsx("div",{style:{background:`${n}08`,border:`1px solid ${n}22`,borderRadius:8,padding:"16px 20px",marginBottom:20,fontFamily:a,fontSize:11,color:`${n}99`,lineHeight:1.6},children:"Drop any audio file to get integrated LUFS, true peak, LRA, dynamic range, stereo width, spectrum, and platform compliance checks for 35+ destinations — instantly, in your browser, with nothing uploaded."}

9),!s&&!t&&e.jsx(E,{analyzer:i}),t&&e.jsx(z,{progress:o,fileName:r}),c&&e.jsx(L,{error:c}),s&&e.jsx(P,{analysis:s,fileName:r,onReset:i.reset,platforms:I,formatTime:B,precodedBuffers:i.precodedBuffers})]}),e.jsx("section",{style:{marginBottom:56},children:e.jsx(D,{})}),e.jsxs("div",{style:{borderTop:`1px solid ${h}`,paddingTop:32},children:[e.jsx("div",{style:{fontSize:9,textTransform:"uppercase",letterSpacing:"0.15em",color:"#333348",fontFamily:a,marginBottom:16},children:"Explore mastering.to"}),e.jsx("div",{style:{display:"flex",gap:10,flexWrap:"wrap"},children:[{to:"/audio-mastering",label:"Audio Mastering"},{to:"/what-is-audio-mastering",label:"What Is Audio Mastering"},{to:"/free-online-mastering",label:"Free Online Mastering"},{to:"/mastering-for-streaming-platforms",label:"Platform Specs"},{to:"/mastering-for-indie-artists",label:"Indie Artists"},{to:"/mastering-for-music-producers",label:"Music Producers"},{to:"/mastering-for-vinyl",label:"Mastering for Vinyl"},{to:"/mastering-in-logic-pro",label:"Logic Pro"},{to:"/mastering-in-ableton",label:"Ableton"},{to:"/premium",label:"Premium"}].map(({to:d,label:l})=>e.jsx(g,{to:d,style:{fontFamily:a,fontSize:10,color:"#6a6f7c",textDecoration:"none",padding:"5px 12px",border:`1px solid ${h}`,borderRadius:5,transition:"border-color 0.15s, color 0.15s"},onMouseEnter:p=>{p.currentTarget.style.color=n,p.currentTarget.style.borderColor=`${n}44`},onMouseLeave:p=>{p.currentTarget.style.color="#6a6f7c",p.currentTarget.style.borderColor=h},children:l},d))})]})]})]})}export{K as default};