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Microphone Preamps are necessary to  give you the perfect audio. Here’s our top picks to give you exactly that.
The TG Microphone Cassette is a fully-featured, powerful channel strip with a big, bright, classic analogue sound that offers broad, musical tone sculpting as opposed to surgical precision, while the quirky compressor/limiter. With the B12A MkII, you don’t get a lot of controls, dials and knobs but this unit is all about the sound – and in that it delivers.
Read more about this here: https://www.musictech.net/2018/06/6-of-the-best-microphone-preamps/

Reverb is that shimmering effect you hear on vocals, that immense sound in a church or the gentle wash of atmosphere on your synth pads. It is the most overused effect out there but when used correctly, can make your sound beautiful.
Used well, then, a touch of reverb here or there can add a completely new dimension to your mix. Early reverbs simulated the effect mechanically using large plates. The larger the plate, the longer the reverb time. Reverb chambers  is simply capturing the sound of a room using speakers playing the music and microphones picking up the results of the music played in the room with all of its additional reverberation.
Read more here: https://www.musictech.net/2018/07/essential-guide-to-reverb/

Wavelab beat its longtime rival Sound Forge with 19% of the votes. Most probably because its versions for Mac and PC are pretty homogeneous in terms of functions, but also because its design was revamped recently. They also have features spectographic edition without the need of an external application.
Sound Forge racked up 18% of the votes, lost the top part probably due to Sony’s lack of making any further developments. Adobe’s s Audition is a safe bet when it comes to multitrack editing being the first tool to incorporate spectographic edition.
Read more here: https://en.audiofanzine.com/digital-audio-editor/editorial/articles/the-communitys-favorite-commercial-audio-editors.html

We all come to the point where we come across a sound or sounds that makes it difficult to blend the sound with the rest of your mix. It could be a bass part, a guitar part that sounds like the proverbial wasp-in-a-jam-jar or a synth pad that cuts through the mix too much. EQ-ing can help you eliminate these problems.
The EQ that comes with your DAW is often ideal for this sort of EQ-ing, as it will tend to be very accurate, having not been designed to emulate the vagaries and nuances of a fancy analogue EQ circuit. Open your EQ’s control panel and choose which band of the EQ to use based on where the problematic component of the sound is.
Read more about this here: https://www.musictech.net/2018/07/how-to-use-eq/