How to EQ Your Vocals in Your DAW
Equalizers (EQs) are one of the main tools for audio editors to remove harsh resonances and subtly boost and cut certain audio frequencies. While some instruments emit similar ranges of frequencies, the human voice has its particularities that you will want to get to know.
There are a variety of EQ techniques that you can use to polish your vocal lines. However, don’t get set in your ways—the emitted frequencies, strengths, and flaws of each vocalist are different. With this in mind, we’ll go over some of the best methods to improve your vocals with EQ.
Get the Foundation Right During Recording
No matter how much of an EQ wizard you may be, an average-sounding vocal recording will not transform into ear candy via quality EQ edits. This means that a strong focus should be dedicated to improving the quality of your recordings.
To do so, both your recording environment and recording equipment must be optimized. Look into how you canimprove your recording spaces to produce high-quality vocals. Also, try and use a microphone that suits the vocalist and mood of your audio project. This will provide the best foundation to then apply some mixing and EQ magic.
Use Filter Sweeps on Your Vocals
As we go over the quirks and strengths of vocals across the frequency spectrum, one of the best tools you can use to identify pleasant or harsh frequencies is filter sweeps.
They are simple to set up:
This will help you pinpoint the good and the bad of specific frequencies; apply cuts or boosts accordingly. If you’re unsure or want a refresher on the frequency spectrum and EQ parameters, learnhow to use all EQ filter types and settings.
Utilize Subtractive EQ
As many industry professionals uphold, the sustenance of EQ edits doesn’t come from boosting frequencies, but from cutting.
Low- and High-Cut Filters
A general practice, that applies to vocals too, is to go through each track and remove the unnecessary low and high frequencies.
The best way to do this on your vocals is to use a low-cut (high-pass) filter and move its central frequency to around 90 Hz. Slowly move it until you hear it affect the tone of your vocals, and then back off a little before that point.
Usually, the cutoff frequency will be around 70–100 Hz, but remember to let your ears be the judge. This will remove rumbling or equipment sounds that your mic may pick up, and will clear up some space for the low-frequency instruments in your mix.
Similarly, a high-cut (low-pass) filter can help you remove unnecessary piercing sounds. Try a cutoff frequency of around 18–19 kHz.
A general rule of thumb is to avoid cutting or boosting by over 5–6 dB. Doing so can reduce the overall sonic quality of your audio.
Remove Mud From Your Vocals
Mud and muddiness in a mix refers to a lack of clarity in the low end of the frequency spectrum, around 200-500 Hz.
The core, fundamental frequencies of vocals lie between 100 and 400 Hz. The fundamental frequencies of other instruments, like guitars, also lie in a similar range between 250–350 Hz. The result is a build-up in this range of frequencies that causes a lack of definition and mud.
For full-sounding vocals, try cutting around 250–500 Hz by 2–5 dB with a wide Q, and play it by ear with your adjustments. This should be avoided on thin-sounding vocals as cuts will only make them thinner. In such cases, apply cuts to other instruments that operate in the mentioned frequency range. This will carve out more space for your vocals.
Remember to listen to your vocals in the context of your mix (or with at least a few other key and potentially clashing elements). Otherwise, you may not even hear mud and frequency masking issues.
As with high- and low-cut filters, a general rule of thumb is to avoid cutting or boosting by over 5–6 dB.
Utilize Additive and Corrective EQ
There are no universally applicable additive (boosting) EQ edits as it very much depends on your vocal lines. Despite this, we’ll go over some problematic frequency areas for vocals, so you’re better equipped to decide whether to cut, boost, or leave them untouched.
Nasal Resonances
Specific ranges of frequencies can often be associated with the unique strengths and flaws of each singer. For example, nasal cavity resonance can be found between 700–1600 Hz in most vocal parts.
Use a narrow filter sweep to identify where exactly you hear a nasal sound, and apply a cut if needed.
Hollow or Throaty Vocals
Vocals that are weak in the frequency range between 400-900 Hz often sound hollow and unnatural, or overly throaty if they’re too strong in this range.
Apply subtle boosts or cuts respectively to remedy these issues. Boosts in this area, when needed, can also add a touch of warmth.
Add Presence or Aggression
Subtle boosts to the range of frequencies between 2–5 kHz can be a great way to add presence and clarity to your vocals. This can remedy any flat and indistinct vocals.
However, too much presence and your vocals will end up sounding harsh and aggressive. This makes small boosts or cuts between 1–2 dB with a wide Q the best option for this area. You may also want to cut the frequency of other instruments in this range to make further space for your vocals.
Brightness and Sibilance
Sibilance is used to describe the “s” and “t” sounds produced when certain words are spoken or sung. These sounds lead to undesirable build-up between 5–8 kHz. Boosts in this range can increase the brightness of your vocals but risk overloading the sibilance.
To get around this problem, you will want to use a de-esser plugin which, in essence, is a compressor sidechained to an equalizer. If sidechained effects interest you, look intohow to use sidechain compression.
The de-esser lets you duck out these high frequencies only when they go above a certain level (the threshold). Set your de-esser frequency around 5 kHz and lower your threshold until the “s” and “t” sounds sound natural.
Add Brilliance or Air
Boosts between 8–12 kHz can add brilliance (or sparkle) to your vocals, and boosts between 12–20 kHz can add extra breathiness and air. Brilliance also has a brightening effect while added air can help infuse some more excitement.
you’re able to use a high-shelf filter around 14 kHz to add some of this breathy quality. As is often the case, too much gain in these areas can worsen the overall feel of your vocal.
Polish Your Vocals With the Right EQ Methods
After you’ve made a decent vocal recording, effective use of equalizers can bring the best out of your vocal performances. Use low- and high-cut filters to remove any unnecessary highs and lows. Then, use filter sweeps to identify problematic frequencies.
Determine whether you need to boost or cut certain frequency ranges to either add or take away from the tonal character of your vocals. Do so, and your vocals have every chance of going from good to great.
You’ll find multiple kinds of equalizers in audio editing software, and this guide will show you how to use each of them in the right scenarios.
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