How to clean up your vocal low-end?

Thicken vocals with inverse equalization? Inverse EQ is a process of matching the frequency response to another signal via an external side chain.
It can be great at indirectly thickening vocals and will make your vocal cut through a mix.

One way you can do this, for example, is by mixing in instrumental music full blast on one channel while recording yourself singing along (you’ll need headphones).
Delete any bands below 80Hz or above 15kHz that are not found within the instrumental song’s range.

There are a few methods for thickening vocal tracks with inverse equalization.

First, highlight all the bands and invert the gain of each band to achieve an amplified low-frequency effect but be sure you do this subtly because too much can leave your vocals sounding muddy or cause distortion over time.

You will also want to use linear phase mode so that there is no excessive phasing from multiple frequencies needed for thicken up effects.

What frequency is a vocal?

The fundamental frequencies of male vocals are usually between 100–300 Hz, while the fundamentals for female voices fall more around 200-400Hz. The human voice has been said to have an emotional range that can be up from 9 octaves and down from 1/2 step depending on how much breath support you use with your harmonics.

Equalizing vocals is time-consuming. You’ll need to consider the background vocals, and effects as well in order to get a nice balance of frequencies for all 4 channels on your vocal bus. This will be different from equalizing an individual voice since there are more elements that you’ll have to take into account such as stereo imaging which can sometimes make it difficult depending on what type of plugin or processing gear you use.

A lot of engineers want to have small control over the tone and balance of their vocals. For this, it is recommended that they use an equalizer with both sides being mid-side EQs. This way you can make adjustments on either side without affecting other frequencies in your song as much due to phase cancellation from mixing stereo signals together too close.

I recommend using one low pass filter for every piece or group, so there are no overlapping frequencies happening between similar tracks such as guitars and basses when recording multiple instruments simultaneously.

In order to achieve a professional voice, it’s important that you get air in your vocal. All you need is an EQ shelf filter at 12kHz and up with subtle amplification of this range until you’re happy. You’ll find some EQs go as high as 40 kHz but don’t worry about going too high because we can’t hear anything past 20 or 25 kHz anyway, so these will work well for us!

You’ll want to make sure you’re using a higher sampling rate for your session if you plan on amplifying frequencies above 25kHz. If, for example, the max frequency supported by your audio device is 44.1 kHz, and it’s trying to amplify an input of 25 KHz (which would be amplified as 22050 Hz), then any sounds that are created will have aliasing distortion because they’ve been sampled at too low of a rate – resulting in “buzzing” or other unwanted noise being heard instead.

De-essing is an often overlooked, but incredibly important aspect of the mixing process. Our ears are sensitive to 5kHz and above, where sibilance lies. Furthermore, in English at least -sibilant sounds- which include “S” or “Z” – especially when singing –are common and aggressive.

We could use a de-esser plugin that works by compressing a narrowband of sibilance-based frequencies, or we can make quick work in the EQ. If you have access to an EQ with dynamic mode – and noticed some harshness around vowel sounds like ‘s’, oi,’f’-‘v’- create your own dynamics range for those particular vowels. Narrowing down the bandwidth will give us more accurate results when it comes time to reduce hisses on consonants as well!

In the world of sound, vocal clarity is often found in very high frequencies. In this range (2kHz and above), a lot of what makes up your voice’s character can be heard clearly. So if you find that when singing over instrumentation it’s hard to balance out both sounds, try boosting 2khz using a bell filter with medium-to-relaxed Q value for better results!

The sound of an instrument can drastically change depending on the quality setting, so it’s important to experiment with different settings. A sharper Q will provide a more precise sound while using 1.414 is better for natural sounds since that creates about one octave of bandwidth for frequencies between 200Hz and 5000 Hz (pitches). Listen intently as you move the bell filter up and down the spectrum until you find just the right spot for your vocalist in a particular mix! Amplifying by 2dB should be enough but avoid any amplification over 4dB because that causes distortion which might not have been there before due to how compressed things are – we want clean mixes without unwanted artifacts ruining our music!

It’s often the low-mids of a vocal that make your vocals sound unintelligible. These frequencies have loud amplitudes, so they easily mask quieter higher frequency sounds right above them!In order to tailor a vocal mix, it is best practice to attenuate any frequencies that may be obscuring the vocals. To do this effectively, find out what frequency range you want to be filtered and use an EQ with bell filter settings in 500Hz increments around those areas until you’ve found one suitable for your needs. For example, 700hz will help clear nasal singing while 300 Hz can maintain power without being overpowering if someone sings lower than average tones