With any low or hi cut, you want to make sure you're either cutting or tossing a filter.

A filter is just cutting every thing off at a certain point, where a cut leaves some room for the lowest frequency range to breath. A combination of both could be used, or just one or the other.

Typically you have to know the range of the singer and how it relates to the key of the song.

But it's the range you're trying to fit the vocals in, that's what determines your filter/cut of high and low.

I don't use much vocals, but i apply this concept to any of my vocal esque synthesizers. and really eqing in general

I don't work much with vocals but I would never use a lowpass filter on them. D-essing and cutting out some harsh frequencies, yes, but lowpassing takes away the openness of the vocals.

Thanks guys. I'm taking a different approach in regards to EQing vocals. I'm so used to filtering the highs and lows out on most of my instruments but I've noticed it can really damage vocals if taken too far.

My vocals were actually sounding thin and lacked presence. I've noticed that when the 200-300hz region of a vocal is too loud it can really make it hard to get the vocal to sit within the mix. My first initial instinct was to filter the lows out but I took it too far which resulted in the thinness off the vocals.

I've switched to narrow EQ cuts and it's allowed me to attain more natural sounding results. Yet, I'm still having some issues dealing with sibilance and dynamics. The vocals sit good in one section but then in the next section they sound quiet even though it's at the same volume. Gonna rest on it and continue to grind it out until I can get them to sound correct.

The vocals sit good in one section but then in the next section they sound quiet even though it's at the same volume.

Nothing unusual about that: vocals (as with a lot of non-electronic signals/instruments) have a very wide dynamic range; frequency content depends on distance between the vocalist and the mic; etc etc

If you need to make different vocal clips louder, or automate the volume up and down in different sections of the mix, that's totally in the rules (as long as you don't overload the whole mix as a result)... in the old days mix engineers got expert at "riding faders" to solve the same problem.

For sybillance... a de-esser, or a dynamic EQ (I like Tokyo Dawn's Nova), will help cut hissy, sybillant frequencies (go hunting around 6 - 9 kHz?) when they get too loud... without damaging the frequency spectrum when they don't.