Dynamic EQ is different from a conventional EQ in that it acts somewhat like a multiband compressor, allowing you to set a threshold on a band and then cutting or boosting in proportion to how much the audio at that frequency exceeds the threshold. I love dynamic EQ in a lot of spots in my mix because it yields more transparent results. I particularly like dynamic EQ on vocals as it only cuts (or boosts) when I need it rather than a uniform adjustment which inevitably extends those adjustments into when you don’t need them.
Let’s talk a few specific, practical examples in which I like to use dynamic EQ on vocals.
How to Use Dynamic EQ on Vocals
Before we get into specific examples of how to use dynamic EQ on vocals, check out my overview on how to use dynamic EQ. My go to EQ which includes easy dynamic functionality is the FabFilter Pro-Q 3, but you can also grab a great free option in TDR-Nova (see the best free EQ plugin).
Now, here are five specific problems you might encounter on your vocal which can be corrected with dynamic EQ, starting from the lowest to the highest frequencies.
Plosives
Plosive sounds are those bursts of air associated with “P” sounds which you can get on a vocal track with OR without a pop screen.
Incidentally, a pop screen is designed to catch syllables which launch bursts of air at the microphone like “P” sounds, resulting in low frequency surges known as plosives. If the vocalist puts a lot of energy or emotion behind certain words and syllables, you can still get an offensive pop on the track which distracts your listener and detracts from the mix.
As I covered in my complete overview on how to remove plosives from vocals, they typically exist around 150Hz.
While a “static” or traditional EQ cut at 150Hz would certainly largely attenuate a plosive, simply making this cut into a dynamic EQ band will be a far less intrusive adjustment while also fixing the problem.
Play the worst offending plosive as you set the threshold until you get the result you want. Note that this will also trickle down and proportionately correct the less egregious plosives in the mix, as well.
Muddy Vocal
There aren’t a lot of contributing frequencies in the 400-600Hz range on a vocal, and we can clean up these muddy frequencies when they act up on certain syllables with a dynamic cut.
I’d probably just aim for 2-3dB in gain reduction at most via that dynamic cut so we’re pulling more only when this region needs it.
I love a cut in the 400-600Hz range in order to bring more clarity to the track rather than the more obvious boost in that 3-5k region, as well. Incidentally, that 3-5k region is relevant to another fix which we’ll address in a moment.
Note that the 400-600Hz range is unflattering on a lot of instruments which is why I recommend paying attention to it in my overview on how to clean up a muddy mix.
Nasal Vocal
As I covered in my overview on fixing a nasally voice, a lot of factors can contribute to this effect beyond someone inherently having a nasal leaning voice.
Room reflections, poor microphone placement, a lack of body in a voice due to the vocalist or the other listed conditions can all contribute to that annoying (and in some cases obnoxious) sounding vocal.
A nasally voice has a surge in the 1-2k range on certain notes.
As you can see, dynamic EQ will mitigate this effect without cutting indiscriminately which can create a hollow sounding vocal.
Incidentally, you can use a dynamic BOOST in the 1-2k region to add fullness to a hollow sounding vocal (which again is a product of poor microphone placement or room reflections.
Harsh Vocal
Clarity is a good thing, but not when it hurts your ears. A harsh vocal is one which is TOO bright, with too much frequency information in that 3-5k range.
Like most of the other problems we’ve been addressing, the grating quality in a vocal only comes out on certain words and syllables. As such, try a dynamic cut around 4k and set the threshold on the most offending harsh instances in the vocal.
This cleans up that harshness while keeping the clarity of the vocal intact.
Speaking of harshness, check out my overview on how to tame a harsh mix which addresses other problem tracks aside from vocals which are known for being harsh on the ears and how to treat them.
Sibilance
Lastly, vocal sibilance is the pronounced sound you hear on “S” syllables.
While you can attenuate these sounds with a multiband compressor or de-esser (which is a form of a multiband compressor), a dynamic EQ cut in that same region will have a similar effect.
Sibilance typically exists around 7k, so drop a dynamic EQ band there and set the threshold as usual by targeting and replaying the worst offending moments on those “S” syllables.
Just like that, your sibilance is smoothed out and without uniformly cutting the “air” or transients from the top of your vocals, although admittedly sibilance is a form of transients on vocals.
Like with the nasally voice, don’t cut too aggressively here, even with a dynamic cut, as this will give the vocalist the impression of a lisp.
Now that you know the effectiveness of dynamic EQ on vocals, don’t forget to check out my complete overview on vocal EQ for tips on how to treat every major frequency range in vocals to get them sounding their best.
Even better grab my ULTIMATE EQ cheat sheet for full guides on the best EQ moves to make for every single instrument in your mix, including vocals.
