I should also note for those who don't know and for more accurate answers, that I record only vocals and rap/hip hop music. I use a sterling audio st-51 condensor mic, magic music studio 12 deluxe, and an m-audio mobile pre audio interface/preamp.

I also layer my vocals very deeply usually:
One lead vocal centered, full verse
Two full verse vocals Panned left n right, -23 n 23 tho sometimes I go -35 n 35 if it sounds too muggy
Two 'overdubs' accenting specific words n phrases Panned even further, -45 n 45
And two adlib tracks Panned left n right -55 n 55.

Those are the layouts typically for my verses, my hooks/choruses are the same layout but I pan them out further because I've heard its a good thing to do and makes it more distinguishable from the rest of the song.

I also use a high pass filter(i think? The one that cuts the low frequencies down, Id have to go look at the studio to see at which frequency it is cut). With as many tracks as I use to make the sound fuller n wider I pretty much have to or you can imagine how bassy n muggy it will sound.

With all this being said, any helpful EQ tips for before n after recording?

The eq in your console doesn't go to disc when you record unless you have a console that has the option to send post eq(which is usually either an expensive feature or mod). The EQ in your DAW doesn't go to disc either. So, unless you are going directly through a hardware eq to tape/disc or you have the option to go to tape/disc post eq, it's not getting recorded.

Sometimes it is very helpful to equalize the vocals during recording.
Here is a nice setup I use for many many years into my DAW:
Step1
Listen to the vocalist and discover the sound. Listen carefully where he or she needs some EQ

Step 2
Insert the EQ with the right settings on the vocal track

Step 3
Set the pre-amp to a level that at the loudest parts your mono channel reads about -3 dB Peak level

Step 4
Insert a group channel , call it "vocal control" and insert a compresoor/limiter and put ratio 4:1, fast attack and medium release, treshold at about -5dB

Step 5
Insert a second compessor ratio 2:1, same attack and release settings but treshold at -10dB

Step 6
Set the output of your mono vocal track to the group "Vocal Control" Track and record some vocals with the loudest parts

Step 7
Bypass your second compressor and check that the input and output on the first compressor/limiter reads about -7dB

Step 8
Put both compressors on and adjust the second compressor until it reads about -3dB on the input and output meters
Now you will have fully control on the loudest parts

Step 9
When you're done you can ride the vocal fader. With automation it is very easy yo make fader movements at the end of a sentence for example.

Le Vab, post: 382521 wrote: Sometimes it is very helpful to equalize the vocals during recording.

Step 3
Set the pre-amp to a level that at the loudest parts your mono channel reads about -3 dB Peak level

Once upon a time I used to try and record with my levels that high too, especially when things were 16 bit. That was the old way we were taught when digital recording was relatively new. However, now with 24 bit converters there is no need to record that loud. You can get just as good recordings with the levels set much lower, and then find it MUCH EASIER to mix later because you are not trying to force so many loud signals into the headroom limitations of a DAW. If you have a bunch of tracks all recorded that loud, at mixdown you will find yourself running out of headroom and having to bring all your faders down. The professional +4 standard reference point of 0 dB in the analog domain ( 1.23 volts) is actually at -20 from 0 DBFS (top of the Digital scale in your DAW meters). With the reference level on an outboard console being +4 at -20 in the digital world of DAW, if you slam everything up too hot it's like trying to jam all your signal on a console at maximum level. Not such a good idea. Keeping our recording levels lower makes it much easier to mix things later.

I do like your idea of using two compressors to tame dynamics though. It works well specially with vocalists that fluctuate wildly in levels.

Using EQ while recording vocals can work fine if someone knows what they are doing. Generally I prefer to do my EQ on vocals later when mixing, and leave them flat ( except for a low cut filter which I do use) during recording. But we all have different methods..niether one is necessarily right or wrong....just different.

hueseph, post: 382516 wrote: The eq in your console doesn't go to disc when you record unless you have a console that has the option to send post eq(which is usually either an expensive feature or mod). The EQ in your DAW doesn't go to disc either. So, unless you are going directly through a hardware eq to tape/disc or you have the option to go to tape/disc post eq, it's not getting recorded.

I can't find any reference to a console in this thread or the OP's profile, but I can say that I've used several desks with eq before tape/direct outs. A&H MixWizards have jumper selectable direct out placement in the channel path. But maybe those are just exceptions.

Some smaller mixers have EQ post the Direct outs, some have them pre. There is the option of patching an outboard EQ into and insert. The buses on large consoles, from which you normally route signals to tape/DAW are post EQ. Rack mount channel strips/preamps also often include EQ,......so there are plenty of ways of getting EQ'ed vocals or instruments recorded.

bouldersound, post: 382566 wrote: I can't find any reference to a console in this thread or the OP's profile, but I can say that I've used several desks with eq before tape/direct outs. A&H MixWizards have jumper selectable direct out placement in the channel path. But maybe those are just exceptions.

You're right, there is no reference to a console in the OP's post, however he does mention an M-Audio Mobile Pre and Magix Music Maker 12. In which case the EQ definitely doesn't go to disc. I've never used a console with Post EQ output to tape but my experience with large format consoles is limited. I would dare to say that most, if not all of the entry to mid level mixers are pre eq output with the exception of the stereo mains. But, the point is moot. The signal path in the post mentioned above does not send eq to disc.

Maverick87, post: 380985 wrote: I should also note for those who don't know and for more accurate answers, that I record only vocals and rap/hip hop music. I use a sterling audio st-51 condensor mic, magic music studio 12 deluxe, and an m-audio mobile pre audio interface/preamp.

I also layer my vocals very deeply usually:
One lead vocal centered, full verse
Two full verse vocals Panned left n right, -23 n 23 tho sometimes I go -35 n 35 if it sounds too muggy
Two 'overdubs' accenting specific words n phrases Panned even further, -45 n 45
And two adlib tracks Panned left n right -55 n 55.

Those are the layouts typically for my verses, my hooks/choruses are the same layout but I pan them out further because I've heard its a good thing to do and makes it more distinguishable from the rest of the song.

I also use a high pass filter(i think? The one that cuts the low frequencies down, Id have to go look at the studio to see at which frequency it is cut). With as many tracks as I use to make the sound fuller n wider I pretty much have to or you can imagine how bassy n muggy it will sound.

With all this being said, any helpful EQ tips for before n after recording?

I am just finishing up a gospel album with a guy who layers everything like you are describing. You are going to have to do some subtractive EQ to some of the doubles and extra parts in order to make everything fit. I suggest doing all of your EQ during mixing just like was suggested with compression. Everybody keeps debating where you might be adding EQ in the analog world. I wouldn't suggest that unless you had a really good EQ or a really bad sounding source.

The other scenario that no one has mentioned is that you are actually busing your vocal signal through an aux track and an EQ plug-in before routing it to an audio track. I was shocked to find a seasoned professional do this and teaching the complex process to students. This is a completely ridiculous thing to do because you are simply writing your digital EQ to your audio file. There is absolutely no difference in sound from doing the EQing during mixing, except that you have more flexibility in mixing. I don't know if you are doing this, but either way, I would suggest only adding EQ during mixing in your circumstances. Good luck.