Filters like the Mic Mechanic from TC Helicon also clean up these frequencies.
Found Online from 343 Labs
https://www.343labs.com/vocal-eq-cheat-sheet/
Here are five ways to fix these problems using EQ:
– Use a high-pass filter or low shelf to reduce the proximity effect.
– Reduce Sibilance by cutting frequencies around 10kHz.*
– Reduce nasal tone by boosting frequencies around 200Hz and 3kHz.
– Reduce brittleness by boosting frequencies between 500Hz and 8kHz.
– Remove harshness by reducing the level of frequencies in the 5-8kHz range.
*Please note that sibilance can also be treated dynamically with a de-esser.
From Another article:
Creating a vocal EQ cheat sheet helps you quickly enhance vocal tracks. Here's a guide for essential frequency ranges:
Sub-Bass (20 Hz to 60 Hz): Usually rolled off, as it rarely contains useful vocal content.
Bass (60 Hz to 250 Hz): Careful boosting adds warmth to male vocals. Use sparingly to avoid muddiness.
Low-Mids (250 Hz to 500 Hz): Cut to reduce muddiness, especially in boomy or nasally vocals.
Mids (500 Hz to 2 kHz): Essential for vocal clarity. Boost or cut depending on vocal presence and mix context.
High-Mids (2 kHz to 4 kHz): Adds intelligibility. Boost for clarity, but beware of harshness.
Presence (4 kHz to 6 kHz): Enhances vocal presence. A slight boost helps vocals cut through the mix.
Brilliance (6 kHz to 20 kHz): Adds airiness and sparkle. Light boosting enhances breathiness and the upper harmonics.
The second list comports with my experience. With a good vocal microphone, you can usually set things flat. Many companies, like Bose, have a similar filter for their PA speakers that was designed with the characteristics of the most common dynamic mic, the Shure SM58.