Here are a couple of tricks I learned from a buddy of mine in Nashville to turn any good - even great - vocal track into an even better vocal track. These two EQ plug-in rides, if you do them right and use them sparingly, will make your singer sound 10x more expressive than he or she could possibly sound without them: "Attack/Stab" around 3,000 Hz - 3,200 Hz, depending "Sibilance/Air" around 6,800 Hz, depending "Stab" should be at emphatic points, "Air" should be at tails or certain held notes. By emphatic points I mean vowels that are sorta pushed from the diahpragm with extra feeling, like the "ee" in Dylan's "How does it feel?" Set your optimal EQ for the track. This is your starting point. Then set automation for these two boost bands for GAIN ONLY. Once established, the Q and frequency for your boosts should not be automated, only gain. Experiment with frequency and Q, both of which will depend on the singer and how the track was recorded. Q for neither frequency should be too wide, because you want the effect to be subtle, like it's coming from the singer's body, not affecting the overall sound of the track. Boosts should always begin and end at the "normal" EQ starting point. I've found that most times a gradual slope up and faster slope down works best. Because these boosts are a relatively narrow bandwidth and just in-and-out quickly, you can sometimes push them as much as 5 - 6 dB without it sounding wierd. Of course, if it ever sounds wierd or artificial, or if the result is not as good as the original for ANY reason, don't do it. I've done it and heard it done on a variety of vocal tracks and dug it. But as I said, it really has to be done right. Edit: I should add that I've only tried or heard this done on tracks of professional singers, well-recorded. And none of them were raw rockers, so I have no idea how that might work.