EQ TIPS ?

Without hearing the vocal, everything is just guessing.  But in general, if the recording sounds bad, it is better to retrack it.  Fixing it in the mix is a half-measure.  So,
 
1.  A decent room.  Even if you are close micing it will still pick up the tone of the room.  And if the room has resonances and build up, the mic will put them into the recording.  Listen to the room and hear how it interacts w/ the acoustic being recorded.
 
2.  1.  A decent mic.  Even a cheap Chinese condenser or solid dynamic can work.  You haven't told us what you've used.
 
3.  An external preamp can help.  This doesn't mean you need to drop $1000s on an old Neve (doesn't hurt), but if your room is OK you don't have to swallow the mic.  Once you back it off you get a more even sound (see proximity effect) in frequency and volume.  Also, slight movements don't effect the tone so much.  Most built-in preamp are OK, but don't have a lot of gain.  Look at any recording session at a pro facility and the singer is around 2 feet away from the mic - or more.  There is a right balance of distance for any singer/mic combo and your preamp has to provide enough gain to utilize it, without crapping out at sudden increases in volume.
 
4.  Mic technique from the engineer and artist.  Use a pop filter.  It keeps the talent from swallowing their mic, which they've seen all the singers do in a live show where gain w/o feedback is the key.  Just like finding the right distance, finding the right angle can be important.  Above, angled down, is a good starting place for a condenser, so the talent (or not talented) isn't blowing directly into the mic.
 
As far as your problem today, dirty bass on the vox.  It sounds like proximity effect (which happens w/ all cardioid mics - a heart-shaped pick-up pattern) and/or being overdriven.  If it is distortion there is not much you can do.  But in general, on most voices in most styles of music you use a high-pass filter to diminish all the lower frequencies.  There is no useful info below 100 dB or higher for many instruments, only ac rumbles, trucks on the streets, moving air, etc.  It eats up headroom.  Set your HPF to a steep cut off and start raising it while listening to the track.  Do this soloed and in context w/ the music.  At some point you'll hear it cut into the meat of the vocal and then back it off until you don't.  You can also fiddle w/ the cut off slope.  It is a technical skill that gets easier as you learn and develop your own ear about what sounds right.  This technique also works for all EQing and other effects.  Overdue it, and back off.
 
Still, the best method is to capture the right sound at the source.  This is a craft as much as anything, a set of techniques that have worked for you before through trial and error.  The art part is knowing beforehand what the right sound is for the song before you even start tracking.
 
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