As noted above, which EQ you use is almost irrelevant. You choose an EQ mainly for ergonomic friendliness and sometimes special features such as M/S or dynamic processing. If you're comfortable with SONAR's built-in equalizers, there is really no need to look elsewhere.
 
"Smoothness" is a multi-faceted ideal. It certainly involves EQ, but that's not the primary variable. Consistency is the real target. Consistency in volume and consistency in spectral content. Automation and compression are the main tools for achieving volume consistency. Spectral consistency starts with the microphone, the singer, and the room you're recording in.
 
It sounds like you may be experiencing problems that are acoustical in origin, which can be difficult to mitigate after the fact. Look into dynamic equalizers and multi-band compressors as a potential remedy. But also research acoustical treatments to avoid having to mitigate spectral inconsistency by digital means.
 
Your first step should be an analysis of the vocal tracks. Get one of the free spectrum analyzers out there such as Voxengo SPAN or Meldaproduction's MAnalyzer and see what's going on in your tracks. You'll probably find that there are large intermittent peaks, or perhaps that there is distortion from driving your mic preamp too hard. Whatever the problem, you must identify what it is first before you can devise a strategy for correcting it.

Thanks folks. I purposely left some things out, as I wanted to gage how folks approach this intricate part of Eq'ing.
i think AT is onto something prmximy could be an issue , although the pop shield is not so close to the mic, and neitehr is the artist to the pop shield . Perhaps, along with the vocal it is perhaps picking up the reverbantion, perhaps, that could be adding to the natrural bass?? 
Multiband compr seems to be poping up a lot in this thread, so I will look into including that in my arsenal, as i tend to leave that in the master bus adn not in the vocal track.

AT
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.
 
 
@
 

Hmmm , this good, but,  won't the Mic pick up the room noise , as well as the artist vocals??

Anderton
Here's an article with plenty of EQ tips.

Thanks Aderton!!

blu lacez
Multiband compr seems to be poping up a lot in this thread, so I will look into including that in my arsenal, as i tend to leave that in the master bus and not in the vocal track.

 
The Sonitus multiband is cool because it has a master limiting option if you go over. Sometimes this can save a performance if the vocalist got carried away in a section

Anderton

blu lacez
Multiband compr seems to be poping up a lot in this thread, so I will look into including that in my arsenal, as i tend to leave that in the master bus and not in the vocal track.

 
The Sonitus multiband is cool because it has a master limiting option if you go over. Sometimes this can save a performance if the vocalist got carried away in a section

Lol, that's great, we all know artist tend to go crazy in some parts. Thanks again.

I don't really see the point of that once you're in the digital domain. Either your recording clipped or it didn't. Adding a limiter doesn't do anything except change the sound, unless use purposely increased the track above 0dBfs digital (or EQd it to the same effect). At that point, automation could do as much as limiting.

Blu,
 
yes, the mic will pick up more "room" the larger the distance from the artist.  That is why it is best to have a room w/ no major problems - slap back echoes (unless you match your tempo), resonances.  You don't need a pro room (tho, again, that is nice) but a decent one w/o any major flaws.  And even close miking will only attenuate those problems, not eliminate them.  Part of the engineers job is to play w/ the mic to find the right position for it.  There is no perfect one - just the lesser of evils.

AT
Blu,
 
yes, the mic will pick up more "room" the larger the distance from the artist.  That is why it is best to have a room w/ no major problems - slap back echoes (unless you match your tempo), resonances.  You don't need a pro room (tho, again, that is nice) but a decent one w/o any major flaws.  And even close miking will only attenuate those problems, not eliminate them.  Part of the engineers job is to play w/ the mic to find the right position for it.  There is no perfect one - just the lesser of evils.

A well padded room would save on a lot of things,but can't on me budget. Therefore, I have to be an annoying engineer to some artist, when on constantly changing,checking alternating mic techniques, Lol. I'm trying to avoid any unnecessary dedication on cleaning n utilise that time for, mixing n blending all the components-as someone mentioned -not an exact verbatim, of course.

Here's my current work-just a screenshot. I recorded a rap voca ; i went straight for the quadcore, and was just testing the spectrum, i always have the Sonitus mulitband , reverb and dealy in the fx-which once i have found the settings i like, will now be saved as  FXChain . I will then create a bus and insert the fxChain, then bus the said vocal track to it.
Sounds long winded, i know..lol.