You could try a shelf instead. That allows for some of the low end to stay present without cutting them out completely. I only use a HPF to remove unneeded low end noise but if you're trying to preserve the tone then either that peak or the shelf should do it

HI Eli
There is no absolute answer. You can use a low cut, you can use a low shelf, you can use a bell......does not matter. What does is how the vocal sits in the track. Sometimes you might need a thinner vocal to sit right in a dense and midrange forward mix. Other times you might need a fuller vocal to have the presence in a very delicate or sparse kinda track.
What I would suggest doing is to use your ears and not rely so much on the graphics displays of the EQ....we often trick ourselves in or out of decisions by using our eyes instead of our ears.
I am not sure if this will work for you...what I do is basic rumble clean up at the start of the mix....meaning I use a low cut to get out totally useless info...like under 50hz to start.
As I get into the mix, and turn my attention back to the vox, I will close my eyes or have no visuals and roll off some more low in the vox...I do this by rolling until it sounds thin then backing it off till I hit a good spot.
Personally I tend to do this part BEFORE compression....but I do understand wars have been fought over which comes first...eq or compression LOL.
Finally, if it is just a tricky vocal or I can not get a static spot to sit my low cuts...that tells me it is time to use a MultiBand Compressor......that way it will do the job when needed and the rest of the time get out of the way.
Hope this helps and good luck

Hey man! The best way to control your Lows and low-mids are cutting the low end between 0hz to 90hz, usually we don't cut more than that on a male vocal, to control your low-mids add a Dynamic EQ between 120hz to 360hz or a multiband compressor. Also experiment adding mid-highs that is usually masked by low-mids.

I cut the low end very carefully, so it makes almost no audible difference, just to avoid build ups in the mix.
I guess, as far as I can understand your issue, that a Multiband Compressor could be great solution. Just select and compress only the fundamental of the vocal, then adjust the volume. That will get you into the ballpark, so its more controlled and less boomy, however without sounding thin.

While there's no answer will always work for any Q&A, it's good to consider is those tutor's background you watch.
I noticed that some genre has definitely their own sweet spot. And some engineers are sharing very useful template for that , for example Hardcore Music Studio who's doing great on Catchy Metal Core type of music.
I think that's worth to follow as a training.
But then if you wanna be different or unique, of course you wanna try everything.
I think some or many tutors online are just trying to get attention because everyone wanna do shortcut.
Then again, template itself isn't a bad idea. You just wanna find cool producer who can give you cool one.
Peace

I would do what sounds best to your ear, providing you trust your ears (I guess that's what this place is for heh).

The way I view low cut is to cut unwanted noise/rumble in a mic signal or similar. You most of the time don't want to be fully cutting any part of the actual useful signal (although some styles of music do call for this in certain situations, it's still not a rule it has to be done like that).

What I find if cutting into the signal with a high pass is you loose the balls of your tracks, and it ends up super weak and brittle. So when I do high pass, I try to high pass below the lowest fundamental in order to keep the signal intact (if I can, and if not, I'm cutting into the signal as little as possible to acheive what I'm trying to acheive with a low cut). I useually rely on shelves to controll the overall amount of low end and high end when using an EQ for this purpose, and just cut noise or unwanted sound if there is any with a high pass. This leaves in the meat of the low end of your signals, avoids brittle tracks, and still allows you a huge amount of control with a low shelf, bringing the whole low end up or down in volume with regards to the rest of the signal. A Low pass is a bit diferent, and is quite often used to shape the top end, as our hearing trails off up there, it's a lot less drastic of a move than a high pass (although can still be overdone), and actually does the job of shaping the top end quite well in many situations (but even then not everyone does it).

There's no one right way to do it, people do it both ways for difering reasons (and sometimes for no reason, just because they heard it's what they should do from somewhere). First and foremost is do what sounds good in the context of that mix. Second, are there any issues that need fixing (low end rumble etc)? If yes, you have the tool to remove it, if no ... why needlessly remove the bass from your signal? Do you have a reason you want to remove the bass from the signal? If yes .. go ahead .. if not .. maybe it doesn't need cutting? ;)

It's a bit diferant for things that have little or no low content, like hats and some cymbals. As there's much more room for other things (unwanted noise or cross bleed) to get into the lower part of the signal as there's nothing from the main instrument being recorded that lives down there, so you can useually cut most of the time just to avoid noise, but again you're still not really cutting into the signal unlesss you're intentionally gonig for a thin top end (which is a thing in some styles).

It's very style dependant, and will vary from mix to mix. If you're mixing an orchetra don't be touching any H/L pass filters indesciminately unless there's rumble or unwanted noise, or it's the Piccalo's mic who's sitting next to the bassoon player or something xD! But If you're trying to pack 100 tracks into a dense rock banger or a D+B track, you may need to carve some things up just to make it all fit (I would still advocate for using a shelf first however, but that's just me, you do what sounds best to you) ;). As long as you know why you're doing something, anything is fine, if you don't know why you're doing it ... always ask if you need to do it at all. And remeber there;'s useually multiple ways to acheive the same or similar results all with their own inherent pros and cons. (MB compression/dynamic EQ etc. etc.). Oh and if it sounds bad, it is bad (which is ofc totally subjective). ;P