Tim Curry's voice seems like this at times, but it isn't so much deep as it is a suave brand of tenor.
Michael Wincott also deserves a spot.
Adolf Hitler had a very deep, rasping voice in private conversation. Averted elsewhere, as he used a high, piercing voice when making his grandiose speeches, because a high-pitched voice carries better.
Chiang Kai-Shek was another a deep-voiced man (in normal/casual conversation) who used a high counter-tenor/falsetto to get his speeches across - a necessity given that he rarely had acess to microphones and loudspeakers, even at official Guomindang rallies. Mao Zedong was another.
Tony Todd has an unbelievably deep and gravelly voice, which causes most villains he voices to fall under this.
Lucy in Elfen Lied has a much deeper voice than her "good" personality, Nyu.
Gauron, the main bad guy from the first season of Full Metal Panic!!, has the deepest voice of all characters in the show. This is somewhat subverted in Full Metal Panic! The Second Raid, where new villainous character Leonard Testarossa has a voice almost as soft and gentle as a girl's — though it's still deeper than that of his sister, who is naturally one of the good guys...
Slayers: SHABURANIGUDO! Especially in Japanese, the Dark Lord's voice is so artificially low as to be comical.
Alucard from Hellsing is technically a good guy, but monstrous enough to freak out undead super-Nazis, and speaks in Joji Nakata's ultra-deep drawl.
Lelouch of Code Geass, who is sort of like a "flamboyant, possibly evil Batman", canonically has a voice changing device in his Zero costume which deepens his voice when he's wearing it.
Wei in the Darker than Black dub; also, particularly in the dub, Hei seems to do the Anti-Hero routine also, speaking in a deeper voice when being BK-201 than when being the friendly and harmless Li. Averted, though, with Mao who has a very deep voice but is a nice guy. And a cat.
In the same series, this trope is inverted in Jet Black's deep voice
In Blood+, Flamboyant Gay chiropteran Nathan Mahler changed his voice to a demonic rumble whenever he wanted to sound threatening. Even the Dragon-in-Chief Amshel will back down when this happens, because Nathan is far more powerful and dangerous than he seems. Good thing he's not actually evil.
Marik Ishtar's shadow self in Yu-Gi-Oh!. His normal self's voice is actually higher-pitched than a normal man. There's also Bakura, who, on top of being deep-voiced, is British, which increases his evilness.
When Marik pretends to be a protagonist and after his Heel-Face Turn, his voice gets higher and softer.
Bakura both plays it straight and subverts it in the original Japanese. His Superpowered Evil Side has a deeper voice than his normal self, but he was voiced by a woman, so his voice is considerably high and effeminate.
During season zero, even Yugi's spirit partner (the pharaoh) could easily be interpreted as evil, or at least a Sociopathic Hero. Even this early on, when his voice was rather soft, it was still deeper than Yugi's.
Ryuk of Death Note has a rather deep voice in both Japanese and the English dub. While he does have more standards than the soft-spoken Villain Protagonist Light, he is still rather evil, given his method of relieving boredom. Perhaps averted by L, who has a deeper voice than Light and is the Hero Antagonist.
Light Yagami actually plays this trope straight. When he is having his Kira-ish inner monologues, his voice tone gets deeper.
Several of the villains in Naruto have displayed this trait and changes in tone to indicate shifts in character.
The Kyuubi plays this trope straight: it's completely malevolent and has a very deep, very gravelly voice.
On introduction, Sasori has a deep and gravelly voice, but switches to a lighter voice later on. Rather than indicating an improvement in the character, this precedes the true horror of his abilities.
Kakuzu plays this trope straight; he's a Psycho for Hire and speaks with a deep and steady voice.
The most significant occurrence is that of Tobi. While in his initial persona, he speaks in a light, childish voice and his actions match. However, when he is acting as Madara, his voice deepens and matures as well as his actions (he even has completely different voice actors for each).
Itachi Uchiha also has a deep voice. Subverted in that he is actually Good All Along.
One of the most jarring and most recent examples in the English Dub of Pain, who has arguably the deepest voice on the show, which is expected when the voice actor is Troy Baker. Played with however, Due to Nagato, Pain's controller, having a high-pitched tone of voice.
In One Piece, the character Rob Lucci could at first only "speak" through his high-pitched pigeon Hattori. However, when he is unveiled as the immensely powerful evil leader in CP9's plot to capture Nico Robin, his 'real' voice is revealed to be much, much deeper. Interestingly, this was not done through the use of any synthesizers - the same seiyuu performed both parts.
Giovanni of Pokémon has a very deep, echoing voice every time he appears on a television or computer screen in the earlier episodes. This appears to be the result of computer editing. However, even when he appears in person, his voice is still quite deep.
Paul from the Sinnoh arc is by far the meanest rival in the series and has a voice that's way too deep for a 10 year old.
Mewtwo in the English dub of the first film, where he's the antagonist.
Soul Eater's Medusa, being a Consummate Liar, has a pleasant, normally-pitched voice when she's pretending to be on the good side and a deep, throaty voice when she's being her violent self. It's particularly alarming when coming out of the borrowedchild's body later in the series.
Used in Fullmetal Alchemist Brotherhood with the Greed/Ling relationship. Greed isn't necessarilyevil, but he is given a very deep voice on the show. In contrast, his human host, Ling, has a fairly soft voice.
Pride's voice becomes deep and echoing when he's not pretending to be human.
Type-Moonloves this trope, or, to be more specific, Joji Nakata. An interesting example is seen in Archer; his voice is much deeper than Shirou's, even though they're the same person. Proof that your moral alignment directly influences your tone!
In the first The Melancholy of Haruhi Suzumiya light novel, Kyon uses the term "clear soprano" to describe Ryoko Asakura's voice. Later on that day, she tries to kill him rather violently...because she got bored.
The English dub of Dragon Ball Z does this with Frieza (portrayed then by Linda Young). Each time he transforms, his voice is artificially deepened. At first, it was just digital pitch-lowering with the 2nd form, but his 3rd form is more of a Voice of the Legion deal. The 4th form, in a subversion, brings it back to normal - high-pitched.
The dub of Kai takes this a step further in a brilliant move: by having Frieza's voice recast (now played by Chris Ayres), having a high voice at the start, and gradually getting deeper with each transformation - without the use of artificial pitch altering. By the time Frieza reaches form 3, Chris is using his natural voice, and considering that form 3 Frieza looks like a fish demon, it makes him sound like the devil he truly is.
The Japanese version does almost the same thing (though Freeza's Japanese voice is already noticeably deep), except for his third form, which uses a high, raspy growl.
Cell gets a bit of this too, in the English dub. His voice starts out as a sort of hissing rasp, and then grows deeper and more cultured as he gets more powerful. But it drops to downright Satanic levels when Cell gets ready to do something truly evil, like killing Piccolo. Although his second form sounds slightly deeper than the third, the latter is much smoother.
Inverted in the Japanese version, however, where his voice starts out monstrous and gets slightly softer and more human-like with each transformation. Considering Norio Wakamoto voices him, though, this trope still applies.
Akira Touya in Hikaru no Go doesn't fit in the "evil" category (he's just The Rival to Hikaru with a tendency to look down on him), but he has a serious, introspective deep voice mode.
Steve Blum's Lord Darcia in Wolfs Rain is a glorious example of this. The main wolfy cast have generally soft voices (except Tsume, but he's a Jerk with a Heart of Gold and his voice generally subverts this, getting softer over time), but Darcia's is deep and menacing during any scene with the wolves. When talking to female characters ignoring Jagura, his voice takes on a much gentler sympathetic tone but after he awakens his wolf side, his voice not only much deeper, but more menacing and mad
In Spirited Away this is both played straight and inverted in the way the Japanese and English voice actresses were directed to voice the evil Yubaba and her good twin sister Zeniba. The original Japanese actress, Mari Natsuki, used a higher-pitched voice for the good Zeniba and a deeper voice for the evil Yubaba. In the English dub, Susanne Pleshette voiced Yubaba in a higher pitch (intending the evil one to be more shrill) and Zeniba with a lower alto.
Fist of the North Star tends to play this straight. While main character Kenshiro has a pretty deep, gravelly man-voice, most of heroic characters are noticeably more soft-spoken than the mooks and most villains, and the main Big Bads Souther and Raoh (and Kaioh in the second story) have impressively deep voices.
A tad ironic, considering how high most adaptations take his voice.
It's often mentioned how deep the voice of the Gollywog is in The League of Extraordinary Gentlemen. His balloons are typeset with a heavy bold. He's supposedly made of very dense non-baryonic matter. One of his best moves is causing an earthquake with a loud bellow. One more example of repurposing his very racist characterization and design into happy coincidences and heroic traits.
Films — Animated
Played with in Up. The otherwise intimidating dog Alpha has an incredibly high and squeaky voice that causes the other dogs to laugh at him; apparently, his voice box malfunctions sometimes, but when it's adjusted, it does sound quite deep. Naturally, it breaks down again when he's defeated.
The Disney version of Beauty and the Beastalmost subverts this one by giving its hero a growly, artificially-deepened voice as long as he's in Beast form and not. So why isn't it a subversion? Gaston's voice is still lower.
Also nearly subverted with Belle herself. She is a mezzo-soprano while her foils, the three Bimbettes, are breathy sopranos. They aren't evil, however—just air-headed fans of Gaston.
In The Dark Knight Saga, Bruce Wayne invokes the trope by affecting a deep growl while he's being Batman. When people are tripping on the Scarecrow's drug, they perceive others (including the Scarecrow himself, of course) as evil monsters with inhumanly deep voices. While the Joker's voice is usually high-pitched and nasally, he goes surprisingly low for his choice lines, such as, "Look at me!" Bane zigzags the trope, in that the mask over his face does lower and distort Tom Hardy's rather nasally voice, but not very much. The only character to play it constantly straight is Henri Ducard, aka the real Ra's Al-Ghul, portrayed by Liam Neeson with his usual deep, husky voice.
Sartoris in The Final Sacrifice has a rather deep voice, humorously altered in post-production.
Played with in Spaceballs, wherein Dark Helmet's voice is deep and impressive when his helmet is down, but when it's up he sounds like a whiney Rick Moranis.
The Lord of Darkness in Legend was an electronically-deepened Tim Curry. And you thought he was scary normally.
Khan Tusion, the sadistic Breaking Speech-prone director of the Meatholes series of porn, often has his voice shift in and out of the electronically deepened range while he's verbally abusing the performers.
Sauron himself, too, as can be discerned from what little he actually speaks. "There is no life in the void. Only... death."
The Mouth of Sauron from the extended edition. A deep voice that sounds like dead worms.
The Witch King also has a rather deep voice.
So do the various Uruk-hai.
Played with in Burn After Reading, when Brad Pitt's character attempts to act menacing by narrowing his eyes and lowering his voice. Unfortunately, he keeps forgetting and reverting back to his normal speech. Hilarity Ensues.
Subverted in the Underworld film series where Kevin Grevioux's character is a Lycan named Raze with an unnaturally deep voice. He is brutish and violent, but he is not an inherently evil character. In the Rise of the Lycans prequel, he is decidedly a positive character. Even more jarring is that this is Grevioux's actual voice.
German voice actor Tilo Schmitz, everytime he dubs a villain, usually tall and big, thanks to his deep, sonorous, basso voice.
Anton Chigurh in No Country for Old Men speaks with a grizzly, low voice, which essentially acts as a death rattle considering his character.
The Djinn of Wishmaster in his true form has a suitably deep voice for a demon.
In the first several A Nightmare on Elm Street films, Freddy Krueger spoke with a very deep, sinister voice (in the first film for instance, he sounds almost demonic). It became less deep in later films as Freddy became more comedic in general.
Inverted with Voldemort, who is described as having a high, cold voice.
Subverted with Snape, who has a deep, ominous voice (portrayed by Alan Rickman in the films), since Snape is intended to appear evil, or at least dark and brooding, right up to the end.
Oh-so-inverted with Umbridge.
Played straight with Runcorn, one of Umbridge's cronies in the seventh book's villain-run Ministry. His chief characteristic is his deep, intimidating voice. When Harry uses Polyjuice Potion to impersonate him, he finds the voice very useful for giving orders.
In The Dunwich Horror by H.P. Lovecraft, Wilbur Whateley spoke with a frighteningly low voice. Justified in that he grew more than twice as fast as any other child and reached a height of seven feet (among other things). The H. P. Lovecraft Historical Society "radio play" of the story electronically pitched the actor's voice to Goa'uld levels.
The narrator does mention that Wilbur sounded like his voice-producing organs were somehow different from a normal human's - which, naturally, they were.
In Luke Skywalker and the Shadows of Mindor, Cronal, unseen by his troops or his enemy, called himself Lord Shadowspawn and had his wheezy old man voice amplified and made deep. Luke thinks of it more than once as a "faux-Vader" voice.
The Doctor WhoEighth Doctor Adventures have an antagonist called Sabbath, who, due to not-exactly-evil motives and frequent Enemy Mine situations, is about as non-evil as you can get when you perform Meatgrinder Surgery and continually try to screw up The Multiverse. His voice, described as a "low rumble" and a "resonant bass", gives him villain points, though. Extra villain points for the fact that it functions as a mild, mundane version of Charm Person. It probably goes along with the Stout Strength and "hands like hams".
When the High Seekers in the Emberverse really want to intimidate, they'll let loose a deep voice that borders on the aural equivalent of Alien Geometries.
Animorphs - The Crayak, a malevolent godlike alien and the Ellimist's opposite number, has a voice so low Jake feels like it's shaking him apart when they meet in person.
LordFoul in the Chronicles of Thomas Covenant is described as having a voice that's inhumanly vast, deep, and dripping with raw contempt, compared to what it might sound like if an abyss were speaking.
The Stargate Verse has the Goa'uld and the Wraith. The Asgard have a vocal effect, too (toned down in later seasons), but it's a lot friendlier-sounding than the ones used by the baddies. The Goa'uld, in fact, do this on purpose to sound more intimidating and can turn it off at will when they want to blend in or just be more personable. By the end of the series, Ba'al almost always drops the voice effect when he's talking to the heroes, as by that point he only makes a pretense of godhood toward those who will actually believe it.
The Tok'ra are the same species as the Goa'uld, so they can turn it off if they want to as well - however, they rarely do, in order to make it clear who's talking.
Three times this has been used by humans for subterfuge: Daniel used a voice modulator on Jacob Carter's cargo ship to record sentences in Goa'uld, which would then be broadcasted in a deeper voice; Daniel and Carter both used a voice modulator during a training exercise when one pretended to be a Tok'ra and the other one a Goa'uld; and Vala used an alien voice modulating device shaped like a glowing pendant in order to pretend to be the Goa'uld Qetesh (because Vala was Qetesh's final host before the latter was killed, and it wasn't widely known that Qetesh had died). In both of the latter cases, a member of SG-1 would get annoyed at the voice and ask to turn it off.
The episode that introduces the Asgard first shows Thor as the Norse Mythology 7-foot-tall imposing figure with a deep voice. This is a hologram, though. After Daniel passes the test, the real Thor reveals himself to be a frail, diminutive Grey with misshapen facial features.
In Power Rangers Dino Thunder, Trent's stint as the evil White Drago Ranger is accompanied by an artificially deepened voice. When an accident turns him back to normal, so does his voice. The evil white Drago Ranger clone has the same voice as the former.
And the Page Quoter, Koragg, also has his voice deepened especially during the shift to syndication. Geoff Dolan left Mystic Force after the shift & was replaced by James Earl Jones(remember he is Darth Vader) but Geoff's grunts & other stuff remained via archived audio. Geoff would later play the role of Gosei(who is not evil) in Power Rangers: Megaforce.
In Smallville, the phantom that borrowed Clark's DNA and made a clone body out of it (becoming the show's incarnation of Bizarro note In classic SmallvilleNot Wearing Tights and Not Using the Zed Word fashion. "I'm you. Just a little more... bizarre.") has a deeper voice than the real Clark, though it's not always obvious and can be turned off at will, apparently (he impersonated Clark for some time with the viewers and other characters unaware).
In Season 8, Lex Luthor pulls this off courtesy of a respirator, complete with Vader Breath. His protege, TessMercer, isn't as extreme an example, but she has the lowest voice of any of the girls in the cast. Davis' voice also become deeper when he is about to transform into Doomsday.
In season 10, Godfrey's voice gets deeper when possessed by Darkseid, but if he doesn't want to reveal it, only people with superhearing could notice the extra deep voice. Oliver and Lionel's voice is also turned much deeper when possessed. Also, Lois's voice gets deeper when possessed by Isis.
KITT's Evil Twin KARR also has deeper voice than KITT does.
In Doctor Who, several villains have deep voices. The Beast and Sutekh, both voiced by Gabriel Woolf, have deep voices to represent their ancient, primal evil. Meanwhile, in the new series, the Dalek Emperor from "Parting of the Ways" and both Supreme Daleks seen so far have deep voices to denote their supremacy. The Cybermen have had either high or deep voices, depending on when the episode was made, and the Sycorax chief from "The Christmas Invasion" has a low, rough voice.
Interestingly played with the Cult of Skaro - Dalek Sec has a higher pitched voice than any of his followers, but as it turns out, he is also slightly less evil than your average Dalek - not that it's saying all that much.
Subverted with some of the Dalek Supremes in the classic series and the Big Finish stories - their voices tended to be higher than the average Dalek's, making them sound even more unstable and highly-strung than the norm.
Played for Laughs in an All That sketch called Bridget's Slumber Party; the goth girl Claudia, who has supernatural powers, would often talk in a demonic voice especially if she was angry. Also, in the Poetry with Claudia short which had her read poetry to children, she would alternate the lines of the rhymes to sound creepy - at the end, she would scare the kids by saying the final line in a demonic voice.
Lampshaded in Angel when Holtz tries to convince Westley that he's trying to protect Connor.
Holtz: You don't believe me?
Westley: Hm, not sure, could be the low scary voice that's giving me trouble.
Supernatural's Castiel is an interesting example. Ambiguously played straight in the first and second episode he appeared in, as we didn't know whether the angels are on the Winchesters' side or not. Averted later, when it is revealed that, unlike the other angels, he doesn't want the world to be destroyed and genuinely cares about Dean and Sam. With his sacrifice in 4x22, he ultimately became a part of the family.
Also, it is revealed that his vessel, Jimmy, has a much higher voice.
Definitively inverted in the Season 6 finale. When Castiel becomes a not-so-nice god, he loses the Batman voice. It's fantastically creepy.
However, when upset, his voice drops to demonic levels.
The pitch of his voice is sort of a gauge on his emotions. When his voice is high and Sebacean/Humanesque, he is his usual five-steps ahead of you, eloquent Magnificent Bastard, tightly-controlled self. When things start to go wrong, he starts to slip into his Scarran side and his voice drops about four octaves and picks up some teeth. Discussed in this interview, around 3:20.
The drug dealer who may have ordered Becket's mother's murder in season three of Castle has a deep, scary voice.
On Heroes, Sylar's voice gets very deep and starts to echo a bit when he's about to do something evil.
Red John from The Mentalist is a subversion of this trope in that even when his voice is seemingly manipulated, he still has an odd, higher sounding voice. It turns out he was faking it, and he plays this trope straight courtesy of Xander Berkeley.
Inverted with Tom Waits when he wants to be creepy, he usually goes for a higher voice. Compare "Hold On" with "In the Coliseum".
DMX's Damien songs occasionally fall in to this, especially when Damien reveals his evil nature— "You sold me your soul when you didn't say 'no'. Just let a human with dark skin go? Well, give me what you owe!" If you listen closely, in the first song, Damien's voice sometimes even has a deep reverb to it.
Lupe Fiasco does this occasionally as well, such as the intros to the songs Little Weapon and Put You On Game. In ''The Coolest', the last seven words of "The ones that had deadbeat daddies, and well-to-do mommas, but not well enough to keep 'em from us..." are spoken with a second, deeper voice behind his own.
Insane Clown Posse: Shaggy 2 Dope, who has a scratchier, higher voice than Violent J, is usually the one to perform the "evil" parts of any given song. He's also more vicious in their wrestling matches. In fact, the fact that his voice ISN'T a stereotypical deep, booming bass makes him just that bit more intimidating.
Twiztid: Neither Monoxide nor Madrox has a particularly deep voice.
Inversion: the predominant vocal style in Death Metal consists of a low, menacing, and almost completely incomprehensible growling, while in Black Metal, mid- to high-pitched shrieking and screaming tend to be used. The inversion becomes apparent when you learn of the violence (church burnings, murders, and one particularly infamous suicide) that was part and parcel of the Black Metal scene around the time of its inception. Additionally, the death metal growl as a style is much-derided in many circles, pejoratively referred to as "Cookie Monster vocals".
Front Line Assembly's Bill Leeb averts, subverts, plays straight, and twists this trope every which way thanks to his near-obsessive vocoder use, dropping his voice to a guttural growl and just as quickly raising it to a high-pitched, windy tone.
Frontman Milan Fras of Slovenian group Laibach.
Eminem does this in the song "My Darling", where his separate identity (Slim Shady) is heard in a deep, demonic voice.
Subverted in "Beelz" by Stephen Lynch. The song's narrator, Satan, starts off with a deep, menacing growl but quickly switches to a high-pitched, almost feminine tone.
Opera & Musical
Scarpia in Tosca is a baritone, but lately, often sung by bass-baritones. He's an evil son of a bitch who wants to kill the tenor and rape the soprano.
The rare case of this trope in Puccini's operas. His other low-voiced characters, like Colline in La Bohčme, Timur in Turandot and Sharpless in Madama Butterfly are nice, or at least sympathetic, like Michele in Il Tabarro and Rance in La Fanciulla del West. And Gianni Schicchi is a Loveable Rogue.
Claggart in Billy Budd is a super-low bass. One of the most satanic characters ever.
Richard Wagner often fell into this. His heroes, such as Siegfried and Parsifal, would be Heldentenors. Villains such as Hagen were often basses or bass-baritones.
On the other hand, Landgraf Hermann, Henry the Fowler, Hans Sachs, Gurnemanz, and Titurel are all basses or bass-baritones as well.
Ring Baddies are mostly deep. Alberich is a bass-baritone, Hagen, Hunding and Fafner are basses (Fafner as a dragon in Siegfried has his deep bass amplified by megaphone), Fricka is a mezzo-soprano. However, Mime is a character tenor, but Mime is a fun villain.
Subverted by Mozart, who wrote mostly for basses as opposed to tenors.
Completely inverted in The Magic Flute, when the villain is an EXTREMELY high soprano, and the low bass is the good guy.
Osmin in Abduction from the Seraglio is a very low bass, but he's a funny and human villain.
Gian-Carlo Menotti's The Consul features as its antagonist a secret police agent, who is a bass-baritone. Has a creepy Villain Song to boot.
Gilbert and Sullivan weren't usually kind to tenors, portraying many of them as idiots or jerks. However, they had bass-baritone Richard Temple, who had a talent for macabre roles, creating such sinister bass roles as The Mikado of Japan, the Pirate King, and the ghost Sir Roderick.
The Grand Inquisitor in Don Carlo. 90-years-old, blind, and he sings the other bass, King Philip, literally off the stage. On the other hand, the baritone Rodrigo is the nicestand purest character ever to happen in a Verdi's opera.
Nick Shadow in The Rake's Progress - see "Samuel Ramey" above.
Subverted in Khovanshchina: Dosifey, the bass, is a good, wise priest.
Iago in Othello is a baritone - sometimes sung by bass-baritones.
Subversion: the Duke of Mantua in Rigoletto is a tenor, and a heartless whoremonger. The bass, Sparafucile, is an assassin, but he's honourable and almost sympathetic.
In Nabucco, the bass is a Good Priest, the soprano, Abigaille, is the baddie.
The Hidden Ba(da)ss: you know, there's that boring old bass guy, Ferrando, in Il Trovatore. He sings that long aria in the beginning that you sleep through. Then, in the current London production, Ferrando becomes Luna's bad spirit instead of the old buddy... being bald and having a Villain Scar.
Well, the Commendatore isn't a friendly guy either. Don't invite him for supper.
On that note, Don Giovanni himself counts, depending on whether he's cast as a bass or lyric baritone.
From The Tales of Hoffmann, there are four characters: Lindorf, Coppelius, Dr. Miracle, and Dapertutto. They are all played by the same bass-baritone, and are, quite literally, the incarnations of evil.
This was taken one step further in Baroque Opera, wherein any character anywhere within the actual male voice range -i.e. not meant to be played by a castrato- is INVARIABLY evil. Yes, even tenors.
There's a good tenor guy Bajazet in Handel's Tamerlano. Still, no bass in any Baroque opera could ever be good.
Marc Blitzstein 1949 Regina is all over the place with this one. The title role, greedy and morally bankrupt, was initially supposed to be a mezzo-soprano, but ended up a soprano. Her husband, Horace, and servant, Addie, are a bass and contralto respectively, but are good guys, as are Birdie and Zan, who are sopranos. Ben and Oscar, also greedy, are both baritones, and their son Leo, a much less endearing version of The Ditz, is a tenor.
Bartolo in the Figaro operas was cast as a bass by Paisiello, Rossini and Mozart.
The title role in Boris Godunov is something of a Villain Protagonist, and is a bass (though is occasionally sung by baritones). Interesting in that he's a bit of an Anti-Villain.
Der Freischütz gives us one straight-play and three subversions. Kaspar, the main antagonist, is a basso, but so are the kindly old hermit and Kuno, the protagonist's Mentor and father-in-law-to-be. Samiel is a speaking role, but generally high-pitched.
In general, contralto roles in opera are somewhat limited, sometimes described as being "witches, bitches, and breeches".
In oratorios, however (basically operas without sets or costumes and meant for church), the parts of God and Jesus were often sung by basses.
Musical theater in general; heroes tend to be sopranos and tenors, while villains are altos and basses.
Graverobber is a baritones, but Rotti, Luigi, and Pavi are tenors.
In Gounod's Faust, the basso gets to play Satan. He has a terrific aria toward the end, with one of the best Evil Laughs ever in opera.
Baritone Robert Merrill in his autobiography described getting ready for a performance and his son said "You're the rat again, aren't you, Daddy?" To which he replied "The baritone is always the rat, my boy."
Inverted in The Adventures of Superman, in which Superman's transformation from Clark Kent to Superman would be signalled by his voice going deeper, often mid-sentence: "This looks like a job... for Superman!"
Somewhat subverted in Guilty Gear. Potemkin has the voice of a TI 83 running a voice module at quarter speed, and the extremely threatening looks to go with it ; he's also one of the nicest and most polite characters in the series.
Inverted in Final Fantasy VI with Kefka and his trademark Evil Laugh. Seymour, on the other hand, plays this straight with his commanding bass voice, which becomes distorted when he transforms into Seymour Natus or Seymour Flux.
World of Warcraft: Death Knights have slightly altered voicesets compared to anyone else with the same race but different class. The original Death Knight hero in Warcraft 3 and other evil heroes also have deep voices.
...except for the female gnome Death Knights, whose altered voicesets just makes them sound like they recorded their lines while sitting in a tin can. And Undead Death Knights whose voice gets actually higher, which makes them sound more insane.
Let's put the list up: Ogres, demons (except for imps... and succubi, for obvious reasons), most undead creatures (especially the Lich King), black dragons, Kalecgos-when-mind-controlled-and-forced-to-attack-you, and good grief I could go on for HOURS. Warcraft BREATHES this trope. It's like some kind of drug to the voice actors.
Succubi count too; they're alto, which is female this-trope.
Averted, however, in that Thrall and Varian (both voiced by Metzen himself~) along with a good number of protagonistic chars have pretty deep voices as well. Meanwhile, look at, say, Kael'thas. And no, being a blood elf doesn't justify the lack of trope, as one of the blood elves in MGT has at least a deeper voice by comparison: "I! AM! A GOD!!" Kael's was definitely especially high even by standards of his race, but not high enough to register the shrill creepy opposite-end of this trope either.
Grom Hellscream changed from having a scratchy, high-pitched voice in Warcraft II, to a deep, gravelly one in Warcraft III.
Played with in most games based off Warhammer 40,000: The voices of loyalist Space Marines are almost as deep as their Chaos counterparts. Then again, this is Warhammer 40,000, where everyone is evil sooner or later.
Inverted in Myst IV: Revelation, where the good guys Achenar, Atrus, your spirit guide have low tenors or baritones, whereas the bad guys, that is to say Sirrus, are nearly countertenors but not squeaky or unpleasant to hear. This is, of course, leaving out Yeesha, who is neither bad nor deep-voiced, but also prepubescent and female, excusing her soprano tones.
In the Sam & Max: Freelance Police episode What's New, Beelzebub?, all the demons who impersonate other characters have artificially deepened voices when they break character.
The voice of the Dungeon Keeper's advisor. Conversely, if the in-game vocal "taunts" are to be any guide, the Keepers themselves almost sound like they're on helium.
Modern Warfare: The Shadow Company soldiers' voices, which are pretty damn scary.
Mass Effect 1: Sovereign has a very deep, ominous timbre, with all the flanging one might expect from a synthetic being. At high enough volumes, it almost feels like it's rattling your teeth.
Harbringer follows in his footsteps in Mass Effect 2. The main difference between the their voices is that Sovereign sounds detached, uncaring, which is pretty much what you'd expect from an ancient sentient starship that considers "organic life nothing but a genetic mutation." Harbinger, on the other hand? There's actual emotion there. HATE. There's just more malevolence in that voice, not to mention the way it says "THIS HURTS YOU, SHEPARD."
The Shadow Broker has a ridiculously deep voice as well, even without vocal modulation.
The unnamed Reaper you speak to in Mass Effect 3 also has an incredibly deep voice. You can actually see the air shimmering when it speaks!
A conversation between EDI and Engineer Adams reveals that she'd been attempting to disguise the Normandy by experimenting with fragments of code found within the captured Reaper IFF from the previous game. Cue EDI unveiling her best Reaper impersonation;
EDI: I tried saying " Humans are dust in the stellar wind!" but apparently that was no longer sufficient.
In Persona 4, most of the Shadows speak with a Voice of the Legion involving the victim's actual voice layered over a deeper echo of it. Naoto's shadow is an exception though, it's layered with a higher-pitched voice.
Teddie's shadow is also an interesting meta case, its voice has a reverb effect to it, but otherwise is much deeper than the normal character's speech, sounding like a completely different person entirely. However, both roles are done by the same voice actor.
Stephan Weyte has gone between subverting this and playing it straight; among his other roles in video games are three that he used the same deep, gravelly voice for - one good (Greil in Fire Emblem), one neutral (Captain Claw in, well, Claw), and one evil (Caleb in Blood).
In Tekken, when Devil Jin talks, his voice is much lower than the normal Jin Kazama's. And in Tekken 6, though it's subtler, regular Jin has a slightly lower-sounding voice as well.
In Iji, Tor's voice sounds like Darth Vader with laryngitis. This was so prevalent, the game's creator had to explain what he was saying in his speedrun videos. Subverted, he's really a good guy inside.
Inverted with Ignus, the most chaotic evil character you can have in your party. His high, cackling contrasts heavily with The Transcendent One during their dialog.
Inverted in Fable with Jack of Blades having a creepy, high-pitched voice. Played straight in The Lost Chapters expansion, where his voice has been artificially lowered to a more demonic tone.
Diablo in all his incarnations is very fond of this.
In The Elder Scrolls series, Hermaeus Mora always has a deep voice when speaking. In The Elder Scrolls IV: Oblivion his voice takes a deep guttural tone, while in The Elder Scrolls V: Skyrim he adopts a more soothing grandfatherly tone because he wants to make you his new Dragon. It's rather creepy when his voice switches between menacing when impaling his former treacherous champion Miraak and comforting when reassuring you that as long as you remain loyal to him he'll provide rich rewards in the blink of an eye.
Ulfric Stormcloak, depending on what you make of the notoriously grey and hazy Civil War sub-plot. If you sympathize with the Stormcloaks instead of the Imperials, he's more Badass Baritone.
In The Space Bar, the Big Bad Ni'Dopal has a deep, guttural voice, all the better to creep the main character and the player out while threatening to do horrible things to the main character and his partner that's being held hostage.
Inverted for Richtofen in Nazi Zombies, he has a very high pitched voice compared to the other male characters, and it kinda defuses the fact that he is Ax-Crazy and The Chessmaster. Emphasis on kinda.
Parodied in the French web series Le Donjon de Naheulbeuk, where all the evil guys have deep, low voices. Subverted since the friendly ogre travelling with the... hem... heroes also has a low voice, and the fiery demon living in the dungeon has a rather high, metallic voice. The series also provides good examples of Evil Laugh.
One of the signs that the AI O'Malley/Omega is possessing someone in Red vs. Blue is their voice suddenly going deep and random psychotic comments ("So you didn't threaten to cut off my head and give it to Church as a birthday present?")
Reflets d'Acide parodies this with the villainess Alia-Aenor, who is a giant black dragon with a very deep voice... in contrast with her human form, who has a little girl's voice.
In All Your Base videos, CATS is usually voiced by Microsoft Sam at his lowest pitch setting. Other characters usually get higher-pitched, and less robotic sounding voices.
The voices of the Shadowmen in Broken Saints are distorted to make them deeper both to disguise the fact that we know two of them, and to of course, make them sound more menacing. This is doubly true for Lear Dunham, who has one level of distortion for his Shadowman scenes, and another for his mysterious presence in Kami's vision and Shandala's dreams.
Deathside from Super Academy. Even when he's speaking in his higher-pitched, mocking default tone, there's a definite bass rumble behind his words. When he gets mad, though, he loses the affectation, revealing just how damn low he can go.
Granny Goodness, who, being voiced by Edward Asner, has a voice deeper than any normal woman.
The Transformers averted it with Megatron and Starscream both having very high, whiny voices. In The Movie, Unicron played it straight. Megatron in Beast Wars and Transformers Animated are another story, though. Animated also has Lugnut, but Starscream still has a high, scratchy voice despite being a bigger threat to more people than ever before.
The live-action movie played it straight by making Megatron's voice very deep as well as Barricade's. Movie Starscream is the first incarnation of 'Screamer to have a very deep voice as well - though ever so slightly higher than the others.
Its worth noting that the most noble of leaders, Optimus Prime, has a very deep voice (especially in the live-action movie).
When Hot Rod becomes Rodimus Prime his voice drops quite a bit, but this might be part of the whole 'becoming a man' Hero's Journey theme the movie has.
Welker's performance as Megatron in Transformers Prime is nothing like his G1 voice, much deeper and subdued, and much more intimidating as a result.
Most of the Decepticons from Prime have some very deep voices, in fact. Dreadwing and Shockwave are perhaps the deepest, but even Knock Out has a deep voice!
Motormaster, one of Megatron's henchmen in G1, is frequently portrayed as having a hollow, bottomless pit sort of voice.
Killface, from Frisky Dingo, who is also electronically deepened.
Batman: The Animated Series used this not only for Batman (see the entry for "Film") but also for their version of Two-Face: Harvey Dent's voice was relatively high and lively, while his darker personality's voice was gravelly and deep.
Both subverted and played straight in G.I. Joe; Cobra Commander has a very high pitched, whiny voice, while Destro has a suitably deep one and Zartan's is relatively normal, but with an electronic echo effect that makes it sound louder than it is.
Played straight in the live action movie, where the Doctor who later upgrades to the Commander pulls the deepest and most menacing voice he can do.
In American Dad!, it's revealed that Steve's obese friend Barry has to take mind altering medication. When Barry doesn't, he becomes malicious and gains the matching deeper and a Creepy Monotone voice.
His voice also takes on a british accent at the same time (again, for the creepy effect)
Dr. Claw, of course. (Unless the voice comes from excessive chain-smoking, and he just puts the echo on for effect...)
In the same vein as Dr. Claw, there's Dr. Robotnik in Sonic Sat AM. Easily the most intimidating incarnation of the character, his dramatically reverberating voice usually stayed at the level of a whisper (at least in the first season), but its menacingly low tones are among the most memorable aspects of the series.
Kim Possible: "Rufus In Show" Subverts this with the villainous Falsetto Jones who was caught in a "freak helium accident" that heighten his voice. Naturally he was hilarious, but too Genre Savvy to ever be used again.
In the early Popeye shorts, Bluto's voice was baritone. Especially notable if he were being played by Gus Wickie.
Inverted with the villainous HIM from The Powerpuff Girls, who possesses a creepy falsetto voice.
He does, but when he gets serious/angry/just wants to be extra dramatic, his voice goes from high-pitched to really deep and growly.
Makuta Teridax of the first two BIONICLE films has a REALLY deep voice. Becomes a bit jarring when you realize the actor playing him secondarily plays the high-pitched Pewku.
Subverted in Gargoyles. Not only does Goliath have a deeper voice than the main antagonist, but he has the deepest voice in the entire primary cast. Played completely straight with Goliath's Evil Twin, Thailog.
Also Jorgen Von Strangle, though he's less evil and more Lawful Stupid.
Latanya Hippo from My Gym Partners A Monkey may not be evil but she does talk in a deep, scary demonic voice especially when she is angry. It was later revealed that she's an alien named Hipeon in drag.
Also briefly with Sam when Undergrowth brainwashes her. Not only is it deeper, it's seductive.
When Trigon, the main villain of the fourth season of Teen Titans, had to be even more evil and threatening than Slade, the creators decided that he also had to have an even deeper voice than Slade's already quite deep Creepy Monotone.
Inverted in the 1960's Spider-Man cartoon, where Peter Parker deepened his voice significantly every time he put on his Spidey mask.
Oogie Boogie from The Nightmare Before Christmas has quite the deep voice. Also played with the hero Jack Skellington, as he uses a deep voice both for his more creepy scenes and when he tries to be Santa.
Belphegor, the antagonist of the Belphegor series, voiced by Denis Mercier (who sounds like a mix between Steve Blum and Dr. Claw, if they spoke French). His voice is always deep, even when screaming or talking loudly. A small example can be seen here.
In American Dragon Jake Long, after time traveling Jake finds out that as a teenager, his arch enemy the Huntsman, had an incredibly high crackly voice and was taunted by the entire Huntsclan for it. After an incident with a Kraken, he developed the voice that most magical creatures fear.
Nightmare Moon of the pilot has a pretty deep voice and a great Evil Laugh. Justified by the fact that her larger stature (roughly 1.5 times the size of the main characters) would give her longer vocal cords, and thus a lower-pitched voice.
Zig-zagged by Discord, who, being voiced by John de Lancie, has a somewhat high-pitched voice. However, he's got a great range, and there are several lines where it sounds deeper than normal.
King Sombra of the Season 3 opener has a very deep voice indeed.