Used for Ray's vocals on "Old Town Road (Remix)", as stated by mix engineer Andrew "VoxGod" Bolooki in this August 2019 Sound on Sound interview.

Billy Ray Cyrus' verse lead vocal provides an example of the mind-boggling complexity of Bolooki's vocal treatments. The audio is spread over five tracks (36-40), four of them with the same insert effects chain of Melodyne, FabFilter Pro-Q 3, FabFilter Pro-DS and Waves CLA-76. The fifth track replaces the Pro-DS with the Avid ModDelay 3, and adds a send to the 'rvb2' aux with the Soundtoys Effect Rack. All five audio tracks are routed to an aux group track (35), which has the Pro-Q 3, Waves C6 and RVox, UA Distressor and SSL Channel, plus a whopping seven sends to delay and reverb aux tracks, and another Distressor aux. The quarter- and eighth-note delay auxes themselves each have four insert plug-ins (Waves H-Delay, Pro-Q 3, MetaFlanger, and DVerb) and a send to the 'rvb1' reverb aux. That means that the verse vocal alone has a total of 38 plug-ins, spread over five audio tracks, one group aux track, and seven aux effects tracks!

Bolooki: "I spoke to a mixer a couple of years ago and asked him how he got things to sound so polished. And he said: 'You can't just throw on a plug-in, you have to take more control, and make sure you purposely put things in different places in different ways.' So, for example, in this song I added the DVerb to the delay auxes, to create a distant effect, so it's not obvious. There are many effects going on, but none of them are overpowering. They are all set back. Nothing gets in the way of the lyrics and the vocal performance. I could probably delete half these effects and it would have sounded the same, but people liked it the way it was, so I left them all.

"This was the first time I used the UAD Distressors and I ended up having two on Billy's vocals: one as part of his main vocal aux, and another set much more aggressively in a parallel and blended back into the same lead vocal aux. This made his vocals really kick ass, and helped make each word crystal-clear. I also ended up copying the Waves SSL strip from Nas' vocals on some of Billy's vocal tracks too, just for some tonal continuity. I have no problem stacking plug-ins on plug-ins. If it's better, it's better.

"Just to highlight some of the other plug-ins I used, there's an aux called 'VoxDoubler' with the Waves Greg Wells VoiceCentric. It definitely adds a bit more of a finished feel and works well mixed in parallel. I put the Waves C6 multiband compressor on almost every single vocal bus, using the 'Pooch Vocal' preset. This cleans up some of the mud. You can solo the side-chain bands and sweep around until you find the annoying frequency, and then just cut that out. If I need to play back something for someone really fast, this is my emergency plug-in to get it to sound better really quickly. Also, the Melodyne plug-in is greyed out, because I printed it. I also like using the Pro-DS, and always put it before the CL76 compressor, because I think it just makes the most sense to fix issues before you boost the whole track with a compressor."

Used for Jones' vocals on Gorillaz's "Charger", as mentioned by recording engineer Stephen Sedgwick in this July 2017 Sound on Sound interview about the production of Humanz.

“Grace Jones’s vocal tracks were sent through the Roland RE201 Space Echo. I also had hardware compression on her, and then printed her vocals back in Pro Tools and added a Waves Renaissance Compressor just doing a bit of level control. Again, I just had fun with the Space Echo, and did loads of different passes. It’s more fun to use your hands like that, and you come up with stuff you would not do with a plug-in. All of a sudden the delay will hit a dirty bit of tape and you get a little glitch in there that repeats. These are the little bits of magic that you can’t get from the software. I presented what I had done to the guys and they edited it. You can still see this in the muted parts where I had done things they did not use. Tracks 75-77 are a reverse reverb on some of Grace’s vocals, leading into some words. I did these in Pro Tools. I would have taken her first word, printed it with a long reverb on it, probably just from the [Avid] D-verb, reversed it, and then put a UAD Dimension D on it to make it stereo.”

In this breakdown of Seth's mix on Future's song Draco. Seth states "The chain on the aux is Auto-Tune, going into Avid’s Extra Long Delay and then into the D-Verb. People were tripping and speculating about the reverb I used on his voice on DS2 which they said was so amazing, but it was just the generic Pro Tools D-Verb plug-in. People talk shit about factory plug-ins. There’s tons of other stuff out there, but give me good old D-Verb any time, and I can make it sound good. With bundled plug-ins it’s all about how you use them."