In addition to the Universal Audio Precision De-Esser Plugin, the DBX 902 was used to process guest vocalists for Daft Punk's album, to "make the vocal brighter without it being sibilant."

One tip from mixing engineer Mick Guzauski is to very narrowly cut the vocals around 3-4kHz.

Used for the vocals on Only by the Night, as mentioned producer Jacquire King in this December 2008 Sound on Sound interview.

"Caleb's vocals were recorded with a Shure SM57 going through a Chandler TG2 mic pre, a Neve 1073 EQ, an LA2A compressor, and I also had a Dbx 902 de–esser on them."

The following is the subsequent signal chain for the vocals of "Sex on Fire":

• Vocals: Sound Toys Echoboy, Audio Ease Altiverb, Massenburg DesignWorks EQ, Neve 1099, Urei 1176, Dbx 902, Dolby A encoder, Teletronix LA3A

"I had a Sound Toys Echoboy delay and an Altiverb reverb, set to the EMT 140 plate, on the vocals. In fact, there are two or three delays and two or three reverbs in total, different amounts in different sections of the song. I had a Massenburg plug–in EQ on the vocal bus, and underneath it you can see my insert signal chain: Neve 1099 EQ/Urei Blue Stripe 1176/Dbx 902 de–esser. I pre-mix in my computer and things are coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo. The 1099/1176/902 were inserted in the analogue realm and daisy-chained. There's also a distant lead double in the chorus. I call that a performed effect. Instead of using a delay and modulation to get something in the background, you record a second performance in a different space and with a different microphone. You get something more deliberate and unique that way. Finally, once it came to summing, I also added some Dolby A to the vocals, which gives an excited high-frequency sound that I sent through an LA3A and blended back in."

Used for the vocals on Champion Sound, as stated in this September 1, 2003 Remix article.

“I think Madlib pretty much just invents his own rules,” Peanut Butter Wolf muses. Studio engineer Dave Cooley claims that holds true even when a different setup is needed. For “React,” Jay Dee's beat and 'lib's turntable cuts were flown into Digidesign Pro Tools from separate stereo and 4-track masters. Madlib then tracked his vocals on an Audio-Technica 4033A and a Shure SM7, from there going into a Neve 1099 preamp, a GML 8200 EQ, a Universal Audio 1176LN limiting amplifier and finally a dbx 902 De-Esser. “We usually de-ess maybe 4 dB off of the vocals and then compress with a ratio of 8 to 1, which is pretty high,” Cooley explains. “But Madlib likes his shit loud, and it's mixed loud to begin with. He has a really cool ‘angular’ mixing style: Something is always sticking out.”

In a video interview on "Produce Like A Pro," Tommy Lee's Atrium Studio is shown to house a DBX 902 De-esser Module, which, although rarely used, is part of his gear collection.

Gear List: 48 input SSL Duality console Neve 8014 console 48 channel Pro Tools Studer 827 24 track tape machine 2 Fairchild Compressors 2 Acme xla-500’s Lang Equalizers Pultec Equalizers Drawmer Processor Bricasti Reverb 1176 limiters DBX 902 Processors LA-2A Compressors Distressors Shadow Hill Processor Calrec Equalizers Private Q system Custom TAD monitors.

"One of the hardest things to do is to get rid of sibilance using only EQ without affecting the presense of the vocal," he says. "It's an art. I use a Dbx 902 de-esser, which is one of the best-sounding de-essers out there. But it only has one frequency per curve. So I do the de-essing using the SSL EQs through a side-chain. They allow you to really key in on the affected frequencies.

In an interview video titled "Ben Grosse Interview and Studio Tour" by Produce Like A Pro, at the 17:38 mark, Ben Grosse confirms using the DBX 902 De-esser Module.