at 3:05 you can see Deadmau5's fabfilter plugins. Pro-DS is among them.

In this video at 34:27 we can see FabFilter Pro-DS De-Esser Plugin

Used on "Hymn for the Weekend", as mentioned by A Head Full of Dreams co-producer Rik Simpson in this Sound on Sound article.

It was very important to get the development and arrangement of the vocals right. Many of the 45 tracks are effect tracks. There’s only one lead vocal track each for the verses [LV Verse], for the bridge [LV Bridge], and the choruses [LV Chorus], and then Chris sang a number of bridge and chorus vocal overdubs. The main verse vocal has the Avid Channel Strip, which is taking out some low end, an SPL TwinTube, which adds some saturation, the UBK1 compressor adding more crunch, and the UAD Fairchild 670 and SSL E Channel. I don’t use a great deal of compression from each unit. I will just tickle it a little bit with each one, and each one adds a different characteristic. I could just add a whole load of compression from one plug–in, but like this it doesn’t sound over–compressed. The Pro–Q 2 is, again, a high–pass filter. In the sends there’s a Waves H–Delay that I recorded elsewhere, and sends to a main D–Verb and two QL Spaces aux tracks. I have different reverbs and delays for each part of the song so that the vocal sound evolves during the song.

“The main chorus lead vocal has the FabFilter Pro–Q 2 EQ, the Waves Rennaissance Vox, again the UBK1, two instances of the FabFilter Pro–DS de–esser, two instances of the UAD Pultec EQP–1A, and the FabFilter Pro–MB multi–band compressor. I like the FabFilter de–esser. I am still trying to find the ultimate de–esser, because it’s quite a hard thing to do right. I have two because one is doing high top sibilance, and the other lower stuff around 2kHz. The sends on chorus lead vocal go to aux tracks with the Waves H–Delay, the FXpansion Bloom with a lush, wide stereo delay, a small chamber from the QL Spaces plug–in, a mono delay from the UAD Echoplex, and several other delays. The sends to the delays are all automated independently, with different words getting different delays.

“One thing of note is that there also is a ‘Hope House M80’ vocal track, recorded when Chris was still using the Telefunken M80, and it’s mixed in very low. There’s also a lead-vocal double that has ‘251’ marked, indicating that Chris was also using that mic. But the main vocals were recorded using the Soyuz. There are two tracks marked ‘251 Melo Lead’ and ‘251 Melo Double’, again mixed in low. ‘Melo’ stands for Melodyne, and these tracks are raised two semitones. They were recorded in a different key for a different version of the song, and detuning them added a certain alien quality to these vocals which we really liked. At the bottom of the session are the Beyoncé vocal tracks, on which I mainly used the SSL E Channel strip, UBK1, L2, SoundToys Echo Boy, Avid ModDelay and the QL Space.”

In the video titled "How Charlie Puth Writes a HIT Chorus (In Real Time)" by Studio on YouTube, Charlie Puth is seen demonstrating the use of the FabFilter Pro-DS De-Esser Plugin at the 13:46 mark.

Used for J. Cole's feature on 21 Savage's "A Lot", as is visible in track "CILdVrDIRTY" in a downloadable photo of the "A Lot" Pro Tools session (available in this .zip file) from this March 2019 Sound on Sound interview with producer Maddmix.

at 25:39 you can see his list of fabfilter plugins

The Weeknd utilized the FabFilter Pro-DS De-Esser Plugin on his track "The Hills," as detailed in Soundonsound's "Inside Track: The Weeknd."

Used for BTS' vocals on "Fake Love", as stated by producer James Reynolds in this August 2018 Sound on Sound interview.

‘All Vocals’ bus: Overloud Tapedesk, DMG Audio EQuilibrium & Kazrog KClip.

“This is pretty much my standard chain. I have the Tapedesk as my first plug-in. I love mixing into this, because I love the saturation that it gives to vocals. This is followed by the EQuilibrium, which notches out some high end. The Eiosis Air EQ Premium is next and does something slightly more interesting, because I am automating it with the green automation line. I use the automation to turn the Strength slider fully up for the pre-choruses and the choruses, which adds real excitement to all the vocals in these areas. Then there’s the Pro-DS de-esser set to a pretty high threshold, because I have already de-essed on the individual tracks. It’s just to catch anything else that I may have missed. Finally the KClip is just catching any remaining peaks.”

In this video at 1:50 the protools analysis of her unreleased song "Fantasize" shows the use of this plugin

Used on Purpose, as stated by mix engineers Josh Gudwin and Andrew Wuepper in this May 2016 Sound on Sound interview about the mixing of the title track and others.

Gudwin picks out a few other interesting tracks, beginning with a vocal track named ‘vcls’. “That track contains a vocal sample that Blood made of Justin’s vocal. I’m just touching that with the LFO Tool for a bit of pumping, I take out some high frequencies with the Pro-Q 2, and then use the SoundToys Microshift for a slight pitch-shift/chorusing effect. ‘Sry1V’ below that is the vinyl sound in the track. ‘$JBU’ is the main lead vocal bus, on which I have the UAD 1176, Waves De-Esser, Manley Massive Passive, Metric Halo Channel Strip. The sends are to the generic aux tracks at the bottom of the sesion: verb, ping-pong delay, Dimension D. Below the lead vocal bus is the print track of a Bricasti outboard.”

Wuepper: “There are two tracks called ‘Bric’ around the main vocal bus; the one above is the print from the Bricasti effect that was used on the percussion, and the one below is the print of the Bricasti reverb on the vocal. Next are Josh’s vocal delays. Putting delays on audio snippets [ie. copying short vocal clips to new tracks and applying delays as inserts, rather than automating a send from the main vocal track] is a pretty interesting way of doing things. I’ve not seen anyone else do this, but it makes it easier for Josh to manipulate these delays and to go deeper into the effect. He can really fine tune the delay times and decay lengths and so on. Sometimes the feedback you get with plug-ins can act a little weird, and this approach allows him to have more control.”

Gudwin: “The five green tracks are all vocal throws and delays. I don’t like to automate delay throws via aux tracks. The top green track is the master track for the delays, ‘JB Throw All’, and it has a compressor and an SPL Vitalizer. The ‘1147’ delay track has the UAD Cooper Time Cube, with a quick ping-pong-y flutter delay that I use to widen, and the track called ‘1167’ has a basic eighth-note delay from the Echo Boy. The ‘A’ insert is Auto-Tune, but it’s not working on these tracks. When needed, our vocal tuning is normally done by Chris ‘Tek’ O’Ryan in Melodyne. I sometimes do it myself, if I have the time do it, in the stand-alone version.

“The blue vocal tracks below the vocal delay tracks are the main lead vocal comp tracks, and on many of them I have the UAD SSL Channel Strip, UAD LA-2A, and the Waves C6 multiband compressor, and sometimes also the Pro-Q 2 EQ. The ‘DLYP’ track has a delay pan effect, with the SoundToys Primal Tap delay and Panman auto-panner, SSL Channel Strip and the P&M Vinylizer. ‘White’ and ‘Master’ are printed reverbs recorded in two rooms at Henson. They are my main plug-in vocal reverbs, and the green tracks below are pitched with the Elastic Audio X-Form [in Pro Tools] and effected with the Waves H-Compressor for a pumping effect. I pitched the reverbs up an octave or two, and I mixed them in very low. The ‘PCM’ and ‘PC1’ tracks are prints from ping-pong delays from the Lexicon PCM42 outboard.

“Justin’s backing vocal tracks all go to the group track called ‘JBG1’, on which I have a Waves De-esser, an SSL Channel and the C6 multiband compressor, plus there are a number of delays and reverbs via the sends. Trevon’s backing vocals all go to ‘JBTR’, which has similar effects. I wanted to fill the song up a bit more, and sometimes it’s not the most enjoyable process for an artist to sing all these background parts. Plus a different vocalist will add a different texture to the song, as long as it complements the lead vocal and the record. As I mentioned, Julia added her vocals during the final mix in New York, and her group track also has the De-esser, SSl Channel and C6. Right at the bottom are some effects tracks, with the Dimension D and group delay throws, and so on.

(...) 'Love Yourself'

(...) Next are Justin’s vocals, with I overdubbed in New York. Almost all the regular vocal tracks have the UAD SSL Channel, LA2 and the Waves C6 multiband compressor. These three plug-ins work great on his vocals, so I tend to stick with them. Each of the vocal tracks has slightly different settings from them. They all go to Justin’s lead vocal bus above them, which has the FabFilter Pro-DS de-esser and the Pro-2 EQ. Justin’s lead vocals also go through the Bricasti, and the effect is printed. My own four backing vocals went through a vocal bus on which I had the SSL Channel, and a compressor, but they didn’t do much, nor did the sends. These vocals are very much in the background, I just wanted to add some texture really quickly. Finally, at the top of the session everything went through a Master track, on which I had the UAD SSL channel, mainly for compression set to mid-attack and auto-release — without drums you don’t need the slow attack and quick release — a Massey EQ, boosting 100Hz and 16kHz, a FabFilter Pro-L for level, and the Sonnox Oxford Inflator to add some sheen.”

'What Do You Mean?'

(...) “There were a few more complicated vocal effects, like the ‘JG FX’ track, on which I used the Vitalizer doing some spatial expanding, a UAD Fatso to thicken it up, and I then cut some low mids with an EQ, and used a de-esser. This effect track gave more depth to the vocal and made him sound more like an angel! Underneath that are two ‘Radio’ tracks [which sound like they could have come straight from Peter Gabriel’s ’80s Fairlight experiments]. I used Auto-Tune to pitch the vocals up, and then put on a SoundToys AlterBoy, which changed the formant, and then I’m filtering 350Hz and below.

“Below the ‘radio’ tracks are all my vocal delay tracks, in green as usual, with the bus for all delay throws at the top. One delay track, ‘Splaater’, is a flutter delay with Auto-Tune and the Cooper Time Cube, and the other two have the Waves H-Delay and SoundToys Echo Boy. They’re both quarter-note delays, but with different feels. Below the delay tracks are some ad lib tracks, and all the actual lead vocals, pulled out over several tracks. Most of them have my regular trio of UAD SSL Channel, LA2 and Waves C6 plug-ins, and all vocals are sent to the ‘JB Buss’, on which I have the FabFilter DS de-esser, a Manley EQ doing light cuts at 330Hz, 560Hz and 3kHz, and then a whole bunch of sends to my regular aux tracks at the bottom: a hall reverb, a plate reverb, a light quarter-inch delay, a light ping-pong delay and a Dimension D.

“Further down are four Justin backing vocal tracks, which go to a bus above them, ‘JBG1’, on which I have the SSL Channel, boosting highs and cutting lows and doing some heavy compression, a UAD 33609 compressor, and then the Waves Enigma [phaser/flanger] on a Mutron setting, adding some sweeping sounds. The sends are once again hall and plate reverbs, a quarter-note and a ping-pong delay and a UAD Roland Dimension D. Once Justin had decided to go with my rough mix, I spent another half hour on it, doing some EQ adjustments, and that was it.”

Used on "Apeshit", as stated by producer Stuart White in this September 2018 Sound on Sound interview.

The first four aux tracks feature SoundToys effects, namely Little Microshift, two EchoBoy delays, and a delay from the Little PrimalTap. Next are a Hall Reverb aux and a Church Reverb aux, both using Waves’ RVerb, an EMT plate from Audio Ease’s Altiverb, four aux tracks with the Waves H-Delay and various other plug-ins on them as well, and four more reverb auxes with the Avid Revibe II, two Avid D-Verbs and another RVerb.

White: “I use the Little Microshift in pretty much every mix, with the left-right micro pitch-shift effect that’s similar to the classic effect in the Eventide H3000 shift where you pitch one side down six cents and one side up six cents to create width. It’s a good way to get your vocals wider without them being out of phase. It thickens up vocals, and is kind of like a doubler. I do quite a lot of filtering on some of the EchoBoy delays, for example with the Waves REQ, and I am adding colour with the SoundToys Devil-Loc, which is great if you want to colour the delay so it is separate from the main vocal, and compress it with the UAD LA3A and mix that in to taste.”

(...) Beyoncé’s lead vocal tracks consist of three aux tracks, four ‘dirty’ and eight ‘clean’ audio tracks. The audio tracks only have the EQ3 on the inserts and a few of them have a send to the Church Reverb. All White’s processing is done on the three aux tracks. “All lead vocals are sent to the ‘B Aux’ track and the ‘B Parra Aux’ tracks. On the former I have the McDSP DS [sic] 555 de-esser. I use the Waves de-esser the most, but in this particular track, because I wanted to compress her voice really hard, I felt that the 555 would work the best. I am rolling off until 6144Hz into what it is detecting; it’s like a side-chain filter. The FabFilter Pro-DS is doing a little more gentle look-ahead de-essing.

“After that there’s some pretty heavy EQ from the EQ3, with a high-pass at 142Hz, a 9dB cut at 244Hz and a 2dB cut at 3kHz. My cut at 244Hz is because she is singing in this husky, low voice, so there’s not a lot of energy in that. I get the energy from the RComp compression, and the EQs, including from the SSL E-Channel, are there to make her sit in the track, rather than making it sound filtered. I love the RComp, mainly because it doesn’t sound like compression to me. The SSL E-Channel adds a bit more compression, and the [Crane Song] Phoenix II Tape Emulation is really cool because while it doesn’t actually sound like tape, it smoothes out transients in a signal just like much analogue equipment does. It enables me to get a fatter vocal sound that again makes the vocal sit in the mix. The final EQ3 has a notch at 3.2kHz to take out some harshness. I also have sends to the Verb aux track, which are the D-Verb and [Waves] H-Reverb, and the Delay 1-4 aux, with the EchoBoy.

The other aux track, ‘B Parra Aux’, is a parallel compression track, with the RCompressor and the CLA 76, which I mixed in low. Both these aux tracks then go to the ‘LD ALL Aux’, on which I’m doing some more surgery with the McDSP AE400 [dynamic EQ], which allows you to set a threshold, just like on a compressor. It’s like turning a volume knob down on a frequency the moment it gets out of control. Finally, there’s the Waves C4, for some control, to keep the vocal even. This track has a lot of energy, so this is an example of using compression for energy, mood and attitude. I also worked a long time to get the compression on Bey’s breaths to pump on the beat. I wanted her breaths to be another percussive element in the track, and getting the attack and release on the compressor right was key to getting that feel and pumping effect.”

Five of the 22 Beyoncé ad lib, backing and harmony vocals below her lead vocals also go to the above-mentioned aux tracks, while the rest have their own signal chains. These audio tracks are sent to several aux tracks, often with tons of plug-ins, and all aux vocal tracks in the end get sent to the ‘Voc All’ group aux right at the top of the session, which has an RCompressor, with ratio at 10:1. There are more group aux tracks, like ‘TrackAux’, ‘FX Voc Aux’, ‘FX’ and ‘Music Aux’, which all get sent to the ‘All Aux’. This in turn gets sent to the ‘no limiter’ mix print track, and finally there’s a Stereo Master track.

Used for BTS' vocals on "Fake Love", as stated by producer James Reynolds in this August 2018 Sound on Sound interview.

‘All Vocals’ bus: Overloud Tapedesk, DMG Audio EQuilibrium & Kazrog KClip.

“This is pretty much my standard chain. I have the Tapedesk as my first plug-in. I love mixing into this, because I love the saturation that it gives to vocals. This is followed by the EQuilibrium, which notches out some high end. The Eiosis Air EQ Premium is next and does something slightly more interesting, because I am automating it with the green automation line. I use the automation to turn the Strength slider fully up for the pre-choruses and the choruses, which adds real excitement to all the vocals in these areas. Then there’s the Pro-DS de-esser set to a pretty high threshold, because I have already de-essed on the individual tracks. It’s just to catch anything else that I may have missed. Finally the KClip is just catching any remaining peaks.”