"In a reverberant track such as 'Room for Happiness' featuring Skylar Grey, this means using a production chain that begins with the Focusrite D2 EQ/dynamics control, dipped around 61Hz."

In this interview, Steven Wilson says, "For processing, I like the Focusrite D2 EQ [Pro Tools plug-in]. I do a lot of megaphone-type vocals, and that's literally just the D2 with an incredibly high low-pass and incredibly low high-pass filter, around 2KHz."

The d2 was used for the distorted guitar on "Makes Me Wonder", as stated by producer/mix Ming engineer Mark Endert in this September 2007 Sound on Sound interview.

“The distorted guitars are not featured in the track, but we needed them in the choruses to make it sound like Maroon 5. Something didn’t feel right, however, and I duplicated the distorted guitar tracks to separate tracks, and offset them by an eighth note later in time, filtered them to eliminate the bottom end and took out a lot of mid with the Focusrite D2, and then brought that back in separate faders. I mixed that in behind the original guitars and for some reason it sounded much fuller and also much cleaner, because it wasn’t a real delay. With just one filtered repeat the distorted guitars immediately sounded bigger, whereas when I tried outboard delays with repeats, it sounded too crowded and washy."

"Imogen's workhorse plug-ins at the mixing stage were the Focusrite D2 EQ and D3 compressor, along with the Waves Renaissance Compressor." (From Imogen Heap's interview with Sound On Sound magazine.)

Can be seen under Inserts at 5:15

Daniel Miller uses the Focusrite d2/d3 Plugins, as mentioned in his gear list featured in Sound on Sound.

The d2 was used for "Makes Me Wonder", as stated by mix engineer Mark Endert in this September 2007 Sound on Sound interview.

Drums: Alan Smart C2, SSL EQ, Lexicon 480L, Tube–Tech LCA 2B, Logic Compressor, Waves PS22 Spreader, Focusrite D2, Tech 21 Comptortion, URS A–Series EQ.

“Basically I wanted the drums to sound fat and loud. A lot of processing on the drums is done on the SSL, using EQ and compression. I also love the Alan Smart C2 compressor, and I bussed things like the kick and the snare to the C2 and returned them on two separate channels. They really are spanked pretty hard, so it really punches up the drums. The C2 is set to ‘crush’ mode, which completely annihilates all the transients and brings up the air. Like with most of my stuff, I’m sure the attack was set pretty fast, to probably 1ms, and the release was pretty fast as well, again to bring up the air. It was a completely crushed sound that I blended in sparingly. I used some Lexicon 480L reverb on the drums, and the three room mics were hit really hard with a Tube–Tech LCA 2B compressor to bring up yet more air. My drum loop also had serious compression, but I think that was done in Logic, using either their Platinum or their regular compressor. I didn’t add anything to the loop during the mix.

“I added a lot of bottom to all the drums, even before they hit the SSL. I had programmed a clap sample in Logic, but I felt that I couldn’t really hear it above the snare, so I put it through the PS22 Spreader and suddenly it was there. I also EQ’d the claps very severely with the Focusrite D2 plug–in, boosting around 80 and 134 and shelving some top off above 12K. I wanted the beats to be fat, without too much transience. I was trying to see whether the claps could withstand having lots of bottom added, and it sounded good."

The d2 was used for the vocals on "Big Girls Don't Cry", as stated by mix engineer JJ Puig in this November 2007 Sound on Sound interview.

Vocals: Digidesign delays, Waves Trueverb, Focusrite D2, Neve 1073, Inward Connection TSL3

“The two channels on the far left are the actual vocal tracks [‘LEAD**], and more to the right you can see that there’s a dedicated vocal channel for each section of the song, so I can create the right feeling from section to section. So the first verse [‘1stversvrb’*], the bit with just the acoustic guitar backing, has its own reverb using a Waves Trueverb, which is great. I’ve rolled off above 1k and left all the low end to make it darker and fuller sounding. I’m a Waves guy, they make the best stuff! The D2 gets rid of any dirt below 111Hz and also adds a bit of high end around 12k.

“The breakdown section has a Digirack Mod Delay II slap delay. There are different ambient feels and different attitudes for different sections. Towards the end, where she’s ad libbing, I put a longer delay on. The delays change for each section of the song, but the main long delay that was essential to how the vocals feel is on the entire vocal, which is why I had it on the main channel. It’s again the Digirack Mod II delay, set to 265.49ms.

The rest of the vocal effects were all done outside [the DAW]. I had a Neve 1073 between Pro Tools and the console, because I really wanted the sound of that Neve. The closer you can get to the original source with your effect, the more you’ll get the effect you want. If I’d stuck the Neve on an insert in the Focusrite, the signal would already have been coloured by the console, and the Neve sound would have been less obvious. I probably added +3dB at 12kHz on the Neve and +2dB at 220Hz. After that the vocals went through an Inward Connection TSL3, which is a great vocal compressor that adds great attack. You can get very aggressive with it, and you won’t hear it. I had about 8dB of compression, which is quite a bit, but as I said, you don’t hear it. It made her vocals more expressive.”