The E6 was used for the backing vocals on "Makes Me Wonder", as stated by mix engineer Mark Endert in this September 2007 *Sound on Sound* interview. > Backing vocals: SSL channel compressors, McDSP Filterbank > “I compressed the backing vocals with the SSL channel compressors, also set to a 5:1 ratio. When I tried to blend the backing vocals into the chorus, they immediately sounded too slick and too good and too adult. This often happens when the harmonies are lower than the lead vocal; they tend to weigh the track down. In trying to keep the track fresh and young, I combined all the background vocals into two outs from the master output of Pro Tools, and then I put one plug–in EQ on that. I sucked out all the frequencies that made it full, using the McDSP E6 Filterbank, cutting radically at 79.1Hz and 211.2Hz. This made the backing vocals sound transitory and thin, and when I blended them back into the track it sounded much better. In this way the backing vocals could cut through the track, and not weigh it down."more
The E2 was used on Rihanna's backing vocals for "SOS", as stated by mix engineer Phil Tan in this February 2007 *Sound on Sound* interview. An image of the settings can be found [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/i/inside2sosmcdsp-L.YCLPJimlD..VWGtHxXAV7Ecr1t3v0B.jpg). > **Backing vocals:** McDSP Filterbank E2 > "I compressed the background vocals using the Waves *Renaissance Compressor*, and sometimes you lose a little bit of top end in the process. This filter [*right*] was just a shelf to bring it back a little bit and give it some sheen. Because this is a high-energy track, you want the vocals to match that energy. Basically I boost 3.5dB from 5k upwards. I have loads of different EQs, and this one is a two-band that's very easy to operate. It worked, so I stayed with it. I may choose other EQs because of different capacities but also because they'll sound different. Some are fairly clean and some impose a bit more personality."more
The E6 and F2 were used for the vocals on "Save Room", as stated by mix engineer Tony Maserati in this March 2007 *Sound on Sound* interview. Images of the E6 settings can be found [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/i/insidetrack11a-exJNhg2t_WB.R1WtjT8LYGPKbnJoIp8M.jpg) and [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/i/insidetrack12a-YZpMgzy5y3bO_fI.A5bx.4yX7ythO77z.jpg), while an image of the F2 settings can be found [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/i/insidetrack12b-flmHd03isoL_8mYqq3y7mg2WjiVBqfzz.jpg). > **Vocals: McDSP Filter Bank E6, Waves Renaissance Compressor, Renaissance EQ, L1 Ultramaximiser** > "The song has two lead vocal comps, on tracks 48 and 49. You can see that I'm using a lot of plug-ins on those: I'm doing a lot of drastic stuff. They were probably recorded on two different occasions with two different engineers who didn't take the time to match the performances by using the same microphone and signal chains. I get really pissed at this lack of effort on the part of recordists — there are standards in engineering. John Legend is a phenomenal vocalist and before he comes into your room to record, you should reach out to other engineers who have recorded with him to find out what they used — especially, of course, the guy who recorded the song that you're going to be overdubbing onto! That's what I did, the first time I recorded John. > "We liked the lead vocal, it had an energy that we did not want to give up, but it's not recorded consistently. You can even see on the screen that the levels are all over the place. So I spent a lot of time and energy pushing and pulling all over the place to compensate for frequency anomalies and to make the two takes sound the same, as well as to force all the energy out of the vocals that is in there. On track 48 I have a Filter Bank EQ that's pushing a ton of bottom and taking off some top. The Renaissance Compressor is trying to make sense of that, levelling things out a bit with a really slow attack. > "I don't normally use the L1 Ultramaximiser on a lead voice, but it was probably already there, and I'm using it to get some intelligibility and energy from the vocal. The Renaissance is boosting above 9k and the McDSP is cutting around there as well. I think it's because I'm compensating for the L1, which is doing something I'm not entirely happy with. A lot of what I'm doing is simply compensating for a poor recording. > "Lastly I throw on the R4 Renaissance EQ, probably because after mixing for a couple of days, I felt that it needed a little bit more top, and I did not want to change my settings on the outboard, which was probably my GML 8200. I'm also EQ-ing on the board. So I'm being heavy-handed, also with the effects on track 49, in trying to match these two tracks. I was really fighting until we got something out of it, and I think we accomplished that. The end result sounds pretty good."more
This is just one of those plugins where the filters are so neutral but can be shaped so effectively. When I really wanna shape the bump at the cutoff of a highpass, low pass or shelving filter? this is it... gets you beyond analog filter imperfections into creativity at those cutoff points. This is a classic, utilitarian plugin that never goes outta style.