Used for Quavo and Offest's features on Beyoncé and Jay-Z's "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.”

(...) “The Migos vocals came in as seven audio tracks, with the Avid D-Verb on each of them. Putting a D-Verb on a track before EQ is not something I normally do, but it sounded great. So I adjusted them a bit, but otherwise left them as they were. The tracks also came in with the Aux track above, and the EQ3, with a high pass at 60Hz and notches at 430Hz and 1.41kHz and a high boost, the Waves API 2500 compressor, the RComp, the Waves Q10 EQ, following a slightly similar curve to the EQ3, the Waves De-esser, the Waves Aphex Aural Exciter, and the Avid Dyn3 expander/gate. I added the EQ3, with another high-pass filter at 144Hz, and the RComp, with a ratio of 10:1.”

In a tweet featuring his studio diary, Lenno is shown using the Soundtoys EchoBoy Analog Echo Processor, highlighting its role in creating "110% vibes+feels."

In a YouTube Shorts video titled "How I Made My New Single," John Summit demonstrates his use of the Soundtoys EchoBoy Analog Echo Processor.

"The Sound- Toys plug-ins have some of the same feel as the Eventide—especially Crystallizer, which combines delays with harmony effects. Other SoundToys plugs I like are FilterFreak, a powerful analog-like filter; Tremolator, which emulates old tremolo sounds; Sound- Blender for multieffects; and EchoBoy for delay."

At 6:14, Stonebank opens up a list of his plugins. Among these plugins is EchoBoy.

In this video you can see Tom Staar using SoundToys EchoBoy Echo Plugin at 22:17s.

Manny Marroquin, the renowned audio engineer, uses the Soundtoys EchoBoy Analog Echo Processor. This information is substantiated by an interview with Daniel Griffiths for MusicRadar, where Marroquin states, "I also love the Valhalla reverb, the [Soundtoys] Echoboy. Out of the box I still love my [Eventide] H3000 Harmonizer, I love my [Lexicon] PCM42, my [TC Electronic] 2290. I still use the old school, but nowadays you’ve got great, great plugins. I have them all ready to pull up. There’s my distorted delay… There’s my tight room that I use as a doubler…"

Can be seen at 0:20

This plugin can be seen at 5:11 on the screen

At 5:03 Derek Ali, an audio engineer known for his work in hip hop, uses the Soundtoys EchoBoy Analog Echo Processor on Kendrick Lamar and Anna Wise's vocals in the track "Bitch, Don't Kill My Vibe." This is confirmed in a YouTube video titled "How Mixed By Ali Mixes for Kendrick Lamar" by George T Music.

Used for Quavo and Offest's features on Beyoncé and Jay-Z's "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.”

(...) “The Migos vocals came in as seven audio tracks, with the Avid D-Verb on each of them. Putting a D-Verb on a track before EQ is not something I normally do, but it sounded great. So I adjusted them a bit, but otherwise left them as they were. The tracks also came in with the Aux track above, and the EQ3, with a high pass at 60Hz and notches at 430Hz and 1.41kHz and a high boost, the Waves API 2500 compressor, the RComp, the Waves Q10 EQ, following a slightly similar curve to the EQ3, the Waves De-esser, the Waves Aphex Aural Exciter, and the Avid Dyn3 expander/gate. I added the EQ3, with another high-pass filter at 144Hz, and the RComp, with a ratio of 10:1.”

In a recent story, Ozan Yildrim, also known as OZ, is seen using the Soundtoys EchoBoy Analog Echo Processor plugin. The image serves as a visual confirmation of his use of this delay effect in his music production setup.