Used for the vocals on "Old Town Road (Remix)", as stated by mix engineer Andrew "VoxGod" Bolooki in this August 2019 Sound on Sound interview. An image of the settings can be found here.

Bolooki's 'Old Town Road' session also has an incredibly [sic] amount of plug-ins. Most tracks have plug-ins on the inserts, in some cases up to six, and many tracks also have sends to the aux tracks. A complete analysis of exactly what they all do would take up several pages, so Bolooki selected some of the most important processors, starting with Nas X's tracks.

"I did not really mess much with what they sent me. If you listen to the original, there were some Auto‑Tune anomalies, because the plug-in had some notes out of scale. The key of the song is a little weird, so I had to do automation on Nas' Auto‑Tune EFX instances to bypass certain notes in certain passages, to make sure the AT did not warp notes in the wrong way. I also did a lot of vocal riding, nudging the volume of each phrase, so that every single word was crystal-clear, and I did some panning automation in the stacked parts. They wanted Billy and Nas to sing at the same time in the pre-choruses, and I wanted to prevent Billy's harmonies from overwhelming Nas' lead vocals, so I used panning to give them each their own space.

"All Nas X's vocal tracks have an insert effect chain that consists of Antares Auto‑Tune EFX, Avid EQ3 7-band, Waves SSL Channel, Waves Renaissance De-Esser and Waves L2. I made some basic changes, also to some of the delay and reverb sends, but nothing crazy. There's a lazy half-note delay in the intro of the song, that becomes part of the flow of the song, and I did not want to mess with that. The aux track with the AIR Phaser added some modulation in the pre-chorus, and the Waves RVox and UAD Precision K-Stereo made Nas' lead vocal stand out a bit more.

"Also, the original engineer who recorded Nas' vocals did something that I would not normally do, but that made a big difference. I picked it up as a trick. It's having the L2 hit really hard at the end of the effects chain for every single vocal track. Initially I thought: that is pretty extreme to put that on every single vocal track, and it breaks all the rules for gain-staging, so I took it off, but then I realised he had put it there for a saturation effect, and it greatly helped the tone of his vocal. It was part of Nas' sound."

"The Precision K-Stereo Ambience Recovery plug-in is also excellent on a bus because you can really start altering your perception of what the group was before. It makes suggestions that, if you were thinking too logically, you wouldn’t have thought of. "