Used on the vocal censor echoes for the clean edit of "Say So", as stated by mix engineer Clint Gibbs in this July 2020 Sound on Sound interview.

"There's also a track called Echo FX Clean. When I have to mute a word, I will take the word before it and will delay it with some reverb to fill the empty space. The additional plug‑in by Vengeance, the VPS philta XL filter, is doing a high and a low cut to give it more of that radio sound.

Used on the vocal censor echoes for the clean edit of Doja Cat's "Say So" remix, as stated by mix engineer Clint Gibbs in this July 2020 Sound on Sound interview.

"There's also a track called Echo FX Clean. When I have to mute a word, I will take the word before it and will delay it with some reverb to fill the empty space. The additional plug‑in by Vengeance, the VPS philta XL filter, is doing a high and a low cut to give it more of that radio sound.

(...) "The Nicki Minaj remix happened very last minute. I got a text from her engineer, Aubry 'Big Juice' Delaine, saying, 'Here's a link for Nicki's vocals.' I opened it up and realised they were for 'Say So'. So I hit up the label and they confirmed that we were doing a remix. As I was mixing, I was getting updated versions of the vocals, verses, and so on. We did the mix, got it mastered, it was all approved, and the day before the remix was supposed to come out, someone wanted to change the beat underneath her vocals. All of a sudden there was an emergency!

"I got an email from Tyson Trax, saying: 'Here are the new beat stems for Nicki.' Among other things they contained some heavy 808s. I had an hour to mix in these new beat stems, because the remix was supposed to be released in Australia a few hours later. I pasted these new beats in just above the vocal VCA of the original session, and in Nicki Minaj's first verse I deactivated the clips from the original beat files for this section. But because the original did not have 808s, they killed my mix bus. I had to automate a new limiter during this part of the remix.

"I put Nicki's vocal at the bottom of the session, and just needed to pair them with the track. I added all plug‑ins on her vocals that you see in the session, but I did not need to do much, because the processed stems Big Juice sent me sounded great! The SoundToys Little Radiator adds a little warmth, and the Metric Halo Channel Strip boosts some top end while also cutting some low end. There are two Waves C6 plug‑ins dynamically suppressing 177Hz and 700Hz, with a -6dB range. There was some build-up in those frequencies that didn't work with the mix. On the inserts of the individual vocal tracks there also is a Waves Q8 doing two sharp 4-6 dB cuts at 10kHz and 11kHz, which was to tame some 's' harshness.

"One of the 808 audio tracks has the FabFilter Pro‑Q 2, with a high pass at 20Hz and a cut around 40Hz, and the Oeksound Soothe on a 'melodic bass control' setting. On the 808s aux bus and 808 parallel bus I have the FabFilter Saturn, Timeless, and the Waves F6. These 808 buses obviously were added for the remix. My approach with them was similar to that of the bass aux. The Saturn is only active on the parallel track, and is a bit dirtier on the 808 than on the bass. The F6 is side-chained to the vocal to suppress the mids of the 808 while Nicki is rapping. The Timeless also is only active on the parallel track, and adds a light chorus that spreads the 808 out slightly."

The item can be seen 11:31 into this video