The Glitch Mob
“F6 is like a precision scalpel; it’s unreal. If we have a distorted synth lead with one note that is too harsh, we can really get in there and control just that note. The mid-side processing is also huge for us, as so much of our work is about controlling the stereo image. To top it all off, the external sidechain allows us to trigger the F6 at the exact moment we want it to work. ”

I saw it in her Instagram story.

This plugin can be seen being used at 0:23

Used for lead vocals on "Say So", as stated by mix engineer Clint Gibbs in this July 2020 Sound on Sound interview.

"All vocal audio tracks have the same signal path: Metric Halo Channel Strip 3, Avid Bomb Factory BF-76, Avid Dyn-3 De-Esser and in the case of the lead vocals, the FabFilter Pro‑Q 3, all on the inserts, plus sends to the quarter- and eighth–note delays and reverb. These are all part of the recording template, and came from Kalani. I am familiar with the settings, because I worked on them, so I didn't change them. The Metric Halo is doing a high-pass, the BF-76 has all buttons in to give it that pop vocal sound. I added the Q 3, cutting 1dB at 279Hz and at 740Hz. I like to do tons of minimal EQ cuts with many plug‑ins.

"The lead vocal audio tracks also have a send called Voc SC, which goes to the side-chain input of the Waves F6 on the Keys bus. It helps make a little extra pocket for the vocal. It creates dynamic dips in the 900Hz and 2kHz range when she is singing. I also have this F6 on the 808 bus of the remix, doing the same thing. All lead vocal audio tracks go to the LD Vocal aux, which has another instance of the Q 3, taking out quite a bit of low end to make space for the bass, and the McDSP AE600 dynamic EQ, taking out problem areas only when they occur. I do a lot of vocal riding on the lead vocal bus, pushing up specific syllables.

"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 other vocal tracks are treated in similar ways as the lead vocals, though the BG2 bus has the Valhalla Vintage Verb, with a 2.4s reverb, Mix at 18 percent. I think that came from Kalani, but I added the FabFilter Pro‑DS, because I wanted to take the 's' frequency out of the reverb. All vocals go to the Vocals bus, which has the UAD 1176, switched off, and the JSTClip for some level boosting. The Vocal Rear track is the parallel, with -20dB compression on the 1176. This is where I get my vocal loudness from.

Used for Minaj's feature on Doja Cat's "Say So" remix, as stated by mix engineer Clint Gibbs in this July 2020 Sound on Sound interview.

"All vocal audio tracks have the same signal path: Metric Halo Channel Strip 3, Avid Bomb Factory BF-76, Avid Dyn-3 De-Esser and in the case of the lead vocals, the FabFilter Pro‑Q 3, all on the inserts, plus sends to the quarter- and eighth–note delays and reverb. These are all part of the recording template, and came from Kalani. I am familiar with the settings, because I worked on them, so I didn't change them. The Metric Halo is doing a high-pass, the BF-76 has all buttons in to give it that pop vocal sound. I added the Q 3, cutting 1dB at 279Hz and at 740Hz. I like to do tons of minimal EQ cuts with many plug‑ins.

"The lead vocal audio tracks also have a send called Voc SC, which goes to the side-chain input of the Waves F6 on the Keys bus. It helps make a little extra pocket for the vocal. It creates dynamic dips in the 900Hz and 2kHz range when she is singing. I also have this F6 on the 808 bus of the remix, doing the same thing. All lead vocal audio tracks go to the LD Vocal aux, which has another instance of the Q 3, taking out quite a bit of low end to make space for the bass, and the McDSP AE600 dynamic EQ, taking out problem areas only when they occur. I do a lot of vocal riding on the lead vocal bus, pushing up specific syllables.

"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 other vocal tracks are treated in similar ways as the lead vocals, though the BG2 bus has the Valhalla Vintage Verb, with a 2.4s reverb, Mix at 18 percent. I think that came from Kalani, but I added the FabFilter Pro‑DS, because I wanted to take the 's' frequency out of the reverb. All vocals go to the Vocals bus, which has the UAD 1176, switched off, and the JSTClip for some level boosting. The Vocal Rear track is the parallel, with -20dB compression on the 1176. This is where I get my vocal loudness from.

(...) "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."

On the official Equipment page of WATCHMAN's website, Waves F6 is listed as one of the plugins he owns.