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 this video you can see Emika using Waves Q10 Paragraphic Equalizer at 13.47.

Q6 was used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

"I think Q10 is the first Waves plugin I fell in love with. It's got really extreme notch filtering. There's an old trick I developed where I notch out frequencies from white noise until it becomes harmonic." - at 12:58 in the Waves webinar with Guy Sigsworth.

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.”

Joey Sturgis is among the producers and engineers to have released plug‑ins capturing aspects of his sound. Here, two instances of his JST Clip peak-clipping plug‑in form part of a complex snare drum processing chain which also incorporates Cubase's channel EQ and Waves' SSL Channel, TransX and Q10.