In his video If it Wasn't For You, at 0:12, there is an shot of Alesso using the S1 Stereo Imager plug-in.

"I also like to use the S1 Imager, again because of his voice being so raspy and mid-rangey, and the Imager opens it up. A perfect analogy is to think of a blanket on a bed which is tied in a knot, and then you open it up and spread the blanket over the bed. The Imager opens up his vocals and allows it sit on top of the track in a similar way. "

In This "Breaking the Mix Rules" Interview Rob Kinelski mentions that he uses the S1 stereo Imager

Rob Kinelski:

"I liked using the S1 stereo imager for some width on the vocal doubles, both gently and sometimes aggressively to the point of absurd. I love it when you push a sample out of phase and make it weird."

He says: "... or you could get the Sonalksis StereoTools or the Waves S1 Imager. They are all good."

Tim Hecker is confirmed to use the Waves S1 Stereo Imager plugin, as demonstrated by a photo posted on Instagram by user sunblindstudios on March 18, 2015. The image, captioned "Today's Chains," clearly shows the plugin in use by Hecker.

From Imogen Heap's interview with Sound On Sound: "Imogen's workhorse plug-ins at the mixing stage were the Focusrite D2 EQ and D3 compressor, along with the Waves Renaissance Compressor. The Waves S1 was also used for stereo spreading."

In this video at 23:50 we can see Waves S1 Stereo Imager

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

0:57 - S1 Imager can be seen in an effects channel

“The S1 is my go-to plugin for extra stereo separation where necessary - on certain pads or percussion loops, or maybe on the master out – to give your track a touch more width. It’s extremely simple to use and the results are always impressive.”

In this video at 31:29 minutes see Waves S1 Stereo Imager

Henry Fong is seen using Waves' plugin in this Splice track.