At 1:38 he talks about and shows Wavefactory's Trackspacer plugin. He mentions that he just started using it and that it helps him to separate the different frequencies for his sidechain.

Used on "Hymn for the Weekend", as mentioned by A Head Full of Dreams co-producer Rik Simpson in this Sound on Sound article.

“The guitars have the Soundtoys PanMan to give them some movement, and also some corrective EQ from the Pro–Q 2, and the UAD SSL E Channel strip, which is one of my go–to plug–ins, because it sounds so similar to the original SSL, a desk I was brought up on. There’s also an eBow guitar hook at the end of the song that has the Wavesfactory TrackSpacer plug–in, which side–chains the guitar to the vocal, so it clears the space when the vocal is present.

Two instances of Trackspacer are used on the bass of "Sparkle Mountain", as described in the project breakdown at 1:30.

Tim Hecker is confirmed to use Wavesfactory TrackSpacer, as evidenced by a photo posted on his Instagram account on March 18, 2015, by sunblindstudios with the caption "Today's Chains."

In an Instagram post captioned "Working on a new song !!! ????????????????", Dzeko & Torres are shown using the Wavesfactory TrackSpacer plugin.

In this Tape Notes podcast at 21:40, Wayne Sermon mentions the use of TrackSpacer plugin.

Used for Jimin's lead vocals on "Fake Love", as stated by producer James Reynolds in this August 2018 Sound on Sound interview.

Jimin chorus lead vocal: iZotope Neutron, FabFilter Pro-MB, Empirical Labs Arousor, iZotope Trash 2 & FabFilter Pro-DS, plus sends to Slate VerbSuite Classics, FabFilter Pro-R, Soundtoys EchoBoy, Waves Factory Trackspacer & FabFilter Pro-DS.

“Welcome to my vocal world! BTS like bright, punchy vocals. There is not a lot of room in the mix because there is a lot of stuff going on, so I am not boosting low end on the vocals, because you are not going to hear that. Instead I’m trying to give the vocals more presence. The first thing I have in the chain is Neutron, which is a great EQ, and I love its dynamic mode. I boost high end with the Neutron, and band three is set to 4-6000 Hz, with the dynamic mode pulling down any loud ‘ess’ sounds or anything else too sharp. The Neutron is also tidying up the bottom end. After that is the Pro-MB multiband compressor just reining in a couple of frequencies to control the vocal.

“Next is the Arousor, adding some distortion so the vocal is very spitty and present, with lots of attack. After that there’s another instance of Trash 2 set to multiband, which I am using to give the vocal drive and really making it sit solidly in the mix. You have to know how to use Trash 2, otherwise vocals can get too harsh, but in general it is a very good way of saturating and really thickening a vocal and giving it presence. It does depend on the song, I am not always so full on with a vocal! At the end I have the Pro-DS de-esser just controlling the sibilance. Sometimes I used two instances of it, one at the beginning and one at the end, but the Neutron is already kind of doing a de-essing job.

“There also are many sends on that lead vocal. The first send is going to one of my favourites, the Slate VerbSuite Classics. It’s set to a hall-type reverb with 1.75s decay, and because I set quite high pre-delays it is almost like a slap on the vocal, which puts the vocal in a nice space. The next send is to the Pro-R for a longer, bigger reverb, which works for a chorus. I have cut low end and high end as you don’t want that floating around. The Pro-R is really good for controlling those things. Next is an EchoBoy quarter-note delay, saturated by setting it to ‘Splattered’ under ‘Style’ and that send then goes into the Trackspacer. I have a send from the lead vocal going to Trackspacer, so that whenever the lead vocal is singing the Trackspacer ducks the quarter-note delay out of the way. The Trackspacer is frequency-dependent, so it will duck whatever frequencies are dominant in the vocal, which makes it great for moving stuff out of the way. Then there’s another half-time EchoBoy delay setting, which is being automated for delay shots, and finally another Pro-DS.”

It's used in the track "High Five!" As shown in the publicly available project.

From The Midnight's March 3rd, 2021 Twitch.tv Stream ''Tim is breaking down Neon Medusa'' Tim McEwan of The Midnight talks about how he uses Wavesfactory's TrackSpacer plugin to duck out certain sounds in his mixes like drums for example even though the plugin's primary use is for side-chaining. He uses this plugin on a synth bass he calls on the track ''BASS ROLLING'' from u-he's DIVA synth-vst that was made for the choruses of Neon Medusa that he sends to a bus in his Apple's Logic Pro X project for the song to one of the main synth bass sounds he created from using Xfer Records' Serum.

At 6:27, Stonebank opens up a list of his plugins. Among these plugins is TrackSpacer.

At 18:07 in the video titled "Eats Everything breaks down his track We Lost Ourselves and Found a Family – In The Studio," Dan Pearce, known as Eats Everything, demonstrates the use of the Wavesfactory TrackSpacer plugin.

There’s also an eBow guitar hook at the end of the song that has the Wavesfactory TrackSpacer plug–in, which side–chains the guitar to the vocal