Thank you Cassie for the video link, i have seen it this afternoon, very impressive.

It be nice to have some "behind the scenes" information such as the microphone used, cable used, etc.

The cable - when he plugs it in - has a blue diamond with what looks like an "S". Looks to me like just an XLR-to-unbalanced TS cable with no special treatment and is a long run from the mic (inside the kick) to the Montage.

Also some tips on the settings - if there are any filters or EQ that seems to work best - etc. Any "tricks of the trade" employed in the session.

I can give you my setup.
(Sorry for the Dutch-language content. The links are from my ordering history. No advertisement intended.)
I use (connected in order from base-drum to montage):

1) K&M 25910 extra low beam
2) DAP DM-25 dynamic close-instrument-miking
3) Procab CAB900 jack-male | XLR-female 10 meter cable

That wasn't working quite the way I expected it. Too much fluctuation, due to whoozing, trembling, and other side-noises.
So I changed the routing.
I run it first thru:
4) DBX 286 pre-amp/compressor/gate
By limiting it to the most dry kick available it results in a much more steady envelope following.

Furthermore I route it (using procab-cables) first to a signal splitter/selector before entering the montage
5) Morley ABY

In this way I can select which mike I want to feed to the Montage-beast:
A) either the mike for the drums for synchronization purposes
B) or a singing mike for the vocoder effects.

Not simultaneously. Although I think it should be possible to use separate Left end Right Audio I/O input for drum and singing. My original setup works for me and I still haven't found the time to create multi-mike setups in the Montage. Thank God for the audience, not to be too much exposed to my singing 🙂

Hope it helps.