the Fairchild 660 Compressor/Limiter is listed in this blog

Used for Dylan's vocals on Shadows in the Night, as stated by producer Al Schmitt in this May 2015 Sound on Sound interview.

“I used Capitol’s Neumann U47 on Bob’s vocals. It’s the very same microphone that was used on Frank Sinatra, Dean Martin and Nat King Cole. It’s a great–sounding microphone. Fortunately, because I work a lot at Capitol, I get to use it frequently, and I’ve had it on Paul McCartney and on Diana Krall and others. The mic was maybe nine or 10 inches away from Bob, with a windscreen. Pops and esses were no problem. I used the Neve 1073 mic pres in the old Neve desk at Capitol on all the mics. It has an amazing sound, with lots of punch and warmth. So Bob’s 47 went through that. The only compression I used on the entire album was on Bob’s voice, a tiny bit of an old mono Fairchild. I barely touched it, I used it mainly for the tube sound. It just added some warmth. On the desk I also mixed in some of Capitol’s live chamber number four on his voice.

The mention of a "mono" Fairchild specifies a 660.

Used on the bass drum for Revolver and Sgt. Pepper's Lonely Hearts Club Band, as stated by assistant engineer Geoff Emerick when discussing "Tomorrow Never Knows" for The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years by Mark Lewisohn.

Another distinctive element of "Tomorrow Never Knows" was Ringo's hypnotic drum sound. “I moved the bass drum microphone much closer to the drum than had been done before,” says Emerick. “There’s an early picture of the Beatles wearing a woollen jumper with four necks. I stuffed that inside the drum to deaden the sound. Then we put the sound through Fairchild 660 valve limiters and compressors. It became the sound of Revolver and Pepper really. Drums had never been heard like that before.” And Ringo's reaction? "He loved it, there's no question of that. They all loved the sounds. It was exactly what they wanted."

Used on vocals, as mentioned in this article from philsbook.com.

A Neumann U67 was used for the vocal and placed close to the singer's mouth. The guitar was close mic'ed in front of the sound hole using a Neumann KM56.

The mics went through the Sound Techniques desk to an Ampex 4-track half inch tape machine. The desk circuits were transformer coupled, discrete transistor with inductor based eq. The vocal was compressed through a Fairchild 660 limiter. Delay would be added using an Ampex 2 track and reverberation with an EMT plate.

Used for vocals on A Sailor’s Guide to Earth, as stated by producer David Ferguson in this May 4, 2016 Mix Online interview.

Simpson told Ferguson he likes to sing into a beyerdynamic M 160 mic, which Ferguson appreciated. “Those ribbon mics will take a lot of sound pressure and they don’t leak very much,” Ferguson says. “You get any mic in a room with a bunch of drums, bass amps, and all that sh[*]t going on, and it helps to have a mic that doesn’t leak very much but has a warm, smooth sound.” Also in Simpson’s vocal chain: the same UA 6176 pre that Ferguson used with Johnny Cash, and a rented Fairchild 660.

Used for vocals on "Hello", as stated by mix engineer Tom Elhirst in this December 21, 2015 SonicScoop interview.

The chain in LA was the Neve 1066 (Mic pre/3-band EQ) to the Bluestripe UREI 1176 compressor into a Fairchild 660 limiter. I’m taking the multitrack return from Pro Tools to the line amp on the Neve 1066, then straight into the 1176 and 660 and back up the insert return.

The UREI is hitting and releasing quicker, while the Fairchild is doing a much slower attack and release. Here at Electric Lady I use a Neve 1081 into a Blackface 1176 and then into a Tube-Tech CL 1B compressor.

A large part of the vocal sound is the plates and chambers at Capitol Studios: There’s chambers that Les Paul built back in the 1940’s, and they are literally like nothing else on earth. When I got back to NY in September, I mixed five or six songs at Electric Lady, so we’d send the vocals from here and they’d record it through the chamber, and send back the prints.

Once you’ve found the vocal sound for someone like Adele, you want to use it through the whole record, and these plates and chambers sound incredible. To get to them is hard enough: you go in to the basement of Capitol, you then climb through a ladder to get to the sub-basement, where it looks like no one has been for 50 years. You literally open a hatch and climb down a steel ladder.

Have you ever been in a reverb chamber? They’re like tiled rooms, not painted – like Alice in Wonderland rooms, they don’t look right.

There’s a lot of effects going on behind the vocals. There’s an AMS delay, an Eventide preset called “Canyon,” a plate, a spring…You can see the escalation of things. There’s about seven or eight things going on. You get this wide kind of thing, but her vocal remains super-present.

So what’s going on in the box?

There’s no compression processing going on at all, just some de-essing and some little volume draws on the vocals – little dots and dips, but no rides. The rides have been done with automation on the flying faders.

In a Tape Op interview, Jonathan Wilson discusses his early exposure to high-quality equipment, including the Fairchild 660 Compressor, highlighting its influence on his career.

Dave Rawlings is associated with the Fairchild 660 Compressor, as highlighted in an article from Izotope. The piece discusses how this iconic compressor/limiter became known to artists like Rawlings during the late '60s, particularly at Olympic Studios, where it was integral to the signal processing chain for recording on 1, 2, and 4 track tapes.

According to this Mixonline interview with producer Al Schmitt, a Fairchild 660 was used for Krall's vocals on Turn Up the Quiet.

“The Neumann U47 sounded fantastic on Diana,” Schmitt says. “It’s my go-to vocal mic, the same one Sinatra used on his Capitol records. I placed it about five or six inches from Diana. I also used a Neve 1073 preamplifier and just a touch of my Fairchild 660 compressor for the warmth of its tubes, compressed a dB or two. I ran Diana’s voice through Capitol Echo Chamber #4, blended with my Bricasti Design [Model 7 Stereo] reverb to get the sound that I want.”