Nigel Godrich uses a George Massenburg Labs (GML) 8200 equalizer, as evidenced by an image showing his studio setup, which includes the GML 8200 in the upper rack alongside Neve modules, a Lisson Grove R124, and a Focusrite ISA 215 dual mic preamp/eq.

"I cut Alan's vocal on the BLUE Bottle microphone with the B7 capsule, using the Vintech X81 preamp, along with the GML EQ and compressor." - Allison Krauss

Used for the vocals on "Save Room", as stated by mix engineer Tony Maserati in this March 2007 Sound on Sound interview.

Vocals: McDSP Filter Bank E6, Waves Renaissance Compressor, Renaissance EQ, L1 Ultramaximiser

"The song has two lead vocal comps, on tracks 48 and 49. You can see that I'm using a lot of plug-ins on those: I'm doing a lot of drastic stuff. They were probably recorded on two different occasions with two different engineers who didn't take the time to match the performances by using the same microphone and signal chains. I get really pissed at this lack of effort on the part of recordists — there are standards in engineering. John Legend is a phenomenal vocalist and before he comes into your room to record, you should reach out to other engineers who have recorded with him to find out what they used — especially, of course, the guy who recorded the song that you're going to be overdubbing onto! That's what I did, the first time I recorded John.

"We liked the lead vocal, it had an energy that we did not want to give up, but it's not recorded consistently. You can even see on the screen that the levels are all over the place. So I spent a lot of time and energy pushing and pulling all over the place to compensate for frequency anomalies and to make the two takes sound the same, as well as to force all the energy out of the vocals that is in there. On track 48 I have a Filter Bank EQ that's pushing a ton of bottom and taking off some top. The Renaissance Compressor is trying to make sense of that, levelling things out a bit with a really slow attack.

"I don't normally use the L1 Ultramaximiser on a lead voice, but it was probably already there, and I'm using it to get some intelligibility and energy from the vocal. The Renaissance is boosting above 9k and the McDSP is cutting around there as well. I think it's because I'm compensating for the L1, which is doing something I'm not entirely happy with. A lot of what I'm doing is simply compensating for a poor recording.

"Lastly I throw on the R4 Renaissance EQ, probably because after mixing for a couple of days, I felt that it needed a little bit more top, and I did not want to change my settings on the outboard, which was probably my GML 8200. I'm also EQ-ing on the board. So I'm being heavy-handed, also with the effects on track 49, in trying to match these two tracks. I was really fighting until we got something out of it, and I think we accomplished that. The end result sounds pretty good."

"We recorded three different versions of the song, though the vocal remained the same throughout each incarnation, and we built the track around that. I had recorded demos of all the songs for the album at my studio, recording her vocals with my vintage Neumann U87, which I ran through an API 3124M mic pre or my Audio Upgrades Class A custom-built stereo mic pre, a GML 8200 EQ, and a Teletronix LA2A compressor, straight into Pro Tools," says Eric Rosse, about recording Sara Bareilles' song, Love Song, in this article.

"GML 8200 parametric EQ" is included in the list of equipment at Stuart Price's studio.

"The first thing I do when I begin a mix is work on the vocal. I make it sound smooth and make sure the articulation is correct, and so on. I spend a lot of time making sure the vocal is in top shape, and I may use a little bit of Neve 33609 compression and my GML EQ — the GML is one of the most musical EQs ever built. Everything has to revolve and sound good around the vocal. When I've gotten the vocal to sound right, the foundation is there, and the mix becomes more fun and there is room to be creative and expressive with the rest of the mix.

(...) With songs that I have recorded myself I don't need to do much in the mix, it's more just a matter of balancing and placing things in the stereo spectrum. I mainly use the GML EQ and the Neve 33609 compressor, but very sparingly. I had both boxes on Michael's voice, and some reverb, and another EQ, that I don't want to talk about. I'm supporting kids that go to college!"

— Humberto Gatica, producer of Bublé's "You're Nobody Till Somebody Loves You" and "Stardust"

Mixing engineer Jaycen Joshua uses the GML 8200 for its precise, surgical EQ capabilities with narrow bands. This information is detailed in the "Jaycen Joshua - Mixing Engineer" section of his official website.

On Jay's website, he showcases his recording setup at his studio, Garden Rake Studios, where in the photo the EQs are are shown and labeled on the page.

According to a list of equipment which is used in his studio, Crowdspacer, Joakim is also a user of GML 8200 equalizer.

In this video you can see Philippe Zdar showing 2 GML 8200 EQs

Used for vocals on Josh Groban, Closer, Awake, Noël and Stages, as stated by producer Bernie Herms in this August 2015 Sound on Sound interview.

Groban’s vocals were also recorded at Westlake, using, says Herms, “a Schoeps CMC5U condenser mic with MK5 capsule, going to a Neve 1073, into a GML 8200 EQ , and finally a Neve 33609 compressor. This chain was actually designed for Josh by Hum [Humberto Gatica] on the early records he engineered and mixed for David Foster.”

In this 2017 photo posted by Plati, his studio rig can be visible. One of the items in his rack is the GML 8200.