In this video at 1:18 we can see Teletronix LA-2A Leveling Amplifier

Used on the bass for "Sex on Fire", stated by Only by the Night producer Jacques King in this December 2008 Sound on Sound interview.

"With regards to 'Sex On Fire', the bass was recorded with a DI and a Neumann U47 on the SVT cabinet, close but not right up to the speaker. The microphone on the bass is usually at its upper range of ability, and because the U47 is a tube microphone you get a little bit of tube squash, with the harmonics nearly going into distortion. A lot of times in rock & roll, the bass is really clean and you have to fuzz it up. Both the DI and the 47 went through a Neve 1081 preamp and then an [Teletronix] LA2A compressor, plus an old Dbx 160 on the DI. I also used a very old subharmonic synthesizer, the Dbx Disco Boombox, on the DI. Jared plays a lot of melodic stuff very high up the neck of his bass, and to be able to keep the weight of the track I synthesized some additional low end."

The above article describes Arnalds using this to EQ compression.

"And so... the vocal is going to the LA-2A... it's just adding a couple more tubes in the signal path... I love gear like this that has only a couple knobs, does a very simple purpose." (9:53)

Illenium is shown using the Teletronix LA-2A Leveling Amplifier in a post shared on his Instagram account.

Used for vocals on Bone Machine, as stated by engineer Biff Dawes in this February 6, 2015 Mix Online interview.

"Prairie Sun had a lot of good outboard equipment, too,” the engineer continues. “Along with the Neve mic pre’s, I would have also used an LA-2A or 1176 on his vocal.”

It was also used for vocals on Mule Variations, as stated by producer Jacquire King in this interview from issue 9 of Audio Technology Magazine.

"Tom’s vocals were always recorded with an Neumann M49, through a Neve mic pre and Teletronic LA2A tube limiter – although we often altered the sound of it afterwards."

Producer Steve Hoffman has stated his use of the LA-2A for Hooker.

My Teletronix LA-2A, ganged for stereo or mono reproduction via the handy toggle switch in the center of the two units. (...) I've used it on countless projects, Nat "King" Cole, Frank Sinatra, Beach Boys, Doors, Eagles, Ringo, McCartney, Fleetwood Mac, Bob Dylan, Ray Charles, Peggy Lee, Jethro Tull, Chuck Berry, Creedence Clearwater Revival, Van Morrison, White Stripes, Tom Petty, Red Hot Chili Peppers, Ella Fitzgerald, Yes, Sonny Rollins, John Coltrane, Steely Dan, Steppenwolf, Bad Company, Jim Croce, Elvis Presley, Billie Holiday, Judy Garland, Dave Mason, Paul Simon, America, The Band, Crosby, Stills & Nash, The Cars, ZZ Top, James Taylor, Art Pepper, Steve Miller Band, Queen, Rod Stewart, Duke Ellington, John Lee Hooker, Al Jolson, Roy Orbison, Bing Crosby, Sammy Davis, Jr., The Who, Lightnin' Hopkins, Bill Haley & his Comets, Miles Davis, Mamas and Papas, Blue Öyster Cult, The Byrds, Eric Clapton, Bill Evans Trio, Blood, Sweat & Tears, Phil Collins, Alice Cooper, Deep Purple, Jeff Beck, Doobie Bros., Faces, Grand Funk, Heart, Billy Joel, Linda Ronstadt, Ten Years After, Grant Green, Wes Montgomery, Pat Benetar, Elton John, Leon Russell, Metallica. etc.

Used for lead vocals on Raising Sand, as stated by engineer Mike Piersante in this December 1, 2007 Mix Online interview.

As for the all-important vocal mics, Piersante says, “I actually bought a mic, as I'll sometimes do, just for this project. I had Allison singing through a Blue Cactus, which is sort of their retro mic that's like an old [Neumann] M49 or something. Blue got it right with this — it has a real thick quality to it and it's not too bright. Alison can be a fairly bright singer and I wanted something to complement that and not accentuate it. So I chose this mic to try on her and it ended up sounding very good; very old tube-sounding. I probably had her through an LA2, as well. Robert sang on one of T Bone's [Neumann] U47s, and I probably had an LA2 or LA3 limiter on him.

"J [Mascis] just got this, which is an old like, 50's, 60's compressor. It's called a Teletronix LA-2A (turns to Dinosaur Jr.) and you guys have been usin' that a bunch, right? Vocals and stuff? Yeah, so that's really an awesome piece of gear."

-John Agnello, producer for Dinosaur Jr., on the gear used for Farm

Used for "Cry Me a River", as stated by engineer Jimmy Douglass in this transscribed March 2005 interview.

JUSTIN TIMBERLAKE

"Cry Me a River"

Producer: Timbaland

Engineer: Jimmy Douglass

"Justin came to me with his microphone in his case, and didn't actually take it out because he decided to see what I could do first," says Jimmy of the first session. "He was very happy, so he didn't get into that. I guess he has his mic with him just in case he runs into trouble. He works with a lot of different engineers and everybody has their secrets about their great mics. The thing about the [Neumann] U 87 - I used it because it's really kind of a neutral mic. All the other microphones have characteristics to them that don't work on everybody's voice. The U 87 seems to work on everybody."

"I look for Jimmy to tweak my vocals and make them crisp," adds Timbaland. "That's what I look for - that tone. With Justin, his vocal tone just came. Justin does his own thing."

Signal Path: Tracking

Jimmy explains: "The U 87 went to the Neve VR channel strip in mic position - I used the preamp on the board, and then inserted the [Universal Audio] 1176 across that particular path and then I sent it out to all my individual buses. I tracked Justin's vocals to Pro Tools. That's it. I've found that this is the chain of least resistance; it doesn't effect the vocal as much, and you can always do more creative things later in the mix. It's the most natural signal path I can find. I use the 1176 because it's a very fast limiter and it works well as a limiting tool as well as compressor.

"The reason I don't do anything coming in on the EQ side," he continues, "is because you can always EQ it later, but you can't take away EQ you've messed with on the way in. That gets recorded and you can never take it away."

Missy Elliott received the exact same signal treatment for her Timbaland-produced hit "Get Ur Freak On", as did Aaliyah on "Try Again," Jay-Z "Big Pimpin'," Snoop Dogg "Last Meal," Lil' Kim "The Jump Off," and Bubba Sparxxx "Deliverance," among others.

Signal Path: Mixdown

"I basically added a Teletronics LA2A across the chain," says Jimmy, "and I used the EQ on the VR. I just added a little bit of top and took away a little bit of the low bottom. I put a little bit of high-end just for shimmer. "The vocal to me is God. The vocal sells the record. I've always felt that way. That comes from working with a long line of great singers: Aretha Franklin, Roberta Flack, Donny Hawthaway, and Lou Gramm [Foreigner]. I came from the school of having the vocalist be the most important part of the record. If you listen to the early records Lou did, the vocals are really out there, it's very clear, it's very transparent. I look for transparency in vocals. And I also try to keep them very dry."

Producer Steve Hoffman has stated his use of the LA-2A for Montgomery.

My Teletronix LA-2A, ganged for stereo or mono reproduction via the handy toggle switch in the center of the two units. (...) I've used it on countless projects, Nat "King" Cole, Frank Sinatra, Beach Boys, Doors, Eagles, Ringo, McCartney, Fleetwood Mac, Bob Dylan, Ray Charles, Peggy Lee, Jethro Tull, Chuck Berry, Creedence Clearwater Revival, Van Morrison, White Stripes, Tom Petty, Red Hot Chili Peppers, Ella Fitzgerald, Yes, Sonny Rollins, John Coltrane, Steely Dan, Steppenwolf, Bad Company, Jim Croce, Elvis Presley, Billie Holiday, Judy Garland, Dave Mason, Paul Simon, America, The Band, Crosby, Stills & Nash, The Cars, ZZ Top, James Taylor, Art Pepper, Steve Miller Band, Queen, Rod Stewart, Duke Ellington, John Lee Hooker, Al Jolson, Roy Orbison, Bing Crosby, Sammy Davis, Jr., The Who, Lightnin' Hopkins, Bill Haley & his Comets, Miles Davis, Mamas and Papas, Blue Öyster Cult, The Byrds, Eric Clapton, Bill Evans Trio, Blood, Sweat & Tears, Phil Collins, Alice Cooper, Deep Purple, Jeff Beck, Doobie Bros., Faces, Grand Funk, Heart, Billy Joel, Linda Ronstadt, Ten Years After, Grant Green, Wes Montgomery, Pat Benetar, Elton John, Leon Russell, Metallica. etc.

In this Instagram photo, the LA2A appears to the left of a young girl, presumably his niece. "Having my niece @winterrosea in the studio always makes the song a little better!"