Used on EVERYTHING IS LOVE, as stated by producer Stuart White in this September 2018 Sound on Sound interview.

He recorded both Beyoncé and Jay-Z with his “Telefunken mic, Avalon mic pre, and Tube Tech compressor. That was the chain for the entire album on both of them. I use just the one chain, because they jump back and forth on the mic all day long, and they both sound really good on that mic, so I kept it simple.”

White had previously specified this Tube Tech to be a CL 1B in this September 24, 2016 AudioTechnology interview with producer Stuart White about the production of Lemonade.

“We started in August 2014 at the Record Plant in Los Angeles. We were there for a month and had booked every single room; producers were everywhere writing songs. After that we took a break, then went to Paris for 45 days, where we lived in a hotel and set up two studios in two different hotel rooms. The identical setups consisted of ProAc Studio 100 monitors, an Avid Omni converter, Telefunken Elam 251 mic, an Avalon 737 mic pre, Tube Tech CL1B compressor, a Shure SM58 which she likes to use occasionally, and matching Pro Tools sessions."

In an August 2020 article with "Sound On Sound" Gaga's mix Engineers Benjamin Rice and Tom Norris Confirm her vocal chain used consistently in her music: "I have been using the same chain on LG for years, which starts with her personal, vintage Neumann U47, which I think is 60 years old now, and that has a great sound. We're used to it, and she loves singing into it. That goes into her vintage Neve 1073 mic pre, and then into a Tube-Tech CL-1B compressor, and straight into Pro Tools. It doesn't matter where we are, whether it's a studio, or at her house, or on a bus, I travel with this chain and record her with it. It makes it easier for me to punch in and out and combine takes from different days and places.

In this interview Juice WRLD’s main audio engineer breaks down his go to vocal chain, including this compressor

Used on EVERYTHING IS LOVE, as stated by producer Stuart White in this September 2018 Sound on Sound interview.

He recorded both Beyoncé and Jay-Z with his “Telefunken mic, Avalon mic pre, and Tube Tech compressor. That was the chain for the entire album on both of them. I use just the one chain, because they jump back and forth on the mic all day long, and they both sound really good on that mic, so I kept it simple.”

White had previously specified this Tube Tech to be a CL 1B in this September 24, 2016 AudioTechnology interview with producer Stuart White about the production of Beyoncé's Lemonade.

“We started in August 2014 at the Record Plant in Los Angeles. We were there for a month and had booked every single room; producers were everywhere writing songs. After that we took a break, then went to Paris for 45 days, where we lived in a hotel and set up two studios in two different hotel rooms. The identical setups consisted of ProAc Studio 100 monitors, an Avid Omni converter, Telefunken Elam 251 mic, an Avalon 737 mic pre, Tube Tech CL1B compressor, a Shure SM58 which she likes to use occasionally, and matching Pro Tools sessions."

At 1:50 he pans the camera to the rack and says: "This is my guy, this guy goes everywhere with me..."

“The Universal Audio plug-ins are my bread and butter,” he says. “I use the UAD EMT 140 [Classic Plate Reverb], the Lexicon [224] Digital Reverb, and the Roland [RE-201] Space Echo. If drums or bass sound boring, UAD’s Fairchild 670 Compressor beefs stuff up and gives them character. Or the [Teletronix] LA2A plug-in on bass. Synths go straight to Pro Tools. Guitars and piano go to outboard effects like the hardware Space Echo, which I love for its unpredictability. I used a Manley Massive Passive EQ a lot too. The TubeTech CL-1B was the main vocal compressor. And I have a set of Lucas Limiting Amplifiers into a pair of Amtek Pultec PEQ-1A clones. That is a dummy-proof signal path. It’s hard to botch that.”

In the video titled "How ‘Eastside’ Accidentally Turned Benny Blanco Into a Superstar," presented by Daniel Wall on YouTube, the Tube-Tech CL 1B Opto Compressor can be seen in Benny Blanco's effects rack alongside other equipment, confirming its use by the artist.

Can be seen at 2:25

Used for the lead vocals on "Rolling in the Deep", as stated by mix engineer Tom Elmhirst in this September 2011 Sound on Sound interview.

Vocals: Waves Q6 & De‑esser, Digirack EQIII, Lo‑Fi & Trim, Pultec EQ, Urei 1176, Tube‑Tech CL1B, various spring reverbs and delays.

"I had the Q6 on the chorus vocal, notching out 930, 1634 and 3175 Hz very, very heavily: ‑18dB, ‑18dB and ‑12.1dB respectively, with very narrow Q. I also had the EQIII on the lead‑vocal sub, notching something out again. Something obviously needed to be taken out. The vocal is the most important thing in the track, and taking those frequencies out allowed me to keep it up front in the mix, particularly in the chorus. You can never account for what mic the vocals were recorded on, and whatever it is that bugs me, I can take it out. 'T' on the lead vocal bus is the [Massey] Tapehead plug‑in, which wasn't used, but I did use two Waves De‑essers, one taking out at 5449Hz and the other at 11004Hz. Rather than use one to try to cover all the sibilance I used two. I do that quite often.

"Regarding the outboard, I had the Pultec EQ, Urei 1176 and the Tube‑Tech CL1B on the lead vocal sub insert (desk channel 25). The Pultec boosted around 100Hz and 12k. It's colourful, but not drastic. There was not a lot of gain. The blackface Urei had fast attack and fast release, whereas the Tube‑Tech had slow attack and slow release, it was more evening out the level. You can use compression as an effect, but on the vocal you mainly want control. You want to set it up right so you're not constantly moving the channel fader to fit the vocal in the mix. If you're constantly moving the fader, rather than just doing the occasional ride, you know that you need to look at your compression. There's also Paul's Roland Space Echo track, which I used throughout, and which was the only lead vocal effect in the first chorus. On the backing vocals I had the Digirack Trim, again the Lo‑Fi, and the EQIII, cutting a bit around 405Hz and boosting a little around 3.17k. I used quite a few spring reverbs on the backing vocals, because I wanted them to have a lot more ambience. In the choruses I would also have added several delays. The delays make the backing vocals swing a bit, and they also fill up the space and make sure that they fit in the mix.”

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

I recorded Halsey’s vocals at Westlake Studios, in Production Suite 1, using a Telefunken ELA M251E, going into a Neve 1073 mic pre and a Tube Tech CL1-B compressor, which is a classic female vocal chain.

Tube-Tech Compressor can be seen at 43:08 of their tutorial for "Turn it Around".

In a studio photo, Timmy Trumpet's Tube-Tech CL 1B Opto Compressor is visible beneath his right studio monitor, highlighting its role in his recording setup.