Rob Swire of Knife Party [formerly Pendulum] posted on his Twitter acount the provided image of his studio holding two of the mentioned Universal Audio Blue Strip Fet Limiters.

Used for the vocals on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview. An image of the item can be found here.

• Vocals: Sound Toys Echoboy, Audio Ease Altiverb, Massenburg DesignWorks EQ, Neve 1099, Urei 1176, Dbx 902, Dolby A encoder, Teletronix LA3A

"I had a Sound Toys Echoboy delay and an Altiverb reverb, set to the EMT 140 plate, on the vocals. In fact, there are two or three delays and two or three reverbs in total, different amounts in different sections of the song. I had a Massenburg plug–in EQ on the vocal bus, and underneath it you can see my insert signal chain: Neve 1099 EQ/Urei Blue Stripe 1176/Dbx 902 de–esser. I pre-mix in my computer and things are coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo. The 1099/1176/902 were inserted in the analogue realm and daisy-chained. There's also a distant lead double in the chorus. I call that a performed effect. Instead of using a delay and modulation to get something in the background, you record a second performance in a different space and with a different microphone. You get something more deliberate and unique that way. Finally, once it came to summing, I also added some Dolby A to the vocals, which gives an excited high-frequency sound that I sent through an LA3A and blended back in."

In the opening shots of the Vimeo video "Late Night Tales: Nils Frahm - Behind The Records," Nils Frahm's studio is shown featuring two Universal Audio 1176 Blue Strip FET Limiters.

Vocals, meanwhile, were recorded in a corner of the band's main working area. "It's all me," says Rob. "I recorded them with a Brauner VMA, and unless we were using it as an effect vocal, there might be a bit of EQ first, and then through the Blue Stripe [1176 compressor].

In this interview under the control freak section he says "a Manley microphone and a Chandler TG2 mic pre, plus a [Universal Audio] 1176, one or two effect boxes and the guitar pedals, and that's it."

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.

"My desktop Mac is an eight?core Intel with 8GB of memory, and I have Apogee Ensemble for going in and out of the computer, and Brent Averill BAE 1272 and BAE 312A preamps, plus a Universal Audio 1176 compressor. Almost everything I track goes through the 312A, then the 1176 and into the computer. Everything else is done in the box. My master keyboard is a Roland A37, my monitors are the Adam 7s, and I recently acquired an Adam Sub 8 bass speaker. My room has some acoustic treatment, with stuff above my head and in front of me. I also have a large selection of analogue keyboards, organs, Moogs, ARPs. I love these things and I have about everything from the '60s and '70s. I've sampled many of them in Logic's EXS24 sampler, so I have a bunch of unusual and imperfect?sounding sounds that I can use for writing and arranging.”

In the video titled "EPIC HOME STUDIO Setup 2024 | John Osborne (studio tour)" by Andrew Masters on YouTube, at the 6:48 mark, a pair of Urei Universal Audio 1176 Blue Stripe Rev. A/B Limiting Amplifiers can be seen stacked in a rack in John Osborne's studio.

Listed in the Gear-Section. Said to be used as a Buss-Compressor (eg vor Vocals) in MixWithTheMasters Rosalía " Yo x Ti, Tu x Mi" Part 7 at 3:55

At 7:01 in the video titled "Restoration Sound Tour: The Studio Empowering Brooklyn Artists" by Gear Club Podcast, a Urei Universal Audio 1176 Blue Stripe Rev. A/B Limiting Amplifier is visible in a rack within Annie's room, which is part of Lorenzo Wolff's studio.