Used for the guitar on "The Pretender" and the drums on Songs for the Deaf, as stated by mix engineer Rich Costey in this March 2008 Sound on Sound interview and by producer Eric Valentine in this September 14, 2019 "Making Records with Eric Valentine" video at 24:29. The latter is specified in this November 13, 2020 equipment sale list for Barefoot Recording and pictured in a corresponding November 24, 2020 Instagram post.

Sound on Sound, March 2008, "Secrets Of The Mix Engineers: Rich Costey - The Foo Fighters: 'The Pretender'"

"In the case of 'The Pretender' I had a couple of Urei 1176 compressors on Dave's guitar, to pump them up a bit and make them sound more aggressive whilst barely compressing. I had the Gates Sta-Level compressor on the clean guitar in the intro, with quite a lot of compression and a very slow recovery, plus a 33609 with a very short recovery time on Chris' rhythm guitars, to beef them up a little bit. I worked hard to make the octave guitars in the last chorus stick out. I ended up EQ'ing them with the 550a, in addition to the console, to make them cut through this formidable army of rhythm guitars. The rest was just rides. The stereo phase and flange guitars used in the track already had those effects on them."

An image of the item can be found here.

One of Rich Costey's racks, containing an impressive array of classic and modern gear, including a Chandler EMI TGI2345 Curve Bender EQ; two Mercury EQ-Hi Program Equalizers; Thermionic Culture Vulture; an SPL Transient Designer that was used to lengthen the sound of the toms; an SPL De-esser that was applied to the vocal tracks; a Roger Mayer Model RM58, which compressed the background vocals; a pair of Universal Audio 1176 limiters, which Costey used to make Dave Grohl's guitars "more aggressive"; an EAR 822Q EQ; and a pair of EAR 660 Limiting Amplifiers that came into play for bus compression.

"Making Records with Eric Valentine", September 14, 2019

And there's an 1176. 1176s were blended for compression, I think for the entire drum kit.

"And I have six old 1176 compressors, a Fair-child, three Lang equalizers [a PEQ4 and two PEQ2s], two Pultec [EQP-IA3] equalizers, an EMT plate reverb, and an EMT 250 digital reverb."

Used on the album 'Lazarettto'. "I recorded Jack’s vocals mainly with a Shure SM57. Sometimes we used a Neumann U47, as well as an RCA 77D and a Shure SM7, and I often pushed his vocals hard through an 1176(...)"

Two were used in series for "Black Dog", as stated by producer Andy Johns in this Universal Audio interview. The article is accompanied by a photograph of Johns with three 1176LNs.

Would you like the “Black Dog” guitar tone story?

Absolutely! Which Led Zeppelin album was that?

That is the fourth one, the really, really big one. “Stairway To Heaven,” “When The Levee Breaks,” and “Black Dog.” It sold about 18 million — something bloody ridiculous. Who would have known, you know? I had been trying to get this sound from Buffalo Springfield for a long time and I met Bill House. He said, “I just put two of them in series.” He didn’t really want to let me know what “they” were.

It was a direct sound and I thought that I knew what to do. There were three guitars on “Black Dog” so I triple tracked it. When I mixed it, these three guitars were down here and the rest of the tracks were up here. Since the sound was so loud, it gave me much more room for the other stuff. Anyways, he meant two 1176s in series, one of which has the compression buttons punched out, so it is like an amp. You hit the front of the next compressor really hard and make the mic amp distort a bit with the EQ —a bit of bottom to make it sing. So “Black Dog” has a direct Gibson Les Paul Sunburst 52 or something, going right into the mic amps on the mixer, which is going through two 1176s, and it sounds like some guy in the Albert Hall with a bunch of Marshalls. I couldn’t have done it without the 1176s. There is not another compressor that will do that, because you can take out the compression stuff.

Used on Lullabies to Paralyze by engineer Joe Baressi for Josh's vocals. "I tend to compress when I go to tape. The 1176 is my favourite on vocals, but sometimes the LA2A works really well. If you're looking for more dirt you can turn a tube compressor up a little more. I'm not opposed to dirtying the signal up and blending that in with the original. I'm not a transparent compressor guy. I may send one compressor into the other as well. That works well if you need a very up-front vocal. When I'm mixing I'll compress the vocal further, perhaps using an 1176 again."

Steel guitar for Daft Punk was recorded using a Neumann U87 mic, which went through a Neve 1073 as well as the Universal Audio 1176LN.

The 1176 was also used on the kick and snare for parallel compression during the mixing process.

This photo was used as a background for Muse's official site. In the middle rack you can see a Universal Audio 1176LN.

appears at 8:45 among his other external equipment.

At 0.18 into the video you can see a pair of Universal Audio 1176-LN compressors sitting in his rack.

When asked if he has any Universal Audio analog gear int he studio, Diplo responded "Yeah, in our studios we have both a 6176 Vintage Channel Strip and a reissue 1176LN set up in our vocal chain. Much of the vocals on the record were recorded through those. Usually we’ll track with very light compression via those two components, so we are almost always choosing the UAD Powered Plug-Ins versions again later for the final mix or further sound design."

"These compressors here, they're always coming on the market and you need to keep an eye for them. I kind of sometimes trade gear for them. My engineers are always looking for this kind of stuff for me," says Steve Vai about the Universal Audio 1176 LN Compressor which he uses in his studio.

Used for rhythm guitar and bass on Not of This Earth, as stated by producer John Cuniberti in Strange Beautiful Music: A Musical Memoir. Satriani later writes that a unit was acquired for Studio 21 and first used for Is There Love in Space?.

Not of This Earth

John Cuniberti: As far as effects pedals, Joe was primarily playing through his orange Boss DS-1 Distortion pedal and CE-2 Chorus and that was pretty much it. All the echo-delay types of effects—reverbs, chorusing—we did with outboard gear. Typically, I would use a Universal Audio 1176 limiter for rhythm guitars and bass, and a Universal Audio LA-2A limiter for melodies and occasionally solos. Because again, those were limiters you would use for a singer, and since Joe’s phrasing and playing and arranging were that way, I tended to use the same processors as I would if there were people singing. An LA-2A’s not unusual for lead vocals, so of course that’s what I’d use on Joe’s melodies.

Is There Love in Space?

Before reuniting with John Cuniberti, Matt Bissonette, and Jeff Campitelli to record Is There Love in Space?, I started recording the new songs at Studio 21, my home studio, trying once again to break my own style down and rebuild it into something new. I was deeper into Pro Tools now and having much more success and fun with it. The new record would feature quite a bit of compositional variety, with lyrical-sounding melodies and more angular-sounding solos—and two vocal tracks!

At Studio 21, I was using a Korg Triton DAW keyboard, Universal Audio 1176 and LA-2A compressor/limiters, an Empirical Labs EL8S, old API EQs, the Millennia Media STT-1 mic pre, and Palmer speaker simulators. For guitar amps I had an interesting collection: Soldano, Mesa Boogie, Cornford, Vox, Wells, and several vintage Marshalls. Added to that group was my new Peavey JSX prototype head. Everything just started to sound better!