"I recorded direct, then reamped through an Ampeg SVT. The mic is again a Neumann U47. I use old basses, like the Fender Mustang, into a Neve 33135 mic pre and a UREI 1176 compressor. We're not a band so we don't need a lot of mics. We used one or two Neumann U47s for each instrument for the whole record. We did that on Moon Safari as well, using an AKG C 414. We also used the Neumann for vocals and drums with a Royer R122 for cymbals. The treble of the U47 would feed back too much but the Royer has a really nice high treble. We have three U47s, all vintage."

According to an article on Prosoundweb, Mick Jagger utilizes the Universal Audio UREI 1176-LN Peak Limiter in his studio setup.

Mentioned by producer Rik Simpson in this interview from the Universal Audio website, dated shortly after Coldplay's nominations for Viva La Vida & Death and All of His Friends for the 51st Annual Grammy Awards.

What about mic pres on the drums?

Different things for different applications. I try and use as few mikes as possible on drums. My recent discovery are ribbon mikes. Maybe three, four feet above the snare, right in the middle of the kit. I put a Chandler PG-1 across the board, which is an old, Abbey Road-style compressor, and it just sounds pure Ringo! It's really fat, and full of character. Over that, I like to add a few close mikes, just to add a bit more weight to the kick, a bit more snap to the snare. But generally the main sound is from this one mono mic.

Then there’s the UA 1176s. I use after-processing. I don't like recording with a great deal of compression. It doesn't make you work quite as hard. I try and get the sound as amazing as possible straight through the microphone. That's why plug-ins are so great. Once you've got it well recorded, you can put a digital plug-in across it, and it won't degrade the sound at all, it'll just help it shine.

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."

It was also used on the lead vocals for "SexyBack", as stated by mix engineer Jimmy Douglass in this July 2007 Sound on Sound interview.

Lead vocals: Universal Audio 1176, MXR flanger, Izotope *Trash*

"The signal chain for Justin's vocals was an Audio-Technica 4060 mic, into a Presonus ADL600 mic pre, and then a Universal Audio 1176 limiter. I normally use the U87 for recording vocals, but I was curious about the AT and I had both mics in front of Justin. The effects I used on his vocals seemed to work better with the AT. I used the U87 on Timbaland's vocals and went straight into the desk. I like using the Neve VR mic pre. It's a little crunchy, it's not quite the 1072 or 1073, but it works.

In a January 21, 2014 Instagram post, Peter Sagar, known as Homeshake, showcases the Universal Audio 1176LN effects processor.

The limiter is referenced in the description and finally shown at the end of the video, made during a session in Bibio's home studio.

In the video titled "How Patrick Carney Gets His Drum Sound" by Reverb on YouTube, the Universal Audio 1176LN Classic Limiting Amplifier is clearly visible at 3:59, positioned above the Overstayer Saturator NT-02A in a rack within Patrick Carney’s mixing room. This confirms Carney's use of the 1176LN in his studio setup.

Used for vocal tracking, the studio has two classic 1176's, two re-issues and two silvers for a total of six 1176's.

On the previous record, we used a Neumann M 49. On this one, we used a Sanken CU44X into a Tube-Tech MP 1A mic pre, then into the line-in of a Neve 1073 mic pre, for a little EQ tweak. Out of there, it went into an 1176 and a Massenberg EQ. From there into a dB [now Lavery Engineering] converter ahead of the R1.

Part of Q-Tip's 2008 inventory, as listed in his January 2008 Remix interview. Transcripts can be found at the Future Producers forums (linked) and this Prince.org forum.

Universal Audio 1176LN compressor/limiter

"Before we started recording I bought a couple of new preamps that I needed. Because I have no real big console in the studio, it’s all outboard gear. I had a couple of Neve preamps, and then I went and got some SSL’s before we started this. I have some compressors, like the 1176. Pretty basic, normal stuff, but I think now I have a good amount and a good choice. Different mics, too. As far as the whole front end, that’s pretty much what it is." - Michael Romeo

Used for Winehouse's lead vocals on "Rehab", as stated by mix engineer Tom Elmhirst in this August 2007 Sound on Sound interview.

Lead vocals

• Urei 1176 blackface compressor, Pultec EQ, Fairchild compressor/limiter, McDSP F2 Filterbank, Waves Q10 Paragraphic EQ, Waves De-esser, Great British Spring reverb, EMT plate reverb.

"I am not a techno snob, I'll use whatever I can to make a great record. Simple as that. I do try to keep compression and EQ analogue, unless it's EQ to notch out specific frequencies, in which case plug-ins are more precise and effective. Amy is a very dynamic singer. She has a lot of bite in her voice, but I wanted it to sound warm and not take your head off. I often use the Renaissance Q10 EQ for radical reductive EQ'ing, and you can see this in the settings I used on Amy's voice. I'm cutting four frequencies by 18dB; in two cases, 465 and 917, with a Q of 100! That's a really heavy notch. At 3107Hz the Q is only 13.7, so that's quite wide. Taking off 18dB here is enormous, but that's what it was.

"There were specific frequencies in Amy's lead voice [the track labelled 'AmC'], that were bugging me. It may be due to hundreds of things, perhaps to do with the microphone that was used on the day. Don't get me wrong, it was not a bad vocal sound, but she does have some hard frequencies in her voice. There are a few tracks on the album that I did not mix [instead they were mixed by Gary 'G Major' Noble], and you can hear on them what she sounds like without the EQ I applied. I also use McDSP's Filterbank F2, probably shelving around 40Hz, and the Waves De-esser cuts around 5506Hz. Amy is not hugely sibilant. The threshold here is 22, which is not that high for me. There would probably be no more than 3dB of de-essing.

"In addition, I was also filtering with a Pultec outboard EQ and on the board as well. The outboard chain on Amy's vocal was Pultec, going into a Urei 1176 blackface compressor, going into a Fairchild compressor. On the Pultec I was probably adding around 12k, just to brighten it up a little bit, adding air. The Urei will have been set with a very fast attack and a super-fast release, doing perhaps 10dB of compression, while the Fairchild will have had a very slow release. I can't quite explain what this does, but in my head the Urei will catch anything that jumps out, while the Fairchild will pick up the slack and keep a more constant hold of the vocal -- ie. smooth things out. During the mix I'll be constantly playing with these two compressors; it's not something I set up and then leave. How hard the signal coming from the Urei hits the Fairchild affects the sound a lot.

"The vocals had a spring reverb which would have been tracked when they recorded Amy, at Chung King Studios in New York. I also recorded an EMT plate on the vocals at Metropolis. You can see both at the bottom of the Edit screen. I spent a lot of time on the vocal, and I would regularly come back to it. Late in the evening of the first day of mixing 'Rehab' I would have the vocal pretty much in the track all the time, and after that I'd constantly be tweaking it a little bit. I don't just do it and leave it. You're getting constantly closer to the final mix, but it's not immediate."