In this YouTube video @ 3:30, Max Martin has 2 1176s sandwiched around an LA-2A.

Used for "Last Meal", as stated anecdotally by engineer Jimmy Douglass in this transscribed March 2005 interview about Justin Timberlake's "Cry Me a River".

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.

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.”

Also used on the vocals for "Someone Like You", as featured in this April 18, 2013 Instagram post by recording engineer Warren Huart.

Compression! Same chain used for #adele on #someonelikeyou #urei1176 #LA2A #dbx165 #dbx175vu #compressor #recordingstudio #studio #recordingengineer #warrenhuart #warrenhuartproducer #vintagegear #gearporn #studioporn

In pictures in the October issue of Sound on Sound Magazine, an 1176LN can be seen rack mounted to the right of the desk they're sitting at.

Used for the vocals on Music from Another Dimension!, as stated by engineer Warren Huart in this August 1, 2012 Mix article archived on the Endless Analog website.

Most of Steven Tyler’s keeper vocals were cut at Swing House with a Neumann U 48 that Huart had used previously on The Fray, James Blunt, Adele and others. Other pieces of the chain included a Brent Averill Enterprises 1073, 'and then I mult to two sets of compression and I parallel compress. I have two [dbx] 160 VU’s, which I set pretty lightly, like 2-to-1 or 3-to-1. I split those out of a mult and then each of those goes to an 1176 set to limit on 20:1 and they just catch the peaks. I’ve got one for verses and softer vocals, attacking it lightly, and then when he goes into that louder, crazier Steven thing I have another set of compression set at half that. They’re multed back together and that’s the vocal sound. What it does is give you huge, fat vocals all the time. I ride the 1073—I’ll click the gain settings up and down depending on where he is on the vocal. It’s pretty old school. As an engineer, you’re blessed to work with a singer of that quality, because he makes your life very easy.'"

Urei 1176 compressor is included in the list of Mark's "studio gear."

In this article Illangelo says he used the UAD 1176 on The Weeknd's vocal for his song "The Hills"

In this TikTok at 00:05, keshi shows his outboard, which includes the Universal Audio 1176LN compressor.

Can be seen beneath his right studio monitor

In a user-uploaded photo, Breakbot’s studio setup features a Universal Audio UREI 1176-LN Peak Limiter positioned just below a pair of Distressors.

Ian says he uses "1176" on vocals 41:28 into this video.

In this footage of Lynch in the studio during the recording of Crazy Clown Time, the camera pans past an 1176-LN at the 0:23 mark.