According to Robbie McIntosh in a demo by Origin Effects, Lowell George used a pair of Universal Audio 1176LN compressors chained together in the studio to craft his distinctive tone, characterized by a clean and shimmering sound with full, fat, and sustained qualities.

"I usually record John through a Telefunken U47 from the late 40s. That’s usually my go-to mic on John — I found that I really like him through the classic U47. It’s just such a fantastic mic, it has a lot of great clarity and body for him. John’s a pretty strong singer, and that mic seems to take it pretty well.

It’s worth noting that I’ve recorded all his vocals on the album to tape. That adds some nice upper harmonics, and it has a very nice saturation and character to it. This vocal has a dark slap-back delay.

Mostly, the signal path would be a U47 going to a Universal Audio 1176, or sometimes an LA2A compressor. Preamp-wise mostly we went through Neve 1073’s or 1081’s. I’m going for character, that’s the main thing. I don’t want neutral, I want character. The 1176 or the Neve impart character on it."

— Dave Tozer, executive producer of Love in the Future

In an article from Soundonsound, Shakira's lead vocals are noted to use various effects processors, including the Universal Audio 1176LN, alongside the Urei LA2A, Sony S777, Lexicon 960L, Empirical Labs Fatso, and Waves Renaissance De-esser and Compressor.

The 1176LN is visible in this article's photographs. The article covers MOM's studio gear

Used for vocals on Murmur and Reckoning, as recalled by producer Mitch Easter.

Mix Online, February 1, 2009

Mills’ bass amp was miked with a Neumann FET U47 from eight or so feet away, according to Dixon, who says he spent more time on vocals for Reckoning than on anything else. He often gave Stipe a ride to the studio about noon, and they would sing for a few hours in the quiet studio, replacing scratch vocals from the previous day.

“We had Michael sing into a FET 47 — the transistor version of the famous 47 — and it sounded great. It had a good forwardness about it,” Easter says. “The processing on Michael, the thing that seemed to be the magic formula, was a touch of this thing called the EXR Exciter. It was one of those mystery treble-boosting things, and that gave him a touch of brightness.” Also included in Stipe’s vocal chain were a DeltaLab delay, set to only about 16 milliseconds, and a UREI 1176 compressor.

Vintage King, June 11, 2019

For the vocals, we used a Neumann U47 FET, and I think a lot of the selection was made by Michael Stipe. He saw the mic sitting there with its perfectly spherical windscreen and said, “That’s cute, let’s use that one.” It just so happened that the U47 was the perfect microphone for his voice. The u47 has a bit of a lift in the upper mids, which brought out the gravelly sound of his voice really well.

The rest of it was really straight-forward. Back then, no one used outboard mic pres. You had an expensive professional console and that’s why you had it. So we just used the MCI console preamp with an 1176 to compress it on the way in.

We tried to come up with a signature vocal sound for that record, which was done by adding an EXR Exciter coming back off the tape. The EXR was sort of an Aphex Exciter copy. We also used these DeltaLab delays, not the blue Effectrons that people remember, but these black DL1 delays that cost more and had XLR connections. It had these two toggle switches that would adjust the delay times in tiny increments; the max delay was like 128 ms. It had two channels so you could set two short delays, which we dialed in to be THE Michael Stipe sound.

If there was any reverb it would have been an EMT 140. The studio had Lexicon 224s and all the new digital stuff, but we thought the 140 sounded better. We used the digital units as special effects for a splatter on the snare drum or something, which was very fashionable at the time. It was all a very late ‘70s kind of approach."

According to Wayback Machine archives of Reflection Sound Studios' outboard gear list (April 21, 2003 and July 21, 2019), the 1176 is more specifically a "UREI 1176 LN Blackface limiter".

Used for "Get Ur Freak On", 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.

In a post on Instagram, Anyma's studio setup is shown to include a pair of Universal Audio 1176LN compressors.

It’s like a BCM10, but with the 33–series EQs,” he explains. “The outboard is fairly standard: Urei 1176s, an Avalon 737 pre, a Neve 1084 pre. In my travelling setup I use the Apogee Symphony and the AD16s and DA16s, which I really like. But that’s if I’m going to work at The Record Plant or somewhere.

A screenshot from Kenny Larkin's Instagram account shows him using the Universal Audio 1176LN, a renowned effects processor in studio recording gear.

According to the "equipment list" found on Church Studios, owned by Epworth, one of the things listed is Universal Audio 1176LN.

JOBA showcases the Universal Audio 1176LN in his Instagram post, highlighting it as a key part of his studio setup, which he proudly describes as a "world class chain."

Listed in the Gear Section.