"The Teletronix LA-2A sounds amazing on vocals as well. The FATSO™ Jr./Sr. Tape Sim. & Compressor plug-in is also a good one on drums specifically, to make the snare sound a little more crisp." - Armin Van Buuren.

At 0:06 in the video titled "How Charlie Puth Writes a HIT Chorus (In Real Time)" on YouTube, Charlie Puth can be seen using the Universal Audio Teletronix LA-2A Classic Leveling Amplifier Plug-In while working on his vocals.

Used on Lamar's vocals for "All the Stars" as stated by producer Matt Schaeffer in this May 2018 Sound on Sound interview.

Kendrick Lamar’s vocal audio tracks, named after his teenage stage name K.Dot, consist of his first verse rap track, ‘VS 1 LD’, and 10 tracks for three moments in the track where he sings the pre-hook in a robotic voice. The verse rap track only has the AIR Flanger on it, and is sent to the ‘Dot VS LD’ aux track, which has eight inserts and five sends. Nine of the 10 pre-hook tracks have Auto?Tune, while the top four have a number of plug-ins on the inserts, including the EQ3 seven-band, Waves RVox, UAD Galaxy Tape Echo, SoundToys Little AlterBoy, SoundToys MicroShift and Valhalla Vintage Verb. These four are sent to a ‘Hook Ref’ aux track higher up in the session with another four plug-ins on the inserts and five sends. The other six are backing vocals to the four other pre-hook tracks and have no other plug-ins, other than a Trim, and are sent to a ‘Hook Background’ aux, just below them, which itself also is sent to the ‘Hoof Ref’ track. It’s a pretty complicated vocal signal chain, as Schaeffer admits.

“The ‘Dot VS LD’ aux indeed has a lot of stuff on it! I did most of the processing on that bus. On the inserts there are the SSL E-Channel, Waves RComp, Waves Q10 EQ, Waves DeEsser, UAD LA2A, UAD Pultec EQP1A, SoundToys Decapitator and Pro?Q2. The SSL channel strip, Q10 and RCompressor remain from the tracking, and maybe the DeEsser as well, but I most likely messed with the settings more during mixing. The Q10 has a high-pass at 50Hz and I notched out a frequency that was bothering me around 8.5kHz with the Q2. I added the other plug-ins during mixing, and they all add something a bit different. I’m boosting 100Hz and 16kHz with the EQP1A. As I said, I like using several EQs on one thing.

“The sends go to a ‘FlangeVerb’ track, on which I put the RVerb and the UAD MXR Flanger, then the ‘Huge Verb’ with the [Audio Ease] Altiverb and EQ3, ‘Hook Valhalla’ with the Vintage Verb, and the SoundToys EchoBoy, the ‘EMT250’ aux with the UAD EMT250, Valhalla Plate and MicroShift, and then finally a send to the ‘Dot VS Delay’ track, with the EchoBoy, set to quarter note, the Reel Tape Flanger and the RCompressor. The EchoBoy is the main delay you can hear in the verse. The EMT250 is not set to a reverb, but to a phaser effect, which gives a cool stereo effect. The Valhalla adds a bit of reverb here, though it’s set to -12, so it only gives a tiny bit of ambience, and the MicroShift makes the whole thing a little wider. It probably still sounded a bit dry, which is why I sent the track to the ‘Huge Verb’ aux with the Altiverb, again taking out low end with the EQ3.

Used on the vocals for "Sparkle Mountain", as shown in the project breakdown at 11:00, 14:11 and 15:09. Huang calls it "the best vocal compressor" and mentions that it and Albeton's Compressor are "the same compressors that [he] use[s] on all [his] vocals."

Vocal ad libs, backing & outro: Antares Auto–Tune EFX, Auto–Tune Live & Harmony Engine, FabFilter Pro–DS, Pro–G, Pro–Q2, Volcano & Timeless 2, Waves Vocal Rider, & H–Delay, UAD API 560, 1176, EP34, Pultec EQ, Teletronix LA2A, MXR Flanger & Cooper Time Cube, SoundToys MicroShift, Audio Ease Altiverb.

From his insta story, bottom of picture

Used for the vocals on Love Is a Four Letter Word, as stated by producer Joe Chiccarelli in this July 26, 2012 Universal Audio blog interview.

Often when we mixed there was a plug-in on [Jason Mraz’s] vocal, whether it was the Teletronix® LA-2A Classic Leveling Amplifier, or an 1176 Classic Limiter, any additional compression came from plug-ins. Then, maybe some EQ for air on the top of his vocal. Jason’s got a lot of beautiful air and tone to his voice, so often I would enhance that with a plug-in.

Used for the guitar tracks on "Beggin", as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.

“I kept the bass in place with the UAD 1176LN E, and it also has a send to the Room aux, which has a UAD Ocean Way room reverb. I added compression to the guitar tracks with the UAD LA‑2A S, and there are sends to the Hall aux, with a UAD Lexicon 224, on the two main guitar tracks. The two guitar tracks that I pulled out for the B sections have sends to the Hall and to the Chorus aux, which has a UAD Studio D Stereo Chorus.”

"...and, afterwards, the more sound-effecting tool is, um, the LA-2A from Universal Audio, which is awesome for vocals..." (12:33)

In a video titled "How Ryan Tedder Builds a Dark Pop Track from Scratch," Ryan Tedder is shown using the Universal Audio Teletronix LA-2A Classic Leveling Amplifier Plug-In at the 10:20 mark. This video, provided by Studio on YouTube, offers an inside look at Tedder's hit-making process.

Used on SZA's vocals for "All the Stars", as stated by producer Matt Schaeffer in this May 2018 Sound on Sound interview. An image of the settings can be found here.

There are 12 SZA vocal audio tracks in total: two for the main hook, one second verse lead track, and nine verse backing tracks, which in fact provide emphasis and overdubs of single words. All SZA audio tracks have the Antares Auto?Tune 8.1 plug-in, the two hook tracks each also have the FabFilter Pro?Q2 equaliser, and the main SZA verse track also has a de-esser, while the backing vocals have two instances of the Waves RVerb and one of the same company’s H-Delay. Apart from Auto?Tune, most of the processing is done on the ‘SZA ?’ aux, to which all SZA audio tracks are sent.

Schaeffer: “The inserts of the sum track for SZA’s vocals consist of the EQ3 seven-band, Waves RComp, UAD Pultec EQP1A, UAD 1176E, Waves De-Esser, UAD LA2A, another Waves De-Esser, the Pro?Q2, yet another Waves De-Esser and the SoundToys MicroShift. The De-Essers affect 11400Hz, 15032Hz and 2000Hz respectively. I like stacking de-essers set to different frequencies. It works like narrow multiband compression. Sometimes I will in fact use a multiband compressor, like the Waves C4, but if the vocals have very specific harsh frequencies, I prefer to use several de-essers. They also are helpful as I like boosting high frequencies in vocals; here, the EQP1A boosts 16kHz. The EQ3 has a high-pass at 216Hz and cuts at 695Hz, and the Q2 lowers the high end to some degree. When a frequency bothers me, I usually sweep through [with a band set temporarily to boost] to find the frequency and then I cut. The MicroShift provides a little extra width and a slight ambience with the delay parameter, without actually making the vocal sound too stereo.

“The sends go to auxes called ‘SZA Verb’ and ‘DVerb’, both of which have the DVerb and EQ3 seven-band, two ‘SZA Delays’ with the Waves H-Delay, and the ‘SZA Chamber’, which has the Waves RVerb and again the EQ3 seven-band. I put an EQ after the reverb, because I don’t like too much low end in reverb. You get a cleaner sound by taking it out, and you make space for actual instruments to take up that spectrum. The delays are both set to eighth note, and one of them is set to ping-pong delay and also is automated to only come in on certain places.”

At 2:28, one can see that the plugins used in Eelke's channel SurfLead are: Redopter, UAD Teletronix LA-2A and Toraverb.