Used for the vocals on "Who Are You", as mentioned by producer Jon Astley in this Sound on Sound "Classic Tracks" article.

"His voice was very good," Jon Astley confirms. "It held up when we put him under great strain, although he only did a lead vocal about once a week — it wasn't like he was doing two or three a night — and the two of us had great fun experimenting with different mics. I had cardioids and figure-of-eights, one above the other, to put his vocal into stereo by bringing it up on four channels... of course, you can buy a microphone now that does all that, but back then we had quite a hoot trying different things. The only thing was, it kind of made you sick when you listened to it, because if Roger moved slightly left or right the stereo image would move around in the speakers. I remember thinking 'I'm not sure whether or not this is a good thing,' so I ended up mostly using one Neumann U87 with a Urei 1176 on it.

Mentioned by sound engineer Trevor Muzzy in this Sound on Sound interview about the production of "Starships".

All Nicki's vocal tracking was done at Conway Studios in LA, where she had a lockout and was working with her engineer, Ariel Chobaz. I did not want to assume that how he was recording her wasn't working, so I asked him what he had set up, and he told me that there were two vocal signal chains, one being a Telefunken ELAM 251 going into a Chandler TG2 mic pre and then through an Urei 1176 [compressor]. The other was a more traditional Neumann-Neve chain. The 251 chain sounded amazing and worked really well with the 1176, which I don't typically use for cutting vocals. It gave her voice a unique character with a cool edge that wasn't there with the other chain. We cut Nicki's vocals in a day, and I came back and we redid a few things, so you could say it was a two-day process.

In his FX rack, during the recording of Super Discount 3.

Used for the electric guitar on Superwolves, as stated by Daniel Schlett in this May 21, 2021 Mix article.

“The first day or two was just those guys capturing songs, some acoustic and mellow and some of them with Matt’s electric guitar,” Schlett recalls. He captured Oldham’s vocal with a vintage Neumann U47 into a Neve 1070 mic preamp. Sweeney’s guitar amp was miked up with a U67 into an ADL 670 or UREI Silver 1176 compressor/limiter.

“The ADL 670 would have been used on the vocal. Will’s vocal is the only thing I put through a Neve pre,” Schlett says. “Everything else went through the pre’s in our API Legacy console.

Used for the vocals on Havoc and Bright Lights, as stated by producer Joe Chiccarelli in this July 26, 2012 Universal Audio blog interview.

I recorded her vocal through a Sunset Sound preamp, which is a kind of hybrid Jensen/API design. It’s a very unusual preamp; very warm sounding, but very fast and aggressive at the same time.

Then it went through a real vintage UREI 1176. I like to do different types of compression for lead vocals and background vocals, often I’ll use tighter compression with background vocals. All the backgrounds were done with vintage LA-3A Audio Levelers and a lot more compression than I would have used on her lead vocal.

She always has used an AKG C12 microphone. She’s used it for all her career so we stuck with it.

Used for the keyboards on "Makes Me Wonder", as stated by mix engineer Mark Endert in this September 2007 Sound on Sound interview.

Keyboards: Urei 1176, Roland SDE3000, Lexicon PCM42

“The acoustic piano had a ton of 1176 compression on it and also some slap echo from an SDE3000. I definitely added timed delays from my PCM42s to the Juno 106 pads to keep them nice and full in the choruses. The great thing about the contour of the track is that there are moments when it’s big and then you get sucked down into moments that are tight and small. So when the keyboards change to distorted Rhodes and Wurlitzer in the bridge, they are much more dry than anything else. I don’t think I used plug–ins on the keyboards."

Mentioned by Rose in this April 3, 2018 Reverb.com interview about the recording of Loner.

I use the Apollo 8p. And then I have a vintage 1176. When I'm traveling I use the Duet, which is pretty amazing, because the pres in the Duet it sounds so good. I'm just always amazed by it. Apogee and Avid and Apollo are just an amazing trifecta of things... Yeah, so that's my portable rig and the Apollo's my home rig.

Mary J. Blige utilized the Urei Universal Audio 1176LN Rev. H Limiting Amplifier on her album, as confirmed by producer Prince Charles Alexander. He mentioned, "We used 1176s to compress the basses," a statement validated by the article "Key Tracks: Mary J. Blige’s My Life" from the Red Bull Music Academy website.

Used for the vocals on Volume 3, as mentioned in this April 15, 2015 Electronic Musician interview.

Deschanel usually sings into a Neumann U47. “I have done a number of mic shoot-outs to see what we liked best,” she says. “But we don’t always universally stick to [the U47]; I love an RCA 77, too.”

On this project, [producer Pierre] de Reeder placed U47s for Deschanel and Ward; both also went to Neve 1073 mic pre’s, and Deschanel’s vocal took a small amount of 1176 compression. “Nothing’s heavily compressed,” de Reeder points out. “It’s just barely rocking the needle and making sure everything’s in control.”

All of the other inputs went through preamps in Sound Factory’s custom API console, then straight to a Studer A827 24-track tape machine.

In a Soundonsound article on the classic track "Another Girl, Another Planet" by The Only Ones, it is noted that John Perry used the Urei 1176 during the recording process.

the Urei 1176 can be seen starting at 0:07

According to producer Dae Bennett, a Urei 1176 was used on Bennett and his guests on Duets II.

"My vocal setup for the recordings with the quartet consisted of two Audio-Technica AT4047 mics, going into a Neve 1073 and then a [Urei] 1176."

(...) "We set Tony and Amy [Winehouse] up with playback speakers and two [Neumann] U47 mics, and what you see in the video are the actual vocal takes that I selected for my edit. The signal chains were the same: Neve 1073 and then an 1176 and then going into Pro Tools."