Used for vocals on Icky Thump, as stated by recording and mixing engineer Joe Chiccarelli in this October 1, 2007 Mix Online interview.

Most of the vocals were recorded on a RCA 77DX ribbon microphone, but a U47 and an old Altec 633 salt shaker mic were also pressed into service. Processing, depending on the track, included a Telefunken V76 tube preamp, an 1176, an LA-3A, a Fairchild and a Chandler Limited EMI TG2 compressor. “Sometimes the vocal went through a guitar amp, sometimes through a Neve module with a preamp turned all the way up,” he says. “He's great about working the distortion, knowing how to sing to a certain microphone. He knows how to back way off and come way in when he needs to. The vocal is different on every single song."

The lists of compressors on Blackbird Studios' rental website specifies the Urei iteration.

An LA-3A can be seen in the bottom right corner of this picture taken from Steve Vai’s website. The photo's description reads: "Steve with Pia in Stucco Blue Studios (June 1983)." The attached photo’s url is under Steve Vai’s website. (https://www.vai.com/wp-content/uploads/2021/04/june1983.jpg)

The webpage where the photo and it’s description can be found is here: https://www.vai.com/rare-photos/

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Keyboards: Urei LA3A, Focusrite 115 HD, Neve Portico 5014

"The piano had my regular piano insert, which is two Urei LA3As going into my prototype Focusrite stereo 115 HD EQ. For some additional width I sent it to a Neve Portico 5014 Sound Field Editor. No reverb. I left the intro ambience as it was given to me. The keys had nothing on them either, not even EQ, jut flat, panned left and right. A lot of the tracks had hardly any EQ on them. Again, they did their homework and got the sounds that they wanted and didn't leave me to reinvent the song. What they wanted from me was to get their vision out there. That's my job."

Used for the vocals on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview. An image of the item can be found here.

• Vocals: Sound Toys Echoboy, Audio Ease Altiverb, Massenburg DesignWorks EQ, Neve 1099, Urei 1176, Dbx 902, Dolby A encoder, Teletronix LA3A

"I had a Sound Toys Echoboy delay and an Altiverb reverb, set to the EMT 140 plate, on the vocals. In fact, there are two or three delays and two or three reverbs in total, different amounts in different sections of the song. I had a Massenburg plug–in EQ on the vocal bus, and underneath it you can see my insert signal chain: Neve 1099 EQ/Urei Blue Stripe 1176/Dbx 902 de–esser. I pre-mix in my computer and things are coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo. The 1099/1176/902 were inserted in the analogue realm and daisy-chained. There's also a distant lead double in the chorus. I call that a performed effect. Instead of using a delay and modulation to get something in the background, you record a second performance in a different space and with a different microphone. You get something more deliberate and unique that way. Finally, once it came to summing, I also added some Dolby A to the vocals, which gives an excited high-frequency sound that I sent through an LA3A and blended back in."

Used for the background 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.

In this video you can see Philippe Zdar showing 4 LA-3A

Used for the guitar on Mosquitos, as stated by co-producer Joe Chiccarelli in this November 20, 2020 Mix Online interview.

Chiccarelli brought along some of his own equipment, as well: Focusrite and Neve preamps, UREI 1176 and LA2A compressors, a pair of Tannoy SGM10B monitors, and various microphones. (...) On guitars Ridgway and Chiccarelli used a Neumann U87 or Shure SM57 going into the producer’s Focusrite 115 preamps and 1176 or LA3A compression.