In the video titled "Create a full techno track from scratch with Tom Hades – FROM THE ARCHIVE", Tom Hades is observed using the Waves CLA-76 Compressor/Limiter plugin at the 51:47 mark.

Feezo confirms the use of the Waves CLA-76 Compressor/Limiter plugin by listing it in the description of the video titled "Feezo's Studio Tour 2025" on YouTube.

Used for Ray's vocals on "Old Town Road (Remix)", as stated by mix engineer Andrew "VoxGod" Bolooki in this August 2019 Sound on Sound interview.

Billy Ray Cyrus' verse lead vocal provides an example of the mind-boggling complexity of Bolooki's vocal treatments. The audio is spread over five tracks (36-40), four of them with the same insert effects chain of Melodyne, FabFilter Pro-Q 3, FabFilter Pro-DS and Waves CLA-76. The fifth track replaces the Pro-DS with the Avid ModDelay 3, and adds a send to the 'rvb2' aux with the Soundtoys Effect Rack. All five audio tracks are routed to an aux group track (35), which has the Pro-Q 3, Waves C6 and RVox, UA Distressor and SSL Channel, plus a whopping seven sends to delay and reverb aux tracks, and another Distressor aux. The quarter- and eighth-note delay auxes themselves each have four insert plug-ins (Waves H-Delay, Pro-Q 3, MetaFlanger, and DVerb) and a send to the 'rvb1' reverb aux. That means that the verse vocal alone has a total of 38 plug-ins, spread over five audio tracks, one group aux track, and seven aux effects tracks!

Bolooki: "I spoke to a mixer a couple of years ago and asked him how he got things to sound so polished. And he said: 'You can't just throw on a plug-in, you have to take more control, and make sure you purposely put things in different places in different ways.' So, for example, in this song I added the DVerb to the delay auxes, to create a distant effect, so it's not obvious. There are many effects going on, but none of them are overpowering. They are all set back. Nothing gets in the way of the lyrics and the vocal performance. I could probably delete half these effects and it would have sounded the same, but people liked it the way it was, so I left them all.

"This was the first time I used the UAD Distressors and I ended up having two on Billy's vocals: one as part of his main vocal aux, and another set much more aggressively in a parallel and blended back into the same lead vocal aux. This made his vocals really kick ass, and helped make each word crystal-clear. I also ended up copying the Waves SSL strip from Nas' vocals on some of Billy's vocal tracks too, just for some tonal continuity. I have no problem stacking plug-ins on plug-ins. If it's better, it's better.

"Just to highlight some of the other plug-ins I used, there's an aux called 'VoxDoubler' with the Waves Greg Wells VoiceCentric. It definitely adds a bit more of a finished feel and works well mixed in parallel. I put the Waves C6 multiband compressor on almost every single vocal bus, using the 'Pooch Vocal' preset. This cleans up some of the mud. You can solo the side-chain bands and sweep around until you find the annoying frequency, and then just cut that out. If I need to play back something for someone really fast, this is my emergency plug-in to get it to sound better really quickly. Also, the Melodyne plug-in is greyed out, because I printed it. I also like using the Pro-DS, and always put it before the CL76 compressor, because I think it just makes the most sense to fix issues before you boost the whole track with a compressor."

For example, if you use a Waves CLA‑76 blue‑face compressor, you'll notice that the breaths are too loud when you compress the crap out of a vocal. Before the vocal starts, you hear that really loud inhale and then the vocal gets quieter because that breath has slipped though before the compressor clamps down, so it seems like they are louder than the actual vocal. Then you come across compressors that do the exact opposite, where the breaths don't come in loud enough relative to the vocal. This compressor is based on 10 years of messing around with vocal compression.

In this video at 13:23 see Waves CLA-76 Compressor / Limiter

Deepend used this plugin when they were working in their released song "Turn It Back"

At 10:51, Frank pulls up this plugin and says "backing vocals, EQ again this case we use CLA"

at the 1 hour, 42 minute mark, you can see Birocratic using the CLA-76 Compressor plugin

In This video at 6:25 we can see that greg mentions his love for the CLA Collection and CLA-76 is seen as shown.

Used for vocals on Burna Boy's "Gum Body", as stated by mix engineer Jesse Ray Ernster in this June 12, 2020 MusicTech interview. An image of the settings for the "Jorja Lead" channel can be found here.

JORJA’S VOCAL: “Jorja’s vocals had a wonderful warm quality to them, so it was my job to retain that character while boosting clarity against the instrumental mix.”

First up in the vocal chain was the EQ module from Waves CLA MixHub, high-passing at 94hz to eliminate ground hum, traffic rumble, control-room bleed, and any knocks from into the microphone stand. “I only high-pass the sub information. I don’t allow the filter to reach any of the fundamental warmth frequencies in the low-midrange of the singer’s voice.”

For clarity and intelligibility of consonants, he also boosted some 4.1khz and 7.8khz. Then, also in CLA MixHub, used the “Bluey” 1176 mode, compressing gently at a 2:1 ratio. Next up was Waves CLA-76 with a slow attack and fast release to do some levelling of the signal.

“At that point, I was okay with the feel of the vocal texture, but it lacked evenness from phrase-to-phrase,” he says. And, when he pushed the compressor harder to level out the signal, it sounded worse. Ernster’s solution was fader automation on the source audio tracks before hitting the vocal bus compressor, giving the compressor less to do.

As with Burna’s vocal, Ernster brought out Acustica Amber3 to boost 25kHz, followed by Crane Song Phoenix (in Opal Dark Essence mode, this time). “The EQ boost drove the tape into a state of saturation in the extended top-end and contoured a smooth roll-off of those hard high frequencies. The 25khz boost would have sounded a bit too intense on its own, but the Phoenix provides the perfect compensation by gently rolling off the top end (with a gradual low-pass filter), providing the vocal with a silky, ‘classic’ top end that sounds present, but feels a bit dark, too.”

“After the first mix went out, they asked for more width on her vocal, so I slapped on the Valhalla Space Modulator with a slow rate, a tad bit of depth, and an 18% mix; this pushed a parallel signal of the vocal off to the sides of the mix for a bit of three-dimensional surreality.After copying Jorja’s lead processing to her harmonies and ad-libs, some work was required to get them to sit behind Burna’s voice including panning, effects levels, and some automation.

Conversely, her effects busses were very straight-forward: an 1/8th delay and a 1/4 delay feeding a Valhalla VintageVerb (Plate 1.85s); “all dialled in subtly to fit the ambience of the track. And I did two loud-and-obvious fader throws to the 1/8th delay send on the words “Care to have your own HEART (2:20), If you treat me kind and kept me close, We’ll always still PART”.