Björk – Biophilia (Deluxe Edition)

Björk's preferred studio mic. Her vocal on "Unravel" was recorded with an SM58, according to a Waves webinar with producer & co-writer Guy Sigsworth (at 37:45):

I have even made really popular records with SM58s. Björk's vocals on "Unravel" are SM58, and they were just great performances, didn't mind about the mic.

In this October 13, 2011 SonicScoop interview with mix engineer Damian Taylor, he mentions that Björk also used an SM58 for Volta and Biophilia.

One thing that remains consistent, however, was Björk’s method of recording vocal takes. Taylor says she’s not one to stand perfectly still with headphones on. Instead, she’s favored a handheld Shure SM58 for years, and she still tracks all of her vocals while listening out-loud on studio monitors.

When Taylor brought her a Neumann KMS 150 handheld condenser to try, he says that she “sang all of two syllables into it” before handing it back for the 58.

On a few songs that needed extra sensitivity and detail, Björk sang into Martin Kantola and Bruce Swedien designed NU-47, a classic redesign of the U47 with striking wooden body. Otherwise the chain was simple: The Shure SM58 into a preamp with little or no compression.

“When I’m recording Björk, I try to compress as little as possible. Basically never. I do have a little something there on the chain just as a safety net, but basically I ride her performances the whole way in. Her dynamic range is just insane. Fortunately, I’ve gotten to know her pretty well, so I can start to feel when she’s about to take a breath and ride my output gain knob. This way, we’re not getting a squished sound going in, but we’re still getting consistent levels.”

(...) Originally, Taylor plugged the SM58 into a Neve 1084, with a Urei 1176 as his safety net. “That worked really well for Volta, where the voice had a more rock and roll sound.” But for this record, he realized the voice “would be a more delicate kind of thing”, and he came to prefer Björk’s Focusrite ISA 430 Producer Pack, while largely avoiding its built-in EQ and compression.

Used for Biophilia "[o]n a few songs that needed extra sensitivity and detail," as stated by mix engineer Damian Taylor in this October 13, 2011 SonicScoop interview.

On a few songs that needed extra sensitivity and detail, Björk sang into Martin Kantola designed NU-47, a classic redesign of the Neumann / Telefunken U47 with striking wooden body. Otherwise the chain was simple: The Shure SM58 into a preamp with little or no compression.

“When I’m recording Björk, I try to compress as little as possible. Basically never. I do have a little something there on the chain just as a safety net, but basically I ride her performances the whole way in. Her dynamic range is just insane. Fortunately, I’ve gotten to know her pretty well, so I can start to feel when she’s about to take a breath and ride my output gain knob. This way, we’re not getting a squished sound going in, but we’re still getting consistent levels.”

(...) Originally, Taylor plugged the SM58 into a Neve 1084, with a Urei 1176 as his safety net. “That worked really well for Volta, where the voice had a more rock and roll sound.” But for this record, he realized the voice “would be a more delicate kind of thing”, and he came to prefer Björk’s Focusrite ISA 430 Producer Pack, while largely avoiding its built-in EQ and compression.

Producer Bruce Swedien confirms Björk's use of the NU-47 on this page of the microphone's official website.

Of course, it's a fantastic vocal microphone. There have been very few NU-47's made. One was made for Icelandic singer Björk, who absolutely loves the sound of this incredible new microphone. She told us that, "It captures both the small and the big sounds that I make!"

https://www.youtube.com/watch?v=iQvhjqbaT9E

http://www.nu47.com/NU-47C.pdf

Used for vocals on Biophilia, as stated by mix engineer Damian Taylor in this October 13, 2011 SonicScoop interview.

“When I’m recording Björk, I try to compress as little as possible. Basically never. I do have a little something there on the chain just as a safety net, but basically I ride her performances the whole way in. Her dynamic range is just insane. Fortunately, I’ve gotten to know her pretty well, so I can start to feel when she’s about to take a breath and ride my output gain knob. This way, we’re not getting a squished sound going in, but we’re still getting consistent levels.”

(...) Originally, Taylor plugged the SM58 into a Neve 1084, with a Urei 1176 as his safety net. “That worked really well for Volta, where the voice had a more rock and roll sound.” But for this record, he realized the voice “would be a more delicate kind of thing”, and he came to prefer Björk’s Focusrite ISA 430 Producer Pack, while largely avoiding its built-in EQ and compression.

Used for Biophilia, as stated by mix engineer Damian Taylor in this October 13, 2011 SonicScoop interview. Despite being unspecified in the text, this picture is shown.

Instead of relying on conventional instruments to write the songs for the album, Taylor worked within Björk’s specifications to create a suite of unique virtual instruments in Max/MSP that she could then manipulate with a variety of unusual devices while singing.

In place of a traditional instrument or sampler, she would be able to trigger and manipulate her sounds with a Logitech videogame controller, the Telsa-esque tabletop Reactable system, or a first-generation multi-touch screen called the JazzMutant Lemur.

“I think the simplest way to describe what this system allowed her to do, is that there’s no way you could have written these songs on a piano. Compositionally, it allows you to form your ideas and control them very precisely – but in a way that’s completely different from what I’ve experienced playing any other instrument.”

In a highly publicized new interview on Salon.com, Brian Eno asserted that 'success ruins artists.' I beg to differ, especially after hearing the new Björk album Biophila and interviewing her engineer and Music Director Damian Taylor. Björk has used her success to collaborate, push boundaries and reach new heights in experimentation. Among other things, Damian employed Max to create alternative creative environments for Björk to conjure within.