Used for the snare on Nevermind, as stated by producer Butch Vig in this March 1997 Sound on Sound interview.

"In the case of Dave Grohl's kit I used an AKG D12 and a FET 47 on the kick, and then we built a drum tunnel consisting of old drum shells attached to the bass drum and extended out about six feet. That way you can move a mic back three to four feet, and the FET 47 was a little farther away from where the front head would have been. By having the drum tunnel, you isolate the room, so that you don't get all of the cymbal bleed, or whatever."

Otherwise the drum miking was fairly standard: a Shure SM57 on the snare, along with an AKG 451, Sennheiser 421s on the toms, AKG 414s and Neumann KM84s on the cymbals, and Neumann U87s for distant room mics.

Used for the upright bass on David Crosby's Lighthouse, as stated by mix engineer Fab Dupont in this December 2016 Sound on Sound interview. League can be seen recording with the mic here.

Electric and upright basses were tracked quickly, one-take style, by Michael. It went so fast that I am not 100 percent sure what gear we used. I’m pretty sure the electric bass went through the Apollo Twin rig into an Ampeg amp that was lying there. For the upright, I can tell from pictures that I used my usual two-microphone system, with a large-diaphragm cardioid condenser in front of the beast and a small-diaphragm omni shoved in the bridge. In this case I used one of their ELA M251s and an AKG C451, but I vaguely remember they only had a cardioid head. I also remember that, for fun, I added a Coles ribbon next to the 251. I ended up using a blend of all three during the mix.

Used for the guitar on Rumours, as stated by producer Ken Caillat in this August 2007 Sound on Sound interview.

"For Lindsey I always used an SM57 and a 451. I found that those two mics complemented each other, and if I put the 57 about an inch from the cloth and the 451 about two inches from the speaker, a little off to the side, and then moved the two faders up and down both together and independently, I could change the sound radically. And you'd get a really interesting sound if you also put phase on one of them. Added to that there was always a direct, although I didn't use that so much with Lindsey unless we were feeding a Leslie with it. We had everything mic'd up for whatever effects we wanted.

Used for the piano and acoustic guitar on Mule Variations, as stated by producer Jacquire King in this interview from issue 9 of Audio Technology Magazine.

The upright piano was recorded with an AKG 414 or a 451, and often put through the Sony reel to reel ‘mic preamp’. Acoustic guitars were miked with a Neumann KM84 or AKG 451, guitar amps were either a Shure SM57 or Sennheiser 421, bass amp with a Neumann U47, and acoustic bass with an Neumann M49, U47 or 582, routed via a Neve 2254 compressor.

The lack of specification suggests an original E version (given that the rest of the microphones are XLR, the 451 would be, too, most likely, as opposed to the DIN-based C version).

Part of Q-Tip's 2008 inventory, as listed in his January 2008 Remix interview. Transcripts can be found at the Future Producers forums (linked) and this Prince.org forum.

AKG C 451, D 12 and D 112 drum mics

The lack of specification and its inclusion with the vintage D12 suggests an original E version (given that the rest of the microphones are XLR, the 451 would be, too, most likely, as opposed to the DIN-based C version).

Used on the hi-hats for John Mayer's Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

Jordan's assortment of drums — which seemed to be endless, Franscoviak says with a laugh — were miked fairly conventionally: an AKG D 112, an RE20, a 421 or a Beyer M88 on the kick; snares got 57s on top and bottom; M88s on the toms; an AKG 451 on hi-hats; and on overheads, he either used a U67 or U87.

The only trick that Franscoviak used, which he fully admits stealing from Joe Ferla, was putting a Coles 4038 ribbon mic directly over the center of the kit, parallel to the ground and as close in as possible without impeding Jordan's playing. “I generally compressed the snot out of that and I would run it through a Fairchild,” he says. “That's a really interesting trick because you have all of your tight sounds, but you add that 4038 and it makes everything more exciting.”

He also put a U47 about 18 inches off the ground and four to seven feet in front of the kick drum for a very specific sound. “At some point, we were going to hit that low-end waveform just right and it was going to fill that kick drum out,” Franscoviak explains. “I would compress it a lot with an 1176, a lot harder than the overhead, because I wanted that low end to be there for every hit.”

The official microphone list of Sound on Sound Studios (relocated to New Jersey from the New York location where the recording of Continuum began) specifies two 451 Es.

Used for the acoustic guitar on A Sailor’s Guide to Earth, as stated by producer David Ferguson in this May 4, 2016 Mix Online interview.

On the songs that include acoustic guitar, such as the second track, “Breakers Roar,” Simpson plays while he sings and Ferguson captured his guitar with an AKG 451, into a UA 2-610 preamp, and to Pro Tools HD11.

The lack of specification suggests an original E version.

Used for the keyboards on Rumours, as stated by producer Ken Caillat in this August 2007 Sound on Sound interview.

"For Lindsey I always used an SM57 and a 451. I found that those two mics complemented each other, and if I put the 57 about an inch from the cloth and the 451 about two inches from the speaker, a little off to the side, and then moved the two faders up and down both together and independently, I could change the sound radically. And you'd get a really interesting sound if you also put phase on one of them. Added to that there was always a direct, although I didn't use that so much with Lindsey unless we were feeding a Leslie with it. We had everything mic'd up for whatever effects we wanted.

"The same applied to the keyboards — a grand piano, Rhodes, Wurlitzer and [Hammond] B3. Pretty much all of the electronic stuff was recorded direct, but again we'd have an amp in another room in case we wanted that sound on a keyboard. It all depended. We had plenty of time, so when they started playing we'd dial up everything. You know, 'Let's put a little amp on that. It'll fill out the sound better.' Basically, it was like we were mixing while we were recording."

Used as overheads on Rumours, as stated by producer Ken Caillat in this August 2007 Sound on Sound interview.

In terms of the miking, Mick Fleetwood's kit was recorded with two AKG 451s overhead, an AKG C414 with a 20dB pad on the snare, dynamic mics for the toms and a Sennheiser 441 on the kick.

"Mick was always a fanatic for headphones," Caillat remarks. "He had to hear everything perfectly through them, so I'd have an assistant dedicated to just taking care of them. He had to be able to hear the part to play the part, and he was a really heavy hitter of everything except the kick drum. We used to call him 'Feather Foot', because there'd be these tremendous snare and tom hits while the kick was going 'pfff-pfff, pfff-pfff.' In fact, if you solo'd the kick you could hear him going, 'Ag, ag, ag, ag,' all the time he was playing. It was loud enough to come through the kick drum, and you couldn't hear anything else with the gates on the snare and so on.