In Kay's Chillington studio, as stated by mix engineer Rick Pope in this December 2000 Sound On Sound interview transcribed in the official Jamiroquai website forums.

One vital component of that list is the vintage AKG C12 valve microphone Pope recently managed to track down. "It's the perfect vocal microphone for Jay and he loves it," Pope explains. "When we were building the studio Jay was really keen to experiment and wanted to demo as many microphones as possible. I had a rack of them set up, all sorts of different mics, and he tried them all. The one that sounded like a million dollars was the AKG valve C12. We tried the cheaper, reissued version but it didn't have the same quality, so we set about finding an original. I've just managed to track one down and it took ages, eight months, to be precise. I finally got it through Crystal Pro Audio, a company run by Pete Brotzman who I used to work with at Britannia Row. It was a hassle, but it was worth the effort because it will last Jay for his entire career."

In the opening line of "We Are The World" - Lionel Richie can be seen Singing on the Telefunken (AKG) C12 Microphone in 1985

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While discussing the nuances of choosing vocals mikes in this R / E / P forum thread, producer J.J. Blair mentioned his use of the C12 on Stewart.

I will choose a U47 typically for a male singer who has any texture in his voice, if it's not "airy." If I use my C12 or Manley Gold on those singers, I can't add compression without bringing out that throat texture in an unflattering way.

I'll name drop here, simply because you know these voices: I used a U47 on Johnny Cash, because it captures perfectly that granite resonance in his voice. On Rod Stewart, who has texture, but lets a lot of air pass through his throat, I used the C12 to capture that air. His texture was more crackle, where John was gravel.

One of the joys of modern record-making is that you need very little to get going. We had a MacBook Pro and my favourite monitors, the Dynaudio Air 6 monitors, and Alanis' favourite microphone, the AKG C12.

From the Sound On Sound interview with Guy Sigsworth about the making of Alanis Morissette's album Havoc And Bright Lights

I like very roomy drums. Depending on the studio, I sometimes use ribbon mics. I think the Coles 4038s sound pretty good. There is also the stereo version of the C12 that I like a lot. But if I don't have a lot of options I might use two [Audio‑Technica] AT4040s.

In "We Are The World" - Tina Turner can be seen Singing on the Telefunken (AKG) C12 Microphone in 1985

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In "We Are The World" - Diana Ross can be seen Singing on the Telefunken (AKG) C12 Microphone in 1985

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"We used quite a lot of strange old pieces of gear that we would not have chosen ourselves. We had, for instance, an ad hoc microphone set up, a vintage AKG C12, with Neve 1073 mic preamp and EQ, which often went through a valve Teletronix LA2A compressor when recording vocals and acoustic guitars. It was not a microphone I would have chosen, but it sounded good to me. Rob also had a Roland JV5080 and a Yamaha Motif that someone had once bought for him, still boxed up. These were not boxes I'd ever looked at before."

In a video by Produce Like A Pro titled "Jane's Addiction - 'Been Caught Stealing' Inside the Song with Dave Jerden," at the timestamp 12:49, music producer and audio engineer Dave Jerden discusses using his all-time favorite microphone, the AKG C12, specifically for recording cymbals during the production of Jane's Addiction's track "Been Caught Stealing."

At 44:19 in the video titled "EPIC HOME STUDIO Setup 2024 | Ryan Petersen (studio tour)" by Andrew Masters on YouTube, a pair of AKG C12 microphones can be seen positioned above Ryan Petersen's drum kit.

In an interview on Bobby Owsinski's Music Production Blog titled "Thank You, Ed Cherney - Part 2," it is confirmed that Ed Cherney used the AKG C12.

A lot of times a C-12 sounds good for a female voice. Jagger loves it too.

Used on "Stronger", as featured in this behind the scenes video at 0:10.