In this article Yvan Bing, sound engineer on Phil Collins' album, Going Back, says, "I used rackmounted Neve 1081R mic preamps for all recordings — they're based on the 1081, and I drove them pretty hard, with the meters always going into the red, to get some analogue distortion and saturation before going into the digital world."

Used on the bass for "Sex on Fire", stated by Only by the Night producer Jacques King in this December 2008 Sound on Sound interview.

"With regards to 'Sex On Fire', the bass was recorded with a DI and a Neumann U47 on the SVT cabinet, close but not right up to the speaker. The microphone on the bass is usually at its upper range of ability, and because the U47 is a tube microphone you get a little bit of tube squash, with the harmonics nearly going into distortion. A lot of times in rock & roll, the bass is really clean and you have to fuzz it up. Both the DI and the 47 went through a Neve 1081 preamp and then an [Teletronix] LA2A compressor, plus an old Dbx 160 on the DI. I also used a very old subharmonic synthesizer, the Dbx Disco Boombox, on the DI. Jared plays a lot of melodic stuff very high up the neck of his bass, and to be able to keep the weight of the track I synthesized some additional low end."

Used for lead vocals on Raising Sand, as stated by engineer Mike Piersante in this December 1, 2007 Mix Online interview.

As for the all-important vocal mics, Piersante says, “I actually bought a mic, as I'll sometimes do, just for this project. I had Allison singing through a Blue Cactus, which is sort of their retro mic that's like an old [Neumann] M49 or something. Blue got it right with this — it has a real thick quality to it and it's not too bright. Alison can be a fairly bright singer and I wanted something to complement that and not accentuate it. So I chose this mic to try on her and it ended up sounding very good; very old tube-sounding. I probably had her through an LA2, as well. Robert sang on one of T Bone's [Neumann] U47s, and I probably had an LA2 or LA3 limiter on him.

"So I had the idea of that classic chain I described, and then I thought, ‘I'm going to make a super-retro chain for both of them,’ and hang these RCA 44s right under their mics and they'll be kind of singing into both of them at the same time and I'll have my options. Well, the magnets in those things created the biggest hum you can imagine, so I ended up getting rid of all that and going with the classic tube mic sound and limiter. For preamps, I had Neve 1073s and some 1081s.”

For vocals, the idea was to get Jonathan to fit and hold his own against a really intense wall of sound. I had consistently used Neve 1073's, but Frank Filipetti suggested we try a Tube Tech MP1A. We did a shoot out with every pre in the room and subsequently, I never went back to Neve's again. After the MP1A, we had a Rev D 1176 LN, then a MASSENBURG 8200 and, I'm pretty sure an inline1081 from the console at Village Recorder. Later, we added a DBX160SL on the back end of that chain because it seemed to add nice presence and top end.

Used on the overhead mics for Only by the Night, as stated by producer Jacques King in this December 2008 Sound on Sound interview.

"The overheads were recorded with a Telefunken Elam 251 going through a Neve 1081 preamp/EQ, then an Urei 1176, and then to tape."

A photo of Nigel from the “control room” at Tottenham house in 2006, during the recording of Radiohead’s In Rainbows. Note the bit of tape across the top of the preamps, presumably indicating what each preamp was used for.

"'Some songs were to a new Telefunken USA U47, a lot of songs were to the Blue Bottle, and some were to an old Neumann U 47,' Chiccarelli says. 'The preamp was always either a Neve 1073 or a Neve 1081; the limiter was a Tube-Tech CL1B, and then there was also a Tube-Tech EQ as well.'"

"I usually record John through a Telefunken U47 from the late 40s. That’s usually my go-to mic on John — I found that I really like him through the classic U47. It’s just such a fantastic mic, it has a lot of great clarity and body for him. John’s a pretty strong singer, and that mic seems to take it pretty well.

It’s worth noting that I’ve recorded all his vocals on the album to tape. That adds some nice upper harmonics, and it has a very nice saturation and character to it. This vocal has a dark slap-back delay.

Mostly, the signal path would be a U47 going to a Universal Audio 1176, or sometimes an LA2A compressor. Preamp-wise mostly we went through Neve 1073’s or 1081’s. I’m going for character, that’s the main thing. I don’t want neutral, I want character. The 1176 or the Neve impart character on it."

— Dave Tozer, executive producer of Love in the Future

In the Point Blank Music School video, James Wiltshire of Freemasons is shown using the AMS Neve 1081 Mic Preamp & Equalizer while creating a drum track.

Used for lead vocals on Raising Sand, as stated by engineer Mike Piersante in this December 1, 2007 Mix Online interview.

As for the all-important vocal mics, Piersante says, “I actually bought a mic, as I'll sometimes do, just for this project. I had Allison singing through a Blue Cactus, which is sort of their retro mic that's like an old [Neumann] M49 or something. Blue got it right with this — it has a real thick quality to it and it's not too bright. Alison can be a fairly bright singer and I wanted something to complement that and not accentuate it. So I chose this mic to try on her and it ended up sounding very good; very old tube-sounding. I probably had her through an LA2, as well. Robert sang on one of T Bone's [Neumann] U47s, and I probably had an LA2 or LA3 limiter on him.

"So I had the idea of that classic chain I described, and then I thought, ‘I'm going to make a super-retro chain for both of them,’ and hang these RCA 44s right under their mics and they'll be kind of singing into both of them at the same time and I'll have my options. Well, the magnets in those things created the biggest hum you can imagine, so I ended up getting rid of all that and going with the classic tube mic sound and limiter. For preamps, I had Neve 1073s and some 1081s.”

In this video at 15:23 see AMS Neve 1081 Mic Preamp & Equalizer

In addition to Paramount’s SSL consoles, Hyde brought in Neve preamps of every description, including a Neve sidecar with 1065s, 1055s, 1073s, and 1081s