Seen here in 'It Might Get Loud' used as a vocal mic to get a bullet-mic-sort of sound. Usually he also uses these mics for guitar amps and as room mics, as mentioned by his engineer in a Sound On Sound article (http://www.soundonsound.com/sos/oct07/articles/insidetrack_1007.htm): "Jack loves the sound of ribbon microphones, so we used a lot of them, on guitar amps, vocals, and as room mics: Coles 4038, Royer 121, AEA R84. I would have six to 10 room mics up, and would chose a stereo pair from them."

The Coles 4038 Broadcast Recording Ribbon Microphone is a part of Josh Homme's studio equipment setup.

Used for the bass and organ on The Beatles, as mentioned by sound engineer Ken Scott in this June 2012 Sound on Sound interview.

"In addition to Paul's bass being DI'd, the cabinet probably would have been miked with a 4038, [Neumann] U67 or [AKG] C12. I would have used two 4038s on the organ, 67s on John and George's guitars, and it could have been anything on George's vocal.”

"For This Old Dog, I got interested in nicer gear. Now I have legitimately nice shit, for better or for worse. I have a bunch of really nice preamps and little sidecars. I have a set of Coles [4038 mics]"

Used for the organ on The Beatles, as mentioned by sound engineer Ken Scott in this June 2012 Sound on Sound interview.

"In addition to Paul's bass being DI'd, the cabinet probably would have been miked with a 4038, [Neumann] U67 or [AKG] C12. I would have used two 4038s on the organ, 67s on John and George's guitars, and it could have been anything on George's vocal.”

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The Beyer is mainly placed outside drummer Jack Mitchell’s kick drum. An SM57 is placed at the top of the snare, with Coles 4038 and Neumann KM 184 as overheads, equidistant from the snare. These might have some compression through a UREI 1178, all going through the Neve 1081 preamp, with a few of the microphones going into a UA 2-610." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

Used for the organ on The Beatles, as mentioned by sound engineer Ken Scott in this June 2012 Sound on Sound interview.

"In addition to Paul's bass being DI'd, the cabinet probably would have been miked with a 4038, [Neumann] U67 or [AKG] C12. I would have used two 4038s on the organ, 67s on John and George's guitars, and it could have been anything on George's vocal.”

Rik Simpson: “ “I’ll record acoustic guitars with two small–diaphragm condensers — Telefunken M60s or Neumann KM84s — pointing at the 12th fret at a 45–degree angle, and possibly an ambient mic; something crusty like a Coles 4038 is good. ”

In 0:00, i can see Coles 4038.

In this logic session breakdown, the Coles 4038 can be seen used as an overhead on his drum kit.

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.

video recorded at Electrical Audio, Steve Albini's studio, mic shown at 3:00