Used as an overhead mic 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.”

In this Tweet, RJD2 posts a photo of the Coles 4038 Studio Ribbon Microphone he uses to record his acoustic guitar. He says, "Ol' faithful", implying this is his go-to mic for guitar recording. In the comments, someone asks him, "Coles?" to which RJD2 replies, "yessir".

Clay Parton is confirmed to use the Coles Electroacoustics 4038, as evidenced by an Instagram post from Duster, which shows the equipment in use during a recording session.

Used as a room mic on Icky Thump, as stated by recording and mixing engineer Joe Chiccarelli in this October 2007 Sound on Sound interview.

“The close mic setup for recording the drums was pretty standard: Shure SM57 on the snare, AKG D12 and Neumann U47 on the kick, a pair of ribbon Coles 4038s or Neumann U67s as overheads. I often fed the drums into a reverb chamber, or would overdrive the preamps, or fed them through a guitar amp. The preamps we used for the drums were the 1073 and a Neve BCM10."

This is restated by Chiccarelli in this October 1, 2007 Mix Online interview.

As far as miking Meg White's kit, Chiccarelli kept things straight ahead: An AKG D-12 on the kick and a U47 as an overhead run through a Fairchild compressor. It was rare that he miked the snare, but when he did it was a U47 through a Fairchild. When she used a bigger kit, Chiccarelli put a 57 on the snare top and a Sennheiser 441 on the bottom. The toms were not miked, but he used an assortment of mics as overheads and in the room. “I set up a lot of different room mics, maybe eight,” Chiccarelli explains. “Depending on the song, I could go smaller, tighter and punchier, or wide and open. Sometimes, I would use old funky cheap mics as room mics and distort them. Other times, it was a pair of Coles, maybe combined with a pair of 87s far up in the room. We did things with drums like pumping them through the reverb chamber or pumping them through guitar amps.”

"I've always favoured the Neumann U47. I don't own one, but whenever there's one available I always try and use it for vocals. AKG Dynamics on toms-toms. I normally favour a condenser mic for snare drums like a Neumann 84, which is unusual because most engineers prefer dynamics on snare drums. I only mic the top of the snare never the bottom. For overheads, ribbon mics, preferably Coles 4038s."

“We used condensers on the close kit for brightness and attack, with the exception of a dynamic on the hi-hat for a bit more chunk than sizzle,” says Wiggins. “A Coles 4038 was placed above the kick and distorted for when more crunch was needed.

Listed in Chris Walla's Hall of Justice Recording Studio equipment list.

Used as overheads on "Get On Your Boots", as stated by producer Declan Gaffney.

"Most of 'Get On Your Boots' was recorded in Dublin by Richard Rainey, and the basic backing tracks were done live, by the whole band together. There was an [Electro-Voice] RE20 inside the bass drum, with an SE Electronics Titan on the outside, a [Shure] 57 underneath the snare, and Richard had his own Heil mic on top, which he alternated with a Beyer M201; the toms were [Sennheiser] 421, overheads Coles 4038; ride cymbal was sometimes a 57, sometimes a [AKG] 451. Everything went through the Neve 1091 or 1093 mic pres."

A screenshot of Phil during Radiohead’s From The Basement performance of Weird Fishes on April 2, 2008. One can see a tube Neumann U47 or U48 as an overhead, a black AKG 414 (EB or B-ULS) on the tom, and Coles 4038 mics on the cymbals.

"Mic-wise, it depends on the track. It's generally the CMV, but 'Tell Me A Tale' was done on the Coles. There were a few times, particularly when he was absolutely belting it out and the equipment started groaning, it needed something to warm it up a little bit, like a nice ribbon mic." - Paul Butler (Producer of Kiwanuka's debut "Home Again")

As seen in his Instagram while in the studio recording.

Used for the guitar amps on Funeral for Justice as stated by producer Mikey Coltun in this May 28, 2024 Guitar World interview.

What details can you share about Mdou’s amp setup?

“[Mixing engineer] Seth Manchester and I reamped Mdou’s guitar through a Soldano SLO-100 and a Traynor 4x12 cab. This amp is made for Mdou. Since Mdou doesn’t play with a lot of dynamics and it’s pretty much just hard fingerpicking on the bridge pickup, there tends to be a lot of bright sizzly highs and not enough clarity. The SLO just scoops all the unwanted high frequencies out. For mics, we used a Neumann U 77 and Coles 4038, like, 3ft to 5ft away going into API preamps.

“After reamping, I throw a Space Echo [RE-]201 on the left and right sides for a bigger sound. There were no Roland JC-120s on this record – however, on some songs like Oh France, I used a Roland Chorus Echo [RE-]501 for that chorus sound.

“The chorus on the 501 is a bit different than the JC-120 – it’s more similar to the Roland battery-powered Cube chorus, which is widely used throughout all of West Africa and one of Mdou’s favourite amps.”