Used for the cymbals 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.

A pair was used on the Hammond B3 for "I'm Slowly Turning Into You" and "You Don't Know What Love Is (You Just Do What You're Told)", as stated by recording and mixing engineer Joe Chiccarelli in this October 1, 2007 Mix Online interview.

A pair of songs — “I'm Slowly Turning Into You” and “You Don't Know What Love Is (You Just Do as You're Told)” — show off Jack White's B3 talents. Chiccarelli miked the B3's Leslie with a tube U47 on the bottom and a pair of KM84s on top. He also had a U67 in the room to capture some of the organ's ambience. “Sometimes we took a direct out of the organ and sent that through a guitar amp to get a little more edge and bite,” he adds.

Paul McCartney uses the Neumann KM 84 condenser microphone, as mentioned in the Hog Hill Mill Blog under the "Consoles & Preamps" section.

Mentioned by A Head Full of Dreams co-producer Rik Simpson in this Sound on Sound article.

“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. Electric guitar cabinets have an SM57 and a Royer on them, and the bass cabinet an SM7. I always take DIs of the bass and electric guitar as well, just in case I want to later embellish these and play them through an amp again."

Shaw, Dylan's sound engineer, uses a Neumann KM 84 mic on the snare, while recording Dylan's albums, according to this article by E-Musican.

In an article by Emusician, Ólafur Arnalds is noted for using the Neumann KM 84 microphone.

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

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.

There was lots of 355, Tele and Les Paul, mainly. I was using AC30s, but also my Boogie MkIII and the Les Paul for the solo on How About You?, a Selmer Zodiac (The Debitor) and an ancient Ampeg combo, which weighed a ton and belonged to RAK (Tonight). Yes uses the 355, with AC30s and a Leslie cabinet for the chorus-y parts, and also some Les Paul on the choruses and outro. I was also using a valve Watkins Copicat for almost everything at the time as a preamp, as well as for echo. The intro to Tonight is my 355 mic’d up with a KM84 taped onto the f-hole.

Mentioned by A Head Full of Dreams co-producer Rik Simpson in this Sound on Sound article.

“My drum-mic setup mostly consisted of the usual contenders, apart from an old STC/Coles 4012 ‘ball and biscuit’ microphone as a mono overhead that I love, and a couple of Telefunken 251s as overheads. But everything else is fairly standard. I play around with different room microphones depending on a) how many band members I am recording at the same time and b) what the song needs. I quite like Coles, which are kind of grimy and dirty, and I quite like B&K microphones which are the opposite end of the sonic spectrum, a lot more hi–fi. I have a Shure 57 on the snare, but I sometimes go for a Neumann KM84 if the song is delicate and the snare needs that tender touch. For the kick I have a Telefunken M82 dynamic microphone that is designed for a kick drum and that sounds really good. It is punchy and big but not too clanky. The AKG kick-drum mics are a little bit ‘knocky’ for my liking.

Used for the snare drum on "Who Are You?", as mentioned by producer Jon Astley in this Sound on Sound "Classic Tracks" interview.

"On the bass drum I used an AKG D30; I had a Neumann KM84 on top and underneath the snare; I used a Shure SM58 with a pad in it for the hi-hat; overheads were Neumann U87s; and for toms I used anything I could find that matched, such as Sennheiser 421s. Then, the day after I'd set all this up, Keith came in and went around the kit for me. I just wanted to make sure the stereo imaging was OK, so he played and then asked 'Is that all right?' I said 'Yeah, that's fantastic,' at which point he stood up and walked straight through the bloody kit. He obviously was aware that I'd put a lot of work into it, balancing the whole thing, but I just thought 'Oh, well, welcome to the Who. Here we go..."

Rob Swire talks about recording guitars with two KM 84's in this Future Music Studio video.

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.