During their stint at Capitol Studios, Daft Punk recorded an orchestra using three Neumann M 50 mics.

Used for the guitar on Villains, as stated in this October 26, 2017 AudioTechnology interview.

“Dean and I use the Eventide H9 a shitload because it does everything, and it’s Eventide — their shit’s f**king rad,” said van Leeuwen. “A lot of guitar tracks were sent back through the amp in the room, because that room sounds incredible. We had the M50s up all the time. They were at certain spots in the room, you could just turn the far one on if you needed more size. The room is about thirty feet wide, the ceiling is high, and it’s all wood, which is why it never got harsh.”

Philip Selway is confirmed to use the Neumann M 50 Microphone, as evidenced by photographs taken at the library in Tottenham House during the recording sessions for "In Rainbows" in September or October 2006. These images show a pair of Neumann M 50 microphones being used as stereo overhead mics for Selway’s drum kit, in conjunction with a Neumann M49 or M50 as the center overhead microphone. The proof is visually documented in the source image provided.

Used as overheads on Villains, as stated by co-producer and engineer Mark Rankin in this October 26, 2017 AudioTechnology interview.

He’d have some standard overheads set up, but most of the times it was just the mono overhead with some room mics added for size. He put up a couple of Neumann M50 tube condensers to capture the great room sound at United, but most of the time that ambience was too big. “Sometimes I had a couple of condenser mics low to the floor, just outside the kit and facing out to get that close slap. Or if we had panels around them I’d have them facing out towards the panels to get quite a close ambient sound.”

The CFIIIS was recorded using two B&K 4006 microphones, a Boulder mic preamp, and a DCS DCS900 24‑bit A/D converter, while the Disklavier was recorded using two Neumann M50 microphones. Recording was accomplished in24‑bit with a Tascam DA88 digital 8‑track and a Rane RC24T PAQRAT recording converter. Coincidentally, this allows 24‑bit recording in stereo on a DA88. The album was assembled and pre‑mastered with the Sonic Solutions Mac‑based audio editing system, which was created by James Moorer, a music software genius whom Suzanne knew from her days of studying computer music at Stanford University's Artificial Intelligence Laboratory. A Sony PCM9000 was used to finally transfer the album for mastering.

"In terms of microphones, I had a (...) [Neumann] M50 for the ambience.

(...) I like to have options of close, section, and ambient microphones. The room at the Warehouse has an interesting height, and I put the M50 up at the balcony, and also put up two [Telefunken ELAM] 251s as ambient mics, just to fool around and check the frequency response up there.

(...) I mainly use the GML EQ and the Neve 33609 compressor, but very sparingly. I had both boxes on Michael's voice, and some reverb, and another EQ, that I don't want to talk about. I'm supporting kids that go to college!

(...) For ambience I of course used the ambient tracks that I had recorded at the Warehouse, mostly from the M50. I used two other stereo pairs of mics, because I'd never worked in that room, and I wanted to cover my back. But there was a resonance in the air that was fabulous. I had the precision from the close mics, and then when you open up the room mics you get the depth. I also added some outboard reverb from the live chambers at Capitol. They were amazing. You can't top that.

(...) I'd make stems of the saxophones, the trumpets, the rooms, the bones, the drums, the snares, the vocal dry and the vocal with reverb."

— Humberto Gatica, producer of Bublé's "You're Nobody Till Somebody Loves You" and "Stardust"

Of Danny Thompson's near-legendary double bass, pet name Victoria, which has been used on sessions with everyone from Pentangle to to Kate Bush, Johns says that the instrument produces such a rich sound that he might have used any microphone. "I could have put a 251, a 49, a 50, a 47, a 67, a C12, a 57, a D19, anything on it, and it still would have sounded fucking amazing. No question. It's really easy.