Amy Winehouse used the Neumann U87 while working on her album Back to Black, as confirmed by an article on Reverb.

The microphone used by Cameron's amplifier, visible at the 44th second of the video

Used for "Last Meal", as stated anecdotally by engineer Jimmy Douglass in this transscribed March 2005 interview about Justin Timberlake's "Cry Me a River".

JUSTIN TIMBERLAKE

"Cry Me a River"

Producer: Timbaland

Engineer: Jimmy Douglass

"Justin came to me with his microphone in his case, and didn't actually take it out because he decided to see what I could do first," says Jimmy of the first session. "He was very happy, so he didn't get into that. I guess he has his mic with him just in case he runs into trouble. He works with a lot of different engineers and everybody has their secrets about their great mics. The thing about the [Neumann] U 87 - I used it because it's really kind of a neutral mic. All the other microphones have characteristics to them that don't work on everybody's voice. The U 87 seems to work on everybody."

"I look for Jimmy to tweak my vocals and make them crisp," adds Timbaland. "That's what I look for - that tone. With Justin, his vocal tone just came. Justin does his own thing."

Signal Path: Tracking

Jimmy explains: "The U 87 went to the Neve VR channel strip in mic position - I used the preamp on the board, and then inserted the [Universal Audio] 1176 across that particular path and then I sent it out to all my individual buses. I tracked Justin's vocals to Pro Tools. That's it. I've found that this is the chain of least resistance; it doesn't effect the vocal as much, and you can always do more creative things later in the mix. It's the most natural signal path I can find. I use the 1176 because it's a very fast limiter and it works well as a limiting tool as well as compressor.

"The reason I don't do anything coming in on the EQ side," he continues, "is because you can always EQ it later, but you can't take away EQ you've messed with on the way in. That gets recorded and you can never take it away."

Missy Elliott received the exact same signal treatment for her Timbaland-produced hit "Get Ur Freak On", as did Aaliyah on "Try Again," Jay-Z "Big Pimpin'," Snoop Dogg "Last Meal," Lil' Kim "The Jump Off," and Bubba Sparxxx "Deliverance," among others.

Used for the B3 on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"I recorded the bass DI, and the bass cabinet with a Neumann FET 47 mic. I miked the B3 Leslie with a U87 at the top, and a Neumann FET 47 at the bottom, and I had used a DI for the small vintage guitar amp we used for the other keyboards."

The overheads were Neumann 87 or 47, and on the hi?hat I used a Neumann KM84, which gives a nice crisp sound, but also has enough body in it.

Mike Fraser, Sound on Sound article, 2009.

Used for vocals on Toys in the Attic, as stated by engineer Jay Messina in this March 21, 2017 Mix Online interview.

Messina believes Tyler’s vocal chain included a Neumann U87, a Teletronix LA-2A and a Pultec, “which maybe I took some 30 cycles out and then added at 10k.” Tyler also overdubbed some triangle, to create the school bell sounds in the song.

Used for vocals and guitar on "Linger", as mentioned by producer Stephen Street in this March 2018 Sound on Sound interview.

Even though signed to Island, the Cranberries were still working with a limited budget on the album sessions, meaning that the acoustic guitar part on 'Linger' was recorded with the nearest instrument to hand: namely a cheap Yamaha acoustic owned by O'Riordan. "Sometimes when I was working with alternative or indie bands," says Street, "you just had to work with what you had. If there was a budget to hire more guitars, great. But I don't think we had that at that point. Especially being over in Dublin at the time, we did just work with the guitars they owned.

"I would put a Neumann U87 in front of the guitar, between the 12th fret and the hole. And sometimes I might have something like a KM84 further up towards the neck, just to see if it put a little bit of extra 'air' into it. Sometimes I would split those separate tracks a little bit in the mix, so although it was just one guitar, it gave it a little bit of spread across the stereo image."

(...) "The trusty old workhorse most of the time was the U87," Street remembers. "Dolores was a very shy girl at this point. I was just beginning to win her confidence. I remember when we did the very, very first vocal sessions together on this record, she was wanting her boyfriend at the time to be there in the control room (laughs). I said, 'Look, it's not really how it works. Y'know, when you're working with me as a producer, you've got to trust my judgement, not your boyfriend's judgement as to whether the take is good or bad.'"

Tobu is seen with the legendary Neumann U87 microphone in a photo shared on Instagram, highlighting its presence in his studio setup.

A Neumann U87 can be seen throughout the first third of this video of Tupac recording "Let's Fight", particularly at 0:44. Another was used for the recording of "Outlaw", as stated by engineer Paul Arnold in a series of Gearslutz forum replies. An October 26, 2017 All Micrphone article also offers "For the majority of his recordings for Death Row Records Tupac would use a vintage Neumann U87. This would be fed into a Neve or SSL 4k preamp and a Studer® A800 Multichannel Tape Recorder."

Gearslutz, paultools, April 10, 2009

I recorded Pac with a U-87 through a SSL-E preamp and compressor at Quad Studios in NYC for the song "Outlaw" from MATW.

Later, I recorded him using an AKG 414 through an SSL-G preamp and either the onboard compressor or a dbx 160 for other songs from MATW and Thug Life at the Enterprise.

Also used a 414 through an SSL-E at Soundcastle.

I wound up mixing some other stuff that was cut using a U47 through what I suspect was an LA 2.

Gearslutz, paultools, April 14, 2009

I remember my first time recording him.

I had worked for a time with a brilliant producer, Moe Z MD. we were working on an album for another Interscope artist, and Tom Whalley heard some of Moe's tracks and liked them. This led to an opportunity to do a remix of the Thug Life song "From the Cradle to the Grave". We did the remix at Soundcastle in LA and by the end of the week, Moe and I were in NYC with Pac. The remix replaced the version that was to go on the album. I like them both.

Moe and I arrived at Quad Studios in the mid-afternoon, and soon, the room was filled with energy as Pac arrived with his nephews/cousins in tow. Upon meeting him, Pac would make you feel like you'd been friends forever! We wasted little time, as Pac had identified a beat from A DAT that he wanted to make a song from.

We tracked the beat from Moe's Roland W-30 and Emu SP-1200 as Pac rehearsed the parts with his family. I set up a U-87 and patched it into the SSL preamp, added a touch of the onboard compressor, and bussed it out to multiple channels of the Studer multitrack. Pac hit the booth and cut 3 quick passes for his vocals and some adlibs... about 15-20 minutes total. He could jump into character in an instant, and was very expressive as he performed his verses. His energy was contagious.

One by one, he brought the other rappers into the booth and coached them through their parts. This group was originally to be called the Young Thugs and then Dramacydal, but later changed their name to the Outlawz. We spent a few minutes recording the kid's voice in the intro, and then the Jamaican parts for the chorus and the end which was later edited off.

A food run was made, and soon everyone crashed except for Moe and me, as we spent much time and effort bouncing quarters off the floor and sampling them for the simulated shells hitting the street throughout the song. I spent a few hours putting a mix together, printed it to DAT and 1/2 " and we called it a day.

The resulting song is the last one on MATW, "Outlaw". I did a quick recall of the mix at the Enterprise in order to shorten he song and to make a few tweaks. I regret not raising Pac's whispered vocal parts just a little, especially on the end breakdown. His "narrative" at the end of the song is totally off the top and one take... the kind of stuff that demonstrated his brilliance.

Gearslutz, paultools, April 15, 2009

I loved the way he did his stacks, cause he gave each one something different... a little different expression or emotional twist. Every pass was a performance, not just another take.

I panned them slightly to the left and right and put them just underneath the main level-wise, but also did automation rides to catch certain parts, and might mult them off for a certain EQ or effect on certain words or phrases (like on "may God forgive me I was HIGH..." in Outlaw).

I also used a modified preset on the Eventide H3000 harmonizer called "Magic Air" as the primary effect on his voice for "space" in lieu of reverb, although certain mixes had plenty of reverb on his voice as well ("Only Fear of Death").

The writing studio’s compactness leant itself nicely to Bayley’s process. Keeping his essentials within arm’s reach, he has guitars: Hofner 176, Fender Stratocaster, Selmer Classical, Fender Precision bass with flat-wound strings, Roland Jupiter-6, Korg MS-20, ARP 2600—which made it onto every song on the album—a vintage Neumann U 87 microphone, and a couple of API preamps. Recording happens into Pro Tools, with Ableton preferable for sequencing and programming. Keeping things simple allows Bayley to whiz around, patching in what he needs quickly.

The linked article states: "Adam turned Cohen’s house into a makeshift recording studio, placing an old Neumann U 87 microphone on the dining room table..."

He was seen using the microphone in his TikTok. He also replied to a comment with the brand of the microphone in the same TikTok.