Neumann U47

Used for the Hammond B3 on "I'm Slowly Turning Into You" and "You Don't Know What Love Is (You Just Do as 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.

Used for vocals and as an ambient mic for the electric guitar on *Continuum*, as stated by recording engineer Chad Franscoviak in this October 1, 2006 *Mix Online* interview. > For Mayer's vocal chain, Franscoviak says that most of the songs were recorded with a Neumann U47. For a couple of songs, he sang into a Neumann M269c, and on “I'm Gonna Find Another You,” which was recorded at Royal Studios in Memphis, he sang into Al Green's RCA 77 ribbon mic. From there, the chain included a Neve sidecar stocked with 1073 mic pre's and then a UREI silver-face 1176. “On a couple of songs, we did experiment with splitting his vocals into two channels — one of them would be kind of a clean and one of them would be kind of a gritty — and we would take the second channel and put it through a Fairchild 670 and really crush it,” Franscoviak explains. “Then we would either blend it together or choose one or the other for the mix." > (...) Miking Mayer's guitar rig depended on the song's mood. On “The Heart of Life,” Franscoviak threw a ribbon mic in the middle of the main room as a pair of amplifiers boosted Mayer's tracks. On the majority of the tracks, though, Franscoviak would put a Shure SM57 and a Beyerdynamic M88 right next to each other, about two fingers' width from the guitar cabinet's grille. He would take that track, blend it and send it to one channel. In addition, Mayer likes to hear room ambience on his guitar tracks. To accomplish that, Franscoviak would point either a pair of U67s or U87s about three feet from the edge of the semi-circle of amps, and then either a U47 or a Telefunken 251 in front of them all.

Used for vocal overdubs on *Dark Side of the Moon*, as mentioned by recording engineer Alan Parsons in this March 9, 2012 *Premier Guitar* interview by Mitch Gallagher. > By the time we got around to overdubs, probably the only mic I actually had set up would be a [Neumann] U 47 so that we could do vocals. I might have stuck that on it, on occasion.

In a twitter Q&A someone asked him what his favorite mic to record vocals is. His answer was the Neumann U47. Calvin is a Neumann collector of sorts, he has about 2 of every Neumann microphone, in some cases, he has had 3 or 4 of the same microphone. The Neumann U87/U87AI in this case.

Mentioned by producer Al Schmitt in [this June 5, 2015 *VoiceCouncil Magazine* interview](http://www.voicecouncil.com/the-man-whos-recorded-sinatra-krall-and-dylan/). > "The U47 – that’s the one I used on Bublé, Paul McCartney and so many others. (...) For Diana Krall and Paul McCartney (and others) I used a Neumann Tube U47 into Neve Preamp and then into a Fairchild compressor. That, to me, is the ultimate." The U47 was also used for the group vocals on *The Beatles*, as is visible in this photo from [this June 2012 *Sound on Sound* article](https://www.soundonsound.com/people/beatles-while-my-guitar-gently-weeps). > John Lennon, George Harrison and Paul McCartney gathered around a Neumann U47 in Abbey Road, 1968. Photo: Getty Images

In this video, Yorke is using a neumann u47 microphone

Used for the group vocals on *The Beatles*, as is visible in this photo from [this June 2012 *Sound on Sound* article](https://www.soundonsound.com/people/beatles-while-my-guitar-gently-weeps). > John Lennon, George Harrison and Paul McCartney gathered around a Neumann U47 in Abbey Road, 1968. Photo: Getty Images

Used for the group vocals on *The Beatles*, as is visible in this photo from [this June 2012 *Sound on Sound* article](https://www.soundonsound.com/people/beatles-while-my-guitar-gently-weeps). > John Lennon, George Harrison and Paul McCartney gathered around a Neumann U47 in Abbey Road, 1968. Photo: Getty Images

In his Instagram story, Luke Hemmings can be seen in the studio using a vintage Neumann U47 Tube Microphone. The clip was uploaded to his story on May 16th, 2017.

Used for vocal overdubs on *Dark Side of the Moon*, as mentioned by recording engineer Alan Parsons in this March 9, 2012 *Premier Guitar* interview by Mitch Gallagher. > By the time we got around to overdubs, probably the only mic I actually had set up would be a [Neumann] U 47 so that we could do vocals. I might have stuck that on it, on occasion.

Mentioned by producer Bob Johnston in this *Mix Online* article. > I always used three microphones on Dylan, 'cause his head spun around so much. I used a big [Neumann] U47 on him, same as I used on Johnny Cash later. I would put a baffle over the top of his guitar because he played while he sang lead vocals. I didn't use any EQ on the band, just set the mics up right to make each instrument sound the best it could. I used some EQ on Dylan's voice. Johnston stated the same in [this *Sound on Sound*](https://www.soundonsound.com/people/bob-dylan-sad-eyed-lady-lowlands-classic-tracks) "Classic Tracks" interview about the recording of "Sad Eyed Lady of the Lowlands". > "What I used on his vocals — and what I used on Johnny Cash, Patti Paige, Marty Robbins and many others — was a [Neumann] U47 microphone with a power pack,” Johnston explains. "It was the old one and nothing was better. I put a baffle over the top of Dylan's guitar so he could play while he sang, and I also used some EQ on his voice, but I never tried to change his sound. All I did was change sounds in terms of the mechanics. Whatever Dylan did — from Highway 61 through Blonde On Blonde, John Wesley Harding, Nashville Skyline, Self Portrait and New Morning — happened because he himself had changed. I never knew what he was going to sound like and I never cared. He was growing.”

A Neumann U47 is seen in the background multiple times, including at 1:05.

Mentioned in a comment on this Instagram post by Benmont Tench. > **jonregen** @benmonttench Tell Ryan I bought John Porter’s U47 that he recorded Love Is Hell on!

While discussing the nuances of choosing vocals mikes in [this R / E / P forum thread](https://repforums.prosoundweb.com/index.php?topic=20563.0), producer J.J. Blair mentioned his use of the U47 on Cash. > I will choose a U47 typically for a male singer who has any texture in his voice, if it's not "airy." If I use my C12 or Manley Gold on those singers, I can't add compression without bringing out that throat texture in an unflattering way. > > I'll name drop here, simply because you know these voices: I used a U47 on Johnny Cash, because it captures perfectly that granite resonance in his voice. On Rod Stewart, who has texture, but lets a lot of air pass through his throat, I used the C12 to capture that air. His texture was more crackle, where John was gravel. While discussing recording Bob Dylan in [this *Mix Online* interview](https://www.mixonline.com/recording/bob-johnston-365163) , producer Bob Johnston also mentions using a U47 on Cash anecdotally. > I always used three microphones on Dylan, 'cause his head spun around so much. I used a big [Neumann] U47 on him, same as I used on Johnny Cash later. It was also mentioned by Johnston in this *Sound on Sound* "Classic Tracks" interview about the recording of Bob Dylan's "Sad Eyed Lady of the Lowlands". > "What I used on his vocals — and what I used on Johnny Cash, Patti Paige [*sic*], Marty Robbins and many others — was a [Neumann] U47 microphone with a power pack,” Johnston explains. "It was the old one and nothing was better."

"That's Jeff Bass playing guitar on 'Lose Yourself'. I mixed that — I was there from the beginning. We were on the set for the movie [8 Mile] when Marshall did his vocal. He would come in on his lunch break, which was usually 15 minutes long. The vocal that ended up being the final vocal was the first take. He tried to sing it a few other times, but just couldn't beat it because he had some kind of other energy. He was making them wait — he came in and said, 'Okay I gotta do this real quick.' He did it real fast and laid some doubles on it like he usually did. You can hear it's in one of those vox boxes in a trailer — the floor is kind of hollow. But the emotion he put into that particular performance was awesome — we were all like, 'Oh my God!' That guy is super talented, brilliant. (...) The vocal chain was always an Avalon preamp, Neve 33609 compressor and a Sony C800G tube mic. Earlier with Marshall I used the Neve 1073 preamp and a [Neumann] U47." — Steve King, sound engineer and writer for the *8 Mile* soundtrack

Used on the bass for "Sex on Fire", stated by *Only by the Night* producer Jacques King in [this December 2008 *Sound on Sound* interview](https://www.soundonsound.com/techniques/inside-track-kings-leon-sex-fire). > "With regards to 'Sex On Fire', the bass was recorded with a DI and a Neumann U47 on the SVT cabinet, close but not right up to the speaker. The microphone on the bass is usually at its upper range of ability, and because the U47 is a tube microphone you get a little bit of tube squash, with the harmonics nearly going into distortion. A lot of times in rock & roll, the bass is really clean and you have to fuzz it up. Both the DI and the 47 went through a Neve 1081 preamp and then an [Teletronix] LA2A compressor, plus an old Dbx 160 on the DI. I also used a very old subharmonic synthesizer, the Dbx Disco Boombox, on the DI. Jared plays a lot of melodic stuff very high up the neck of his bass, and to be able to keep the weight of the track I synthesized some additional low end."

Mentioned in this February 12, 2015 article from the Vintage King website. > 2015 was a remarkable year for Vintage King clients involved in the music industry, as we had over 30 artists, producers and engineers we work with nominated for Grammy awards. While we all know how secretive sonic creators can be about their work process, we asked a few of our favorite studio workhorses to divulge the secrets of their Grammy-nominated vocal chains. > > While Chris Stapleton may be a new face for many music fans, producer Dave Cobb (Sturgill Simpson/Jason Isbell) and engineer Vance Powell (Jack White / JEFF the Brotherhood) are no strangers to creating amazing records. When deciding what gear to use during the recording of Stapleton's Grammy-nominated album, *Traveller*, Cobb asked Powell to select what would be used in the vocal chain. > > The end results saw Vance opting to use a vintage U47 and running them through vintage Neve 1073 and an Esoteric Audio Research 660 for compression/limiting. The vocals were all cut live with the rest of the band playing in the same room at RCA Victor Studios. The only exceptions were two albums tracks that were recorded outside the front of The Castle studio, thus the sound of passing cars and crickets.

"Jónsi’s layered vocals are a Sigur Rós trademark, and they’re not arrived at easily. He typically sings through a Neumann U47..."

The gear they used included an Apple Mac G5 running Digidesign Pro Tools; a bevy of period keyboards including an ARP Solina, Korg MS20, Sequential Circuits Prophet 5, Wurlitzer, Memorymoog, Moog Source and Minimoog; a classic Roland TR-808 drum machine; and some modern synths such as an Elektron Monomachine and a Manikin Memotron. They patched and mixed everything through a 24-channel Trident Series 65 console, and also employed a '70s-era Rogers drum set, various MoogerFooger processors and three Neumann U47 mics.

"It's not a big surprise to find a Neumann U47 and Telefunken 251 being used, unfortunately they're out of production and these vintage mics command a hefty price on the second hand market (when they turn up!)."

Used on the vocals for "You Gotta Move", "Wild Horses" and Brown Sugar", as stated by mix engineer Jimmy Johnson in this September 21, 2018 ProSoundWeb interview. > On the piano I was using only one mic, not two, so I had to move it around to find the hot spot. I’m going to have to think on that one. I think it was a U47, that was the other one, because three was all we had. And we used them all on every session. Jagger sang on a U47. > **So the U47 on Jagger, that was a live vocal track? Or was it overdubbed?** > I don’t think so, not unless he had to fix something in London. The only overdub I remember was the percussion that he did. He had mono earphones of course, and they were hearing what the board was hearing, they couldn’t get a separate mix.

Elliott uses sometimes for vocal parts (Figure 8 songs written in Abbey Road studios). He uses too in electric guitar with a Leslie (and 2 SM 57's in 130 degrees)

You can see the U47 around 0:18 min mark in the attached video.

Used for the bass drum 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](https://www.mixonline.com/recording/white-stripes-365875), which adds that the microphone was also used for the snare as an overhead. > 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.”

Used on the bass drum 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.”

The microphone that was used most often to record Amy Winehouse was the U47.

Part of Jones' home studio, as stated in this February 1, 2010 *Electronic Musician* interview with Jones, producer Jacquire King and assistant engineer Brad Bivens about *The Fall*. > Demos for The Fall began at Jones’ Manhattan home studio in May 2008, with engineer Tom Schick manning her custom Neve console (with 1073 modules), Otari 2-inch 24-track MTR- 90, and a sumptuous collection of vintage tube mics (Neumann M 49, U 47, and Telefunken ELA M 250). > (...) [King:] And Norah has an ELA M 250 mic and a U 47; then we chose the 250 paired with a Placid Audio Copperphone.

Used on "Did My Time", as stated by Davis in this transcribed March 2005 interview. > KORN > "I Did My Time" > Producer: Jonathan Davis of Korn > Engineer: Frank Filipetti > "It's about clarity," says Korn frontman/producer Jonathan Davis, "especially with my stuff cause there's so much low-end and sh-t going on. A lot of mixes can come out not really that clear, and that's one of the reasons I love Frank, because he records great vocals. So any vocals that I do or produce, it has to be about clarity. I have a couple mics that I really like to use; the Sanken is one of my main ones. It's all about not f--kin' with it - just a little bit of compression, that's it." > Signal Path: Tracking > "I was out on the road at the time writing the lyrics," says Jonathan. "I sang a verse in New Orleans and shipped it off to Frank on Pro Tools, so actually we used two different mics when I recorded that. The first was a [Neumann] U 47 with my chain, my preamp [Tube-Tech MP 1A], and the stuff I did at the house [ElemenTree Studios] with Frank was a different process. We used the Sanken [CMU-44]. But with Frank, he totally knows. I listen to it and I really don't have to say anything, 'cause Frank knows me." > "The vocal signal path I used for Jonathan is a Sanken CMU-44, into a TUBE-TECH MP-1A mic pre," adds Filipetti. "From there it went to a Neve 1073, then into the [Universal Audio] 1176, and from there to a GML EQ. Then I brought it into the tape monitor on the SSL 6000, then to the Euphonix R-1. We also used the DBX 160SL on the return on playback to vary the levels slightly, but we didn't record with it. That was part of the chain as well. It's about 85% of what we came up with on the last record with some slight modifications. It's a different console to begin with and a different microphone. The mic we used the last time was an M 49. We chose the Sanken because it just has the best overall combination of lows and highs. > "Jonathan has a very powerful voice," he continues, "especially when he starts to get into it. Some mics pick up the low level detail very well and some mics can hold themselves with screaming really well, but this seemed to have a good combination of both. We were able to get a nice quality between Jonathan singing softly and Jonathan screaming out full-bore. After comparing a lot of other mics, we ended up with the Sanken. In fact the top two mics were the Sanken and the [Audio-Technica] AT4060." > As for the other key components in the chain, Filipetti explains: "The Tube-Tech provides the presence. It has more presence than any other mic pre that I've used and it has an incredible midrange. The 1073 was there just to add a little bit of that Neve crunch - we ran it pretty hot. And I also used a tiny bit of the low frequency and the high frequency EQ. Then I went to the 1176; after trying out a bunch of compressors on Jonathan's voice, the 1176 worked out best. It just seemed to hit him properly. We used that real high-end stuff on the GML, which added that over-end air, which it does incredibly well, and then brought it into the console. On some tracks at the end of the chain we added a DBX 160SL. On a couple tracks that just added a punch that worked out really nicely." > Vocal Philosophy > "My objective with Jonathan is what it is with everybody," says Filipetti. "Basically, the song lives and dies with the vocal. I tend to gravitate toward and work with singers who have real personality. I'm not looking for dancers who are singers. My approach is to make sure that all of that personality comes out; I don't want anything to get lost. I'm looking for all the little quirks and the harmonic things in their voice that make them special, and I look to bring that out. Sometimes it's a matter of just putting the proper mic in front of them. Sometimes it's a matter of adding more things in the chain, but basically, like I do with everyone, I always listen in the room to the singer and then try to capture as much of that as I can through the vocal chain."

Used as an overhead mic for "Brown Sugar", as stated by mix engineer Jimmy Johnson in this September 21, 2018 ProSoundWeb interview. > We only had three mics on the drums. We ran a (Neumann) U47 up over the top up over the top, about nose high to the drummer. We had a high stand out in front, with the mic facing downward at the kit, from the bass drum in with a little boom that came over the snare. > So it gave a good overview of the whole kit, so you could play with a lot of dynamics and you could get an incredible sound. In fact, Charlie Watts wanted to buy that microphone! But of course, I wouldn’t sell it. He couldn’t get over the sound we were getting.

"[Producer Rudy] Van Gelder was one of the first Americans, let alone engineers, to acquire the German Neumann U-47 condenser microphone when it became available in 1949. Van Gelder sought to bring a more intimate sound to small jazz groups. This required placing a microphone closer to the instrument in order to capture the subtleties that traditional recording techniques missed. When Van Gelder initially used the U-47 microphone, he found the sound was easily distorted and unusable. However, a friend of Van Gelder’s, Rein Narma, was able to reconfigure the circuitry of the U-47, making it ideal for close range recording. The result was a detailed, warm sound that many would imitate but few would master. The difference in sound is quite clear when comparing albums Davis recorded with and without Van Gelder. "Half Nelson" from Davis’ “Miles Davis All Stars” was recorded in 1947 at Harry Smith Studios in New York City. Davis’ talent is undeniable, his vocabulary is progressive, his temperament is wholly his own but—he sounds far away. Davis’ voice exists in the mid range of the mix, and is overshadowed by the shimmer of Max Roach’s ride cymbal and the high end of John Lewis’ piano overtones. The sound heard on "Solar" from Davis’ album “Walkin’,” recorded in 1955 with Van Gelder, is markedly different: his voice is at the front of the mix, his subtle inflections are captured perfectly. The once intangible details of his playing style are captured, thanks in no small part to a modified U-47 and of course, Van Gelder’s mastery."

Mentioned by sound engineer John Kelton in this *Mix Online* article about *Kickin Out the Footlights... Again*. > "The board was an SSL 9000 J and Starstruck has a good bit of outboard equipment that we used, too,” Kelton says. “For tape we used a Studer 827 16-track for the drums and bass and a Studer 827 24-track for everybody else. That was fed into a Pro Tools HD system. I mixed on an SSL 4056 G+ at Keith's studio and mixed to the new 900 [tape] that used to be the Emtec; this is the first thing we've done on it. We used the Ampex ATR-100 half-inch. For mics, Merle was an old Neumann 47 into a Martech preamp and LA-2 compressor that was hardly used at all. George was an older-stock U87 into a Martech into a Teletronix LA1 compressor that we've used with him for a while. There was no EQ on either one of them.”

"Weiland, who uses the BAE Audio DMP with a vintage Neumann U47, says the combination "sounds flawless on my voice.""

Used for the vocals on *Volume 3*, as mentioned in this April 15, 2015 *Electronic Musician* interview. > Deschanel usually sings into a Neumann U47. “I have done a number of mic shoot-outs to see what we liked best,” she says. “But we don’t always universally stick to [the U47]; I love an RCA 77, too.” > On this project, [producer Pierre] de Reeder placed U47s for Deschanel and Ward; both also went to Neve 1073 mic pre’s, and Deschanel’s vocal took a small amount of 1176 compression. “Nothing’s heavily compressed,” de Reeder points out. “It’s just barely rocking the needle and making sure everything’s in control.” > All of the other inputs went through preamps in Sound Factory’s custom API console, then straight to a Studer A827 24-track tape machine.

In a photo on this page, Cohen can be seen recording with a Neumann U47.

"For vocals, Jimmy Buffett has an amazing Neumann U47 and it's George's mic of choice. George has his own U47, but he prefers this one.”

27.02.2011 - In this Video Fred shows the studio in LA where they produced the golden cobra album. "Neumann U47 is mic of choice" - Fred Durst 0:58 in the Video.

Jonathan Wilson explains his use of great microphones at an early age

Used on the piano for "You Gotta Move", "Wild Horses" and Brown Sugar", as stated by mix engineer Jimmy Johnson in this September 21, 2018 ProSoundWeb interview. > On the piano I was using only one mic, not two, so I had to move it around to find the hot spot. I’m going to have to think on that one. I think it was a U47, that was the other one, because three was all we had. And we used them all on every session.

Used for the vocals on *Volume 3*, as mentioned in this April 15, 2015 *Electronic Musician* interview. > Deschanel usually sings into a Neumann U47. “I have done a number of mic shoot-outs to see what we liked best,” she says. “But we don’t always universally stick to [the U47]; I love an RCA 77, too.” > On this project, [producer Pierre] de Reeder placed U47s for Deschanel and Ward; both also went to Neve 1073 mic pre’s, and Deschanel’s vocal took a small amount of 1176 compression. “Nothing’s heavily compressed,” de Reeder points out. “It’s just barely rocking the needle and making sure everything’s in control.” > All of the other inputs went through preamps in Sound Factory’s custom API console, then straight to a Studer A827 24-track tape machine.

"But [songwriter and producer Glen] Ballard’s latest project, an acoustic re-recording of Alanis Morissette’s Jagged Little Pill required techniques a bit more delicate. Ballard’s collaboration with Ms. Ironic on the original was both artists’ biggest commercial success, and they commemorated the albums’ 10th anniversary by revisiting the songs unplugged. The acoustic instruments were captured at Westlake Audio Studios (where Ballard once jammed on the synth of Michael Jackson’s Bad) with his cherished standbys — a vintage [AKG] D12, and a trio of Neumann mics — a 49, 47, and 67. These went through outboard Neve 1073 preamp, a classic Neve BCM-10 'sidecar' console."

"We’ve been using Neumann U47s and Shure SM57s – the usual mics – and it seems to work pretty well."

Humberto Gatica, who produced Bublé's "You're Nobody Till Somebody Loves You" and "Stardust", states that "with Michael I use a vintage tube Neumann U47". Al Schmitt, who produced *It's Time*, *Special Delivery*, *Christmas*, *Nobody But Me* and *Love*, stated in [this July 15, 2015 interview](http://www.voicecouncil.com/the-man-whos-recorded-sinatra-krall-and-dylan/) that he also used a valve-based U47 with Bublé: > The U47 – that’s the one I used on Bublé, Paul McCartney and so many others. (...) For Diana Krall and Paul McCartney (and others) I used a Neumann Tube U47 into Neve Preamp and then into a Fairchild compressor. That, to me, is the ultimate. Lastly, a valve-based U47 can be seen throughout various "Studio Clip" videos on Bublé's official YouTube channel. Its label can be seen up close in [this video](https://www.youtube.com/watch?v=VUSY9UohMhU) for Bublé's cover of Mariah Carey's "All I Want For Christmas Is You". The label reads "M7 Capsule Nov2006", offering that it contains the M7 capsule typically associated with vintage Neumann U47s.

Used for "Papa's Got a Brand New Bag", as mentioned by recording engineer Ron Lenhoff in this June 2014 *Sound on Sound* interview. > "While I recorded Melvin Parker's drums with a tube [Neumann] U47 overhead and a kick mic, I also tracked James's vocals with a 47. The only time he ever did anything other than hand-hold the microphone was when he did overdubs. When he hand-held the microphone it was like he was on stage. It wasn't a studio performance; it was a stage performance. He had a great mic technique right from the very first time I met him, so we really didn't get the problem of his voice phasing in and out. We didn't always get everything the first take, but the first complete take that he was satisfied with. If he was happy with it, we'd have it on tape. I knew I had to work that way. > > "We did add echo, but that was usually done on the session, and at that time it was 100 percent live echo. We'd use anything to give him an edge, and later on we did use echo plates. Both James and I preferred to always aim for as clean a sound as possible, with plenty of separation on the instruments.

After the guide bass and rhythm guitar parts had been replaced — Adam Ant's Fender Telecaster being miked with a U87 microphone — his vocals were recorded last, with a combination of Neumann FET and valve U47s.

At 36:33 of this documentary, Smith can be seen singing into a Neumann U47.

According to producer Dae Bennett, Neumann U47s were used to record Bennett and his guests on *Duets II*. > "My vocal setup for the recordings with the quartet consisted of two Audio-Technica AT4047 mics, going into a Neve 1073 and then a [Urei] 1176. I normally like to use the classic Neumann U47 for recording vocals, but they would have picked up too much of the room. The AT4047s have a tighter cardioid pattern and also sound very good. In the sessions when the vocalists sang to the locked two-track edits, I did use two Neumann U47 mics." > > (...) "We set Tony and Amy [Winehouse] up with playback speakers and two [Neumann] U47 mics, and what you see in the video are the actual vocal takes that I selected for my edit. The signal chains were the same: Neve 1073 and then an 1176 and then going into Pro Tools. I recall that they did about five or six takes. You can see some mutes in the vocal takes, which is where there may have been too much leakage or too much of the sound of the room. But in general I left the spill. The string arrangement was added later."

Used for vocals on *Ganging Up on the Sun*, as is visible in Episode 3 of the documentary "Joe's Place" at 1:25.

Used for the vocals on "Prisms of Glass", as is visible in this and [this](https://www.instagram.com/p/kxVh95lh2u/) February 23, 2014 Instagram post. > In the studio today with @nitejewel and @fperdomo

Mentioned by sound engineer Bob Johnston in this *Sound on Sound* "Classic Tracks" interview about the recording of Bob Dylan's "Sad Eyed Lady of the Lowlands". > "What I used on his vocals — and what I used on Johnny Cash, Patti Paige, Marty Robbins and many others — was a [Neumann] U47 microphone with a power pack,” Johnston explains. "It was the old one and nothing was better."

Visible in this photo of Haley.

Used as a room mic on *Toto XIV*, as mentioned by producer CJ Vanston in this March 5, 2015 *Mix Online* article. > On the kick drum he placed a Sennheiser 421 and a Yamaha subwoofer, and on the snare drum a Shure 57 with another Shure 57 underneath. On the hi-hat he switched between a Neumann KM 84 and Shure SM81. > > “For overheads I used a pair of AKG C12As,” Petocz says. “Tom mic’s were 421s and for room mics I had a 47 mono room mic very close to the drums, halfway between the kick and the snare. Then for the more traditional room mic drum sound, I used a pair of U 67 Neumanns and occasionally a C-24 from the back, just sparingly. They all went through the beautiful vintage 8068 Neve console, the best sounding Neve in town. And some compression on the snare when it needed it, but only slightly. Then what I did is go direct out when I could instead of busing it, just for that added purity.”

Mentioned in a comment on this Instagram post by Benmont Tench. > **jonregen** @benmonttench Tell Ryan I bought John Porter’s U47 that he recorded Love Is Hell on!

Mentioned by sound engineer Bob Johnston in this *Sound on Sound* "Classic Tracks" interview about the recording of Bob Dylan's "Sad Eyed Lady of the Lowlands". > "What I used on his vocals — and what I used on Johnny Cash, Patti Paige [*sic*], Marty Robbins and many others — was a [Neumann] U47 microphone with a power pack,” Johnston explains. "It was the old one and nothing was better."