Used for the bass drum 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.

Used on the album "Lazaretto". I recorded Jack’s vocals mainly with a Shure SM57. Sometimes we used a Neumann U47, as well as an RCA 77D and a Shure SM7, and I often pushed his vocals hard through an 1176(...)

Used for vocals with Pink Floyd for an unspecified session, as mentioned by producer William Wittman in this November 16, 2006 R / E / P forum post.

The only Floyd session I ever saw, they had U-47fets set up for vocals.

Given Wittman's career, the U47 FET could have been used on any session from The Final Cut to The Division Bell, which overlaps with the beginning of sound engineer Andy Jackson's work with Gilmour. In fact, a U47 is mentioned by Jackson in this interview from Vol. 6, #7 of Resolution Magazine.

Well David's very easy, he sounds good on anything, he sound pretty good on a 58, but it's the Sony C800G with the heat sink, horribly expensive, but they're fantastic. I've tried lots of things, and it's really good, it has an openness and a size. We've done all sorts of things over the years, 67, 47, I had him on a Brauner for a while — they all work, he's got a good voice and good technique, so it's not that difficult.

James can be seen recording with a U47 FET during the making of the Black Album at 12:45 in the video.

Kick drums for Daft Punk's Random Access Memories were recorded using the Neumann U47 FET mic, since it has "...more low end and less attack."

“For acoustic guitar parts, I mostly used the N22. ‘Ordinary World’ was done before I had that mic, though, so I think I used a [Neumann or Telefunken] U47 on that one."

Microphone can be seen from the beginning of this video above the piano Thom plays.

Mix engineer Tommaso Colliva on recording Drones : "For the final takes [we used a] Neumann FET47 and SM57 on the Diezel VH4 with Mills cab."

Paul McCartney is mentioned in the Hog Hill Mill Blog as using the Neumann U47 FET condenser microphone, highlighting its role in his recording setup.

He’s got a fet 47 type mic on his kick in the interview.

He also used cabinets fitted with Celestion G12M speakers and Neumann U 47 microphone.

"I remember the guitar parts being very easy," Hedges says. "Robert had most of them worked out and the overdubs were simple — they were double-tracks, guitars with more effects or embellishments here and there. However, there were very few over-overdubs. They were mainly just single overdubs, and there was very, very little comping on that album. In terms of the vocals, which Robert performed into a Neumann FET 47, we'd do just one track and if it wasn't right we'd redo it, and if it still wasn't right we'd maybe drop in one or two bits, but generally there was very little comping. We didn't really have the time. There might have been two guitar tracks comped into one and there might have been two vocal tracks comped into one, but generally everything was as played or as sung.