Mix engineer Tommaso Colliva on recording Drones : “The mics on the bass cabs were a Neumann FET 47 with a [Shure] SM57, Beyerdynamic M88 or Electro–Voice RE20 on the clean amp."

Used for bass on Nevermind, as stated by producer Butch Vig in this March 1997 Sound on Sound interview.

The extremely warm, fuzzy sounds of Novoselic's bass guitar also resulted from a combination of DI and miking. "I like to put a couple of mics on the bass, even though I usually only end up using one," says Vig. "On Nevermind we placed a FET 47 and a Sennheiser RE20, and we then just used the 47, which has more of a thumpy, mid-range sound to it. Krist used an Ampeg SVT amp, which I'm a big fan of, while in terms of the DI I don't like to use normal DIs. I use a customised Tech 21 Sansamp, and I have a live split, so you can use it as a DI but it produces more of an amp sound. You can dirty it up, you can add some tone to it, and it's just much more usable as a DI signal as opposed to a straight DI, which to me sounds really thin.

Used on John Mayer's Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

To capture Palladino's bass, his instrument typically went into either an Ampeg SVT or B-15 into an Avalon U5 mono instrument preamp and DI. “I took the throughput into his amplifier and usually put a FET 47 close up, and on occasion an RE20. Then I almost always put an NS-10 on his bass cabinet to get the ultralow stuff,” Franscoviak explains. “I would compress the DI and the FET 47 lightly, not in any way that would effect the dynamics of his performance, only for tonal reasons. I would never put a compressor on the NS-10.”

At 5:25 in this video Mike says "My vocal chain is a U47..."

In a screenshot from Radiohead's "From The Basement" performance of "Bodysnatchers" on April 2, 2008, Colin Greenwood can be seen using a Neumann U47 FET microphone on his Ampeg SVT 8x10 bass cabinet.

"Generally we have three microphones on each cab—either a Shure SM57 or Heill PR 30 next to a Sennheiser 421, and then either a ribbon mic like a Royer R-121 ribbon or a Neumann FET47, to capture a fullness of sound." - excerpt from Premier Guitar interview.

From the official Neumann website:

"The list of renowned artists who have created musical masterpieces with the sound of the U 47 fet – including AC/DC, Kate Bush, Bruce Springsteen, and later R.E.M, the Pretenders, a-ha, Dire Straits, Metallica, Michael Bublé and many others – can now grow longer ..."

In this Instagram post it seems like Bieber is singing on what appears to be the U-47 FET, or possibly the U-47 FET Collector’s Edition.

"Dom loves that mic because of its clicky feel, and also uses it live — and we had a [Neumann] FET47 on the outside kick drum, which was placed kind of exactly in the middle of the hole in the resonance skin, and because you get that blast, we had to put a pop filter on it." - Colliva about "Drones" recording.

Used "for some overdubs" on Murmur, as recalled by producer Mitch Easter in this November 2009 Sound on Sound interview.

Standing on the left side of the studio, Peter Buck used Easter's own Ampeg, wide open without gobos and miked with an EV 635 or, for some overdubs, a compressed Neumann U47 FET.

There is also 'modern' audio gear in the racks: two Avalon VT737 input channels, two Chandler Germanium compressors, a Demeter Stereo Tube Direct and two Urei 1176 compressors, along with some vintage Ibanez (AD230), Ensoniq (DP4), Korg (SDD2000) and Roland (SBF325) effects — an essential ingredient of the AIR sound from the beginning. In the studio itself, there's a Yamaha grand piano, a drum kit, a vibraphone, some kalimbas, a Neumann U47 microphone and Godin's collection of guitar and bass amps.

The whole signal chain was nice — an old Neumann U47 microphone going into nice preamps — so everything we did there, we could take with us somewhere else,” says Goldwasser.