Used on the bass drum for some of Only by the Night, particularly on "Sex on Fire", as stated by producer Jacques King in this December 2008 Sound on Sound interview.

"The microphones on the drums changed a lot from song to song. On the kick it could be a Beta 52, sometimes it was an RE20, or a [Sennheiser] 421, or a [Neumann] FET 47, or an NS10 [i.e. the driver from a Yamaha NS10 monitor used as a mic], or a combination. It depends on what I was trying to achieve. The mics were usually in front of the kick, or just barely inside. On one song, 'Crawl', I did put a U87 on the batter side of the kick, next to the pedal, which gives a very attack-orientated sound, with a Led Zeppelin-ish quality. On 'Sex On Fire' I used the 52, FET 47 and NS10 on the kick. I had all the kick mics on a Neve BCM10 sidecar and I'd submix them and run them through a GML EQ and then to one track on the tape. I didn't want to keep them separate. It was a matter of get the sound, make the decision, and move on.

"The snare was recorded in similar fashion to the kick. I had the option of various mics that all went through a BCM10 and were submixed, through a GML 580 EQ, then a [Empirical Labs] Distressor, just to give it some control and make sure the snare hit the tape at the right level. On the track sheet a transformerless Shure SM57 is indicated. It was something I read about a couple of years ago, and it's a really good thing. It gives a nicer, more transparent, usable sound that requires less EQ. You lose a bit of level, but typically the things that you record with a 57 are so loud anyway that it doesn't matter. So I asked the people at Blackbird to take the transformer out of one of their 57s and they were gracious enough to do this. After recording I also ran the snare and kick through an Eventide DSP4000 on a Big Muff setting, and recorded that in Pro Tools during the transfer to the computer.

"The toms were recorded with three Josephson E22S mics, which are a modern type, and they're fantastic on the toms. There were a rack of toms plus two floor toms, and I also submixed the tom mics via a BCM10 to a stereo pair, panning the toms as was appropriate for the track. The overheads were recorded with a Telefunken Elam 251 going through a Neve 1081 preamp/EQ, then an Urei 1176, and then to tape. The ride cymbal and the hi-hat were recorded with RCA77 ribbon mics, the ones that David Letterman used to have on his show. When I use a mono overhead, as I did in this case, I like using ribbons, for a good stereo spread between ride and cymbal.

"I had half a dozen mics up for the room sound: a Neumann U67, M49, AKG C12, RCA 44, and/or a Royer SF12 in the echo chamber. I'd leave the door to the echo chamber open so the sound of the drums was happening in there as well, and I'd move the room mics around to get the sound that I wanted for a particular song. I would then bus different combinations to the two room tracks, depending on the song. In the case of 'Sex On Fire' I used a U67 and an RCA 44 for Room 1, and an RCA4 4 and an SF12 for Room 2. Some of these mics went through Neve preamps, some through an old RCA tube mic that Blackbird customised. The combination of room mics was bussed through a Fairchild 670."

In this interview under the control freak section he says "I often record vocals, and when I work in other studios I may use the Neumann U47 for vocal recordings"

Used for the bass and 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."

"On the whole, the Dreaming My Dreams sessions were cut live. (...) 'The studio was small, so there wasn’t a lot of space between places,' [studio engineer Kyle] Lehning says, 'and Waylon was at the center of all of this, playing electric guitar and singing live vocals into a Neumann U47 FET. Sometimes he would fix a vocal later, but sometimes it would be that live vocal on the track. The vocal chain would have been the preamp in the Flickinger console through an LA-2A and the FET U47.'"

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 interview, 2009.

In this article, while talking about his drum micing technique, Andy says, "The kick had a D112 inside and either a Neumann 47 or 67 outside, usually placed about one-and-a-half or two feet away."

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 ..."

Used for the bass on Reckoning, as recalled by producers Mitch Easter and Don Dixon in this February 1, 2009 Mix Online interview.

Mills’ bass amp was miked with a Neumann FET U47 from eight or so feet away, according to Dixon, who says he spent more time on vocals for Reckoning than on anything else. He often gave Stipe a ride to the studio about noon, and they would sing for a few hours in the quiet studio, replacing scratch vocals from the previous day.

“We had Michael sing into a FET 47 — the transistor version of the famous 47 — and it sounded great. It had a good forwardness about it,” Easter says.

About the recording process of "Fallen"

When it came to recording Lee's vocals at NRG, the group tested out three mics: the Telefunken Elam 251E, the AKG C-12 and the regular Neumann U47 tube mic. The U47 won.

“That one seemed to have the classic presence,” reports Fortman, the producer.. “It sounded really good on Amy's voice. I love having that type of luxury, where you can record something from each mic, have everybody sit down and take time to choose.”

One can see a U47 FET on Colin’s Ampeg SVT 8x10 bass cabinet in this screenshot from Radiohead’s From The Basement performance of Bodysnatchers on April 2, 2008.

What mics were you using for vocals?

I pretty much do all my vocals on a Neumann U 47. Johnathan [Schenke] told me that one's best for my voice and I've always trusted him since. For the Parquet Courts record we just did in Texas, I ended up doing a lot of the vocals on a handheld Telefunken mic [M80]. I was able to get into the vocal part a bit more just by having something in my hand.

In this video teaser of Ice Cube's Arrest The President, it appears that he is rapping into a Neumann U47 FET.