Used for vocals on Superwolves, as stated by Daniel Schlett in this May 21, 2021 Mix article.

“The first day or two was just those guys capturing songs, some acoustic and mellow and some of them with Matt’s electric guitar,” Schlett recalls. He captured Oldham’s vocal with a vintage Neumann U47 into a Neve 1070 mic preamp. Sweeney’s guitar amp was miked up with a U67 into an ADL 670 or UREI Silver 1176 compressor/limiter.

“The ADL 670 would have been used on the vocal. Will’s vocal is the only thing I put through a Neve pre,” Schlett says. “Everything else went through the pre’s in our API Legacy console.

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 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 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.

Adam is seen here recording at Capitol Studios in 2009 recording his debut album. For vocals he is using a Neumann u47 and Telefunken ELAM 251.

Used on A Tribe Called Quest's "Verses from the Abstract", as stated by recording engineer Bob Power in this October 2, 2011 Electronic Musician interview.

The Low End Theory is noted for introducing people to the connection between hip-hop and jazz. Legendary jazz bassist Ron Carter played on the song “Verses from the Abstract”; what was it like to work with him?

Let's start with an engineering tip: If the musicians are good and studio-savvy, always ask them what they do and what sounds best on their instrument. They know how they sound best, and if you do that, they'll play better and make you look very good as a recordist.

I said, “Ron, this is how I'm going to record you; is that okay?” I was going to compress him a little with my old Neve 2254E, but he said, “no compression.” So I just put my old Neumann U47 on him, and he loved it and sounded great.

This was restated by Power in a more detailed account for Electronic Musician Presents the Recording Secrets Behind 50 Great Albums (2012).

Do you remember what you used to record guest bassist Ron Carter on “Verses from the Abstract”?

Yes, very well. It was a very funny evening when we recorded him; Tip, Ali, and I were all slightly terrified. At times, Ron can seem like a very prickly fellow, so, because of his stature, I made sure to converse with him in the booth both about how I was planning to record him and to see what he was comfortable with. I ended up using a Neumann tube U 47 and took his pickup direct, as well. I'm pretty sure I used some stand-alone Neve mic pres that were in an outboard track and then balanced them on faders on the 4064 G console, bussing the combined signals to one tape track. I had planned on using a Neve 2254e compressor/limiter on him—a piece I was very familiar with. But when I asked him if he was comfortable with that, I got the quickest and most resolute "No" I've ever heard.

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

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.

Used for vocals on XOXO, as stated by engineer Nick Tveitbakk in this October 28, 2020 Mix Online interview.

Acoustic guitars were miked with an AKG C414EB and a Coles 4038 side by side, and vocals went into Neumann U47 and Shure SM7 mics, also side by side, to provide a range of textures. Acoustic guitars were miked with an AKG C414EB and a Coles 4038 side by side, and vocals went into Neumann U47 and Shure SM7 mics, also side by side, to provide a range of textures. “We’re always going for keeper vocals, so the option is there,” Tveitbakk says.

Used for vocals on Another Country, as stated by mix engineer Kevin Savigar in this February 2016 Sound on Sound interview.

“When we were at his house in LA I had a Neumann U67 for Rod, which I rent from LAFX. It’s an old vintage mic, which is in great shape, and which has been used on Rod’s voice for years. I also rented acoustic panels from LAFX, to control the room, which was a little live. They help to deaden the sound and also to give Rod a physical space to sing in. We kept the panels a little apart in front of him, because he likes to see me, which allows me to cue him in and give him feedback and things like that. I sat facing him, with a low table on which I have my laptop and the UAD Apollo Twin mic pre. Rod sings with Sony MDR-7506 headphones on. He likes them as they are crystal-clear and punchy.

“When we were in London I could not get a 67, so I used a U47 instead, which worked out great as well. His vocal mic goes straight into the Apollo Twin, and I used the UAD 610B tube preamp and EQ plug-in on him, which sounds nice, and some UAD 1176 with a very low threshold and not much compression at all, and UAD Helios 96 EQ to brighten his vocal sound up a bit. That was my entire input chain. Rod has a very loud voice, but also sings some passages very softly, so there’s quite a dynamic range in his vocal, and I needed the 1176 to keep that under control.

“It’s quite amazing really, because he had this nasty operation on his throat [in 2000, for thyroid cancer], with the scalpel coming within millimetres of his vocal cords. It was touch and go whether he could ever sing again. He had to completely retrain his muscles to get his voice back. But it’s now in great shape and he takes good care of it. He warms up extensively with a half-hour vocal exercise routine before he goes up to the microphone.”

Mentioned in this June 1, 2008 Mix Online interview about George Strait's Troubador.

Troubadour, like its award-winning predecessor, It Just Comes Natural, was recorded in Key West, Fla., at Jimmy Buffett's Shrimp Boat Sound studio. (...) "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."

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.

According to this interview with Steve Perry, he has an extensive home studio that includes "U47s"

Megan Thee Stallion used the Neumann U47 while working on her album Good News, as detailed in the article "The Making of Megan Thee Stallion's Homemade Debut Album" on Reverb.