video shot in Electrical Audio, Steve Albini's studio, mic shown at 0:40

(This article)[https://www.mixonline.com/recording/daniel-lanois-shines-alone-365055], describing Lanois' studio setup. "For microphones, he’s fairly set in his ways: He says he hasn’t seen any improvement in the technology over the years. He listed these time-tested models as favorites: Sony C37A, Neumann U47 and U48, RCA 77 and 44 ribbons, and the more modern Sony 800-T. He also likes dynamic mics such as the Shure Beta 57 and 58, and the Sennheiser 409 and 421"

Used for lead vocals on The Weirdness, as stated by recording engineer Steve Albini in this October 1, 2008 Electronic Musician interview.

Does the approach ever differ from that?

Sure. For example, when I did the Stooges sessions [The Weirdness, Virgin, 2007]. The Stooges have always recorded with Iggy singing live along with the band, so that's the way we did the record. Iggy was set up in an isolation room, he had an [Shure] SM58 and a [Neumann] U48, and he could either go for the classy U48 sound or the onstage SM58 sound. He had a monitor playing his vocals back at him in the room. There were vocal speakers scattered around the rest of the band. So everyone could hear Iggy through the P.A., like always. That's not as common as overdubbing the vocals later, but I'm perfectly comfortable doing that if people want to do that.

Used for the vocals on "Someone Like You", as mentioned anecdotally by recording engineer Warren Huart in this August 1, 2012 Mix interview, archived on the Endless Analog website.

Warren Huart on Steven’s vocals: Most of Steven Tyler’s keeper vocals were cut at Swing House with a Neumann U 48 that Huart had used previously on The Fray, James Blunt, Adele and others.

Used for "most" of the vocals on Music from Another Dimension!, as stated by engineer Warren Huart in this August 1, 2012 Mix article archived on the Endless Analog website.

Most of Steven Tyler’s keeper vocals were cut at Swing House with a Neumann U 48 that Huart had used previously on The Fray, James Blunt, Adele and others.

During Radiohead’s "From The Basement" performance of "Weird Fishes" on April 2, 2008, a screenshot reveals that music producer Nigel Godrich utilized a Neumann U48 as an overhead microphone.

Used for vocals on Some Kind of Trouble, as mentioned anecdotally by recording engineer and "I'll Be Your Man" guitarist Warren Huart in this August 1, 2012 Mix interview, archived on the Endless Analog website.

Warren Huart on Steven’s vocals: Most of Steven Tyler’s keeper vocals were cut at Swing House with a Neumann U 48 that Huart had used previously on The Fray, James Blunt, Adele and others.

Mentioned anecdotally by recording engineer Warren Huart in this August 1, 2012 Mix interview, archived on the Endless Analog website.

Warren Huart on Steven’s vocals: Most of Steven Tyler’s keeper vocals were cut at Swing House with a Neumann U 48 that Huart had used previously on The Fray, James Blunt, Adele and others.

Bertrand Poncet has a Neumann U48 microphone in his studio, as noted on the Alias Studio website.

In an April 2014 interview with Sound On Sound, Frozen Music Producer David Boucher recalls "The singers would have Bobby's piano in their headphones, and I recorded Idina with a vintage Telefunken ELAM 251 and Kristen Bell [who voiced and sang Anna's parts] with a Neumann U48, while I used a [Neumann] U67 or a U47 for the male vocals. The female singers' mics went into my Little Labs Lmnopres mic pres and vintage Urei LA3A compressors, and for the guys I used Sunset Sound's API mic pres and the LA2A or LA3A. Whenever possible the vocals went into Pro Tools via the Apogee Symphony I/O, and if that wasn't there, the Avid I/Os clocked to an Apogee Big Ben."

Used for lead vocals on Why'd I Try, as stated by bandmate Michael Kirsch in this self-written October 5, 2010 SonicScoop article.

Vocal (Kentucky facing Center Field)

Main: Neumann U48 -> John Hardy M2 Preamp -> 1176 Fast Release 20:1

Vocal Ambience: Crown PCC -> Expander Keyed to Vocal Mic

Kirsch describes the vocal recording process in depth in "Part III" of the article series.

During our live shows Josh sings while drumming. Nevertheless, we decided to overdub the vocals in the studio. This was primarily for technical reasons: we wanted to have more control of the vocal in the mix, separate from the drums.

Albini’s approach to recording vocals was organic. Using two microphones and an actual metal plate reverb, he set up a vocal chain that would respond to Josh’s voice dynamically and in real-time.

Ordinarily in a lively, reverberating acoustic chamber, the depth and quality of reverb would be directly related to the volume of the voice. A quiet vocal would have minimal reflections whereas a loud, belting vocal would resonate more. In order to capture this on tape, a Crown PCC microphone was setup on the floor of Center Field.

Josh stood in Kentucky, facing Center Field with the door open. The Crown mic was keyed to an expander set to only turn on when he sang loudly. This technique can be heard clearly on our song “You’re Strange.” (Download here — at approximately 3:53, and 4:07 you can hear the Crown mic turn on.)

A Neumann U48 was used as a close mic, capturing all the delicate detail and nuance of Josh’s voice. The vocal was chain was also bussed out to an original Echoplate reverb, built in 1969.

The Echoplate is a large mechanical unit that uses a large sheet of steel, a transducer and contact microphones to create and record reverberation. The voice is sent through a transducer, which vibrates the steel sheet. The resonance is then recorded by the contact mics. The Echoplate provided a rich yet realistic sonic space for the vocal in the mix.