Used for vocals on Nevermind, as stated by producer Butch Vig in this March 1997 Sound on Sound interview and this September 24, 2021 Twitter post via Nirvana's account.

Sound on Sound, March 1997, "Butch Vig - Talking Garbage"

Utilising a Neumann U67 and an LA2A, most of Cobain's vocals were recorded in the small Studio B at Sound City and ran straight to tape. The results alternate between a smooth, compressed, phasey sound and one of extreme dryness when the voice sits alone, yet minimal effects were employed. "Kurt really had an amazing voice," confirms the producer. "He could scream and it would have this great rasp and tone to it, and yet he could also bring it down really quiet and sound so world-weary and exhausted and intimate. It's hard to put your finger on it, but not many artists have that kind of voice or persona. Kurt had this brilliant pop sensibility in terms of melodic structure and phrasing, and yet he loved the attitude of punk, and those are the two things that collided and made Nirvana so special.

Twitter, September 24, 2021

Papa Joel (@joeljeromemusic): @Nirvana What mic did you use to record Something in the way? Kurt's voice sounds read #Nevermind30

Vig: I used a U67 on all the vocals. #Nevermind30

Used for vocals on The Colour and the Shape, as stated in this article posted to the fansite Foo Fighters Live.

In terms of outboard gear, UREI 1175LN Peak Limiter compressors were installed, along with a mixture of Manley and LA Audio tube amplifiers. A range of microphones were set up including Shure SM57s on the Amplifiers and Neumann u47 and u67 mics for vocals.

Used as an ambient mic for the electric guitar on Continuum, as stated by recording engineer Chad Franscoviak in this October 1, 2006 Mix Online interview.

Miking Mayer's guitar rig depended on the song's mood. On “The Heart of Life,” Franscoviak threw a ribbon mic in the middle of the main room as a pair of amplifiers boosted Mayer's tracks. On the majority of the tracks, though, Franscoviak would put a Shure SM57 and a Beyerdynamic M88 right next to each other, about two fingers' width from the guitar cabinet's grille. He would take that track, blend it and send it to one channel. In addition, Mayer likes to hear room ambience on his guitar tracks. To accomplish that, Franscoviak would point either a pair of U67s or U87s about three feet from the edge of the semi-circle of amps, and then either a U47 or a Telefunken 251 in front of them all.

“Then, every once in a while, if he wanted a beefy sound, I would use a [Yamaha] NS10 speaker that had been reversed,” Franscoviak says. “I would put that right up on the cone of one of his cabinets to get that real low-end thing.” The best example of that, he adds, is the solo in “I'm Gonna Find Another You.” Mayer's acoustic guitar chain was an AKG C24 microphone into 1073s.

Producer Vance Powell - “On Blunderbuss I also used the Neve 33609 and RCA BA6A and an Ampex MX35 four–channel tube mixer to record the drums, but these sessions happened so quickly that I did not have a lot of time to set things up. There was not a lot of upright bass this time, but when there was one, I’d use an RCA 44 and something higher up like the RCA BK5A [cardioid ribbon mic]. There was an African drum on ‘Would You Fight For My Love?’, which had an AEA R92, electric bass would have been DI and a Neumann U67 on the amp, with maybe some compression from the [Fairchild] 670. I recorded Jack’s acoustic guitar with an RCA 77DX, and his electric almost always goes through his 1963 Fender Vibroverb in front of which I placed a U67, which went into the Neve 1073 desk and then straight to tape. I did not record any of Jack’s vocals, other than on the song ‘Just One Drink’ because that was done entirely live. I used a Shure SM57 or 58 on his vocals for that, and Josh recorded the backing vocals.”

Used to mic Hendrix's guitar amp, as stated by recording engineer Eddie Kramer in this November 2005 Sound on Sound interview. Note that the first sentence of the following excerpt pertains to Electric Ladyland.

While Hendrix's amp was screened off in the studio and miked with Neumann U67s, Mitch Mitchell's kit was positioned on a riser within a roofed, open-sided booth to give it depth and miked with a combination of U67s and AKG C12s. (...) When asked about the techniques used to record Hendrix's guitar, Eddie Kramer's response is concise and to the point. "I'd stick a bloody mic in front of it and hope for the best," he jokes. "Nah, generally speaking it was either a 67 or [a Beyer] M160 or a combination of both, which I still use today. It might be slightly different, of course, but the basic principle's the same — a ribbon and a condenser, along with compression and EQ and reverb. All that stuff was always added during recording."

Used for vocals for a time, as mentioned by sound engineer Andy Jackson in this interview from Vol. 6, #7 of Resolution Magazine.

And for vocals? When we did Live 8, I mixed FOH helped by Jon Lemon, and he said: 'Check these out, they're the new Neumann live mic, the condenser that looks like a dynamic.' They're pretty good, and reasonably light directionality, that was good, so that was what went out on the road.

And in the studio? 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.

"Mic-wise, when it came to recording Alex Turner’s vocals (and the backing vocals sung by Matt Helders), Abbiss moved between a Shure SM7 and a Neumann U67 and U87. “If Alex was doing a vocal live, we used the SM7, ‘cause it’s really good at rejecting spill from anything else. The U67 they’ve got there is good and middly sounding. Matt never did his BVs as part of the live takes, he concentrated on his drumming. The 87 was there for the BVs.”- Jim Abbiss, producer of "I Bet You Look Good On The Dancefloor".

The Neumann U67 was used as a room mic to record drums for Daft Punk's Random Access Memories album, although the aim was to achieve "that '70s drum sound," which actually meant suppressing the room sound.

The U67 was also used to record the room sound of the guitar.

Mix engineer Tommaso Colliva on recording Drones : "[Matt] tends to rely on the Neumann U67, which [he] owns, and the AEA R44, which sounds amazing and which is really good for more intimate things."

Used for the bass on The Beatles, as mentioned by sound engineer Ken Scott in this June 2012 Sound on Sound interview.

"In addition to Paul's bass being DI'd, the cabinet probably would have been miked with a 4038, [Neumann] U67 or [AKG] C12. I would have used two 4038s on the organ, 67s on John and George's guitars, and it could have been anything on George's vocal.”

At 9:35 in the video interview, Mac explains that he recently purchased a few expensive microphones, including a "tube U67".

Used for the guitar on The Beatles, as mentioned by sound engineer Ken Scott in this June 2012 Sound on Sound interview.

"In addition to Paul's bass being DI'd, the cabinet probably would have been miked with a 4038, [Neumann] U67 or [AKG] C12. I would have used two 4038s on the organ, 67s on John and George's guitars, and it could have been anything on George's vocal.”

The U67 was also used on Let It Be, as mentioned by sound engineer Alan Parsons in this March 9, 2012 Premier Guitar interview.

I remember on Let It Be, Glyn Johns used a [Neumann] U 67 on George’s cabinet. I think Geoff Emerick favored the AKG D19 [on Abbey Road].