Used for the electric guitar and some vocals on Bone Machine, as stated by engineer Biff Dawes in this February 26, 2015 Mix Online interview.

Dawes describes what he recalls about placing those mics in 1992: “Usually I would take Tom’s guitar direct and I would close mike his amp [either a Princeton Tweed or a Fender Deluxe Reverb],” he says. “Sometimes I would tape mics to the guitar, and then we would add in the more distant mics from the room. Prairie Sun has a wide selection, so we used a lot of Neumanns: U 67s, U 87s, M 49s, that kind of thing. (...) Rennick says that Waits used one main vocal mic pretty consistently at Prairie Sun: “He gave every vocal on one Neumann that we still own, an M 49,” Rennick says.

However, Dawes remembers switching things up more: “It depended on the song,” he says. “A ballad, we would have a nice warm condenser, and sometimes the louder pieces we might use a [Sennheiser MD] 421, a dynamic to cut through. There was no standard. On ‘I Don’t Wanna Grow Up,’ it probably would have been something like a 421 close to him, but there also would have been a 67 or something like that, two or three feet away."

Mick Jagger used the Neumann U67 microphone during the recording sessions for "Sympathy for the Devil," as documented in Jean-Luc Godard's film "Sympathy for the Devil (One Plus One)." Additionally, he utilized the same microphone during the recording sessions for the album "Exile on Main Street" in the basement of Keith Richards' villa in southern France, as confirmed by the film "THE ROLLING STONES - SYMPATHY FOR THE DEVIL (ONE PLUS ONE)" by Rock'n'Roll Religion.

"Day 2 of bass… all basses going through this… '67 B-15 and Neumann U67…"

But back to those layers of guitar—can you take us through the song “Hold On?” I used a number of small variations with the amps, and that’s where I really got into the layering. I had three different half-stacks out there—two Blackstars and an old Hiwatt, with each head going to the same cabinet. So I had six different rhythm guitars essentially doing the same thing. I’d get three different tones with each guitar, miked close with a [Neumann] U 67 and a Coles [ribbon mic] about 10 feet out from the cabinet. And then each tone was spread across three tracks, so I had 18 tracks of guitar.

Used for vocals, as mentioned in this article from philsbook.com.

A Neumann U67 was used for the vocal and placed close to the singer's mouth. The guitar was close mic'ed in front of the sound hole using a Neumann KM56.

The mics went through the Sound Techniques desk to an Ampex 4-track half inch tape machine. The desk circuits were transformer coupled, discrete transistor with inductor based eq. The vocal was compressed through a Fairchild 660 limiter. Delay would be added using an Ampex 2 track and reverberation with an EMT plate.

According to this Sound on Sound interview with producer Roy Halee, the U67 was used to record Simon's vocals for Graceland.

"For microphones, we used the usual selection of tube Neumann 49s, 87s and 67s. In fact, Paul's mic always seemed to end up being a tube 67 thanks to how it helps with sibilance, enunciation and all-around fullness. I tried different mics with him through the years, but I always went back to the standard M49 or U67."

Used to record the guitar and vocals on "Suite: Judy Blue Eyes", as stated by engineer Bill Halverson in this August 2010 Sound on Sound interview.

"I went and got a really nice acoustic guitar mic, a tube Neumann U67, and I set it up, got Stephen some headphones so he could hear what he was doing, and after I'd turned the lights out according to his request, he started playing. At this point, having watched Wally Heider record Wes Montgomery and other jazz musicians, and even though I'd done rock & roll with some electric stuff, I was pretty much a purist. So, when the old Martin D28 that Stephen played sounded really dull to me, I started adding top end and using those equalisers that we'd got for Bones Howe, while also putting a limiter on it and taking all the bottom‑end off. I just kept trying to brighten it up and get it a little more present, and once I had it sounding pretty good I thought I'd record a little, let him take a listen, and then see if he liked it and how we could change it. I was really trying to please.

"So, with David and Graham sitting next to me, I started to roll tape on the 16‑track and David signalled this to Stephen by making a circular motion with his hand above his head. Until then, Stephen had just been goofing around on his guitar, but suddenly he zeroed in on the microphone and started flailing away, and the sound was so bright that the compressor was way over‑compressed — instead of bouncing around like compressors do, it just laid down and sat there. There was also no bottom end. However, from my training with Heider I knew that I couldn't stop the take; I had to just let it go and then explain the problem and try to fix it later.

"Sitting there, I was already thinking about the things I could do to fix it, because I had totally overdone the sound, but Stephen was totally into what he was playing, and just when it looked like he was going to stop, he started another section and played some more. By now, my whole life was flashing in front of me, and certain that my career was over, I began to sweat. Meanwhile, Crosby and Nash were standing next to me, dancing — they were having a good time — and it wasn't until seven and a half minutes into the recording that the whole thing ended. Stephen had just played the basic track to 'Suite: Judy Blue Eyes'...

"It still gives me goose bumps when I listen to that recording, aware that he blew through seven‑and‑a‑half minutes with all the time changes, all the pauses, all the everything in just one take,” Halverson says. "No edits, no nothing. Anyway, when Stephen was done and I could hear him taking off his headphones, I figured he was going to come in and just blast me for the horrible recording, so I was ready with my excuses. David and Graham met him at the double doors, and while they were all high‑fiving each other Stephen turned to me and said something to the effect of, 'Oh, that's the sound I've been looking for! I love it!' and I went, 'Thanks.' I was just dumbfounded. For the next 20 years, I didn't tell him it was an incredibly happy accident, and that if I had known what I was doing he wouldn't have got what he wanted.”

"After Stephen had recorded his acoustic guitar part, he, David and Graham were ready to sing, and for that I was ready. We had done all kinds of jingles in the little room at Heider's, from the Anita Kerr singers to Jan and Dean, and so I just took the Neuman U67, opened it all the way around [ie. put it into omni mode], gave them three sets of headphones and went, 'Sing!' Singing into the one mic, they moved around a bit. They didn't need any music; they were rehearsed, they knew the lyrics, and while harmonising with each other they were also in the process of amazing each other."

"There’s almost a visual to them. I used the U67 head on a Korby KAT microphone for a mono drum mic, and then I used these JZ Microphones Vintage V11s as stereo room mics. They were really cool.”

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

Jordan's assortment of drums — which seemed to be endless, Franscoviak says with a laugh — were miked fairly conventionally: an AKG D 112, an RE20, a 421 or a Beyer M88 on the kick; snares got 57s on top and bottom; M88s on the toms; an AKG 451 on hi-hats; and on overheads, he either used a U67 or U87.

The only trick that Franscoviak used, which he fully admits stealing from Joe Ferla, was putting a Coles 4038 ribbon mic directly over the center of the kit, parallel to the ground and as close in as possible without impeding Jordan's playing. “I generally compressed the snot out of that and I would run it through a Fairchild,” he says. “That's a really interesting trick because you have all of your tight sounds, but you add that 4038 and it makes everything more exciting.”

He also put a U47 about 18 inches off the ground and four to seven feet in front of the kick drum for a very specific sound. “At some point, we were going to hit that low-end waveform just right and it was going to fill that kick drum out,” Franscoviak explains. “I would compress it a lot with an 1176, a lot harder than the overhead, because I wanted that low end to be there for every hit.”

Used for overheads on Icky Thump, as stated by recording and mixing engineer Joe Chiccarelli in this October 2007 Sound on Sound interview.

“The close mic setup for recording the drums was pretty standard: Shure SM57 on the snare, AKG D12 and Neumann U47 on the kick, a pair of ribbon Coles 4038s or Neumann U67s as overheads. I often fed the drums into a reverb chamber, or would overdrive the preamps, or fed them through a guitar amp. The preamps we used for the drums were the 1073 and a Neve BCM10."

Used as a room mic 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."

Dj Quik in a interview with Billboard talks using the mic to help create Yg's hit "My N*gga" a few years back, "I made it super easy and super loud so anybody could've technically mixed it. And that's what they did. They didn't like the way I blended it, which is cool, so they had somebody else blend it. But before that happened, YG said he had to do the vocals over. So one of the engineers at the studio grabbed my microphone. I have a Neumann 67, which is the hot sh--. All the greats use it. I put in my 67, even went in and was talking to him in the booth like "Nail this sh--" and what not. He nailed it."