Used to record Mills' guitar on Benmont Tench's You Should Be So Lucky, as seen in this Twitter post by Tench.

Ryan Tedder is using Neumann U67 on Apologize music video, also can be seen in his studio using Neumann U67 till these days.

The U-67 was used on Robin's guitar and vocals during the recording of Helplessness Blues:

"For the acoustic guitar tracks, Pecknold played either his '60s Martin 12?string or his Gibson six?string, miked using various combinations of the Neumann UM56, U67, U48 and Coles 4038."

"By this point, it was time to record Robin Pecknold's final vocals. "Robin sounds good on a Neumann U67,” says Ek. "We tried a bunch of different mics on his voice — different 47s, I even tried an AKG 414, just to see if we could go for different characters. But we always came back to a 67.""

In this article, Andy's amp micing technique is explained. "On the Peavey, for example, he normally places Latvian-made JZ mics such as the uniquely-shaped Black Hole or the BT201 as a pair in front of the amp, and then maybe a Neumann U67 in the back for room sound."

Mentioned in this February 12, 2015 article from the Vintage King website.

Jim James' musical evolution has seen him move from just fronting his band, My Morning Jacket, to a much more production-based role on their latest Grammy-nominated release. Sharing a co-producer credit with Tucker Martine on The Waterfall, the band's seventh studio album, James looked to use a combination of vintage gear and faithful reproductions from Retro Instruments.

For the recording of "Believe (Nobody Knows)," Martine and James utilized two different vocal chains as the song employs doubled up vocals. For the first vocal, the duo used an RCA BK-5, which was plugged into a Retro Instruments OP-6 (a modern recreation of the storied RCA OP-6) and then run through a Retro Instruments 176. The second vocal was recorded by a vintage Neumann U-67, run through a Telefunken V76 mic pre and another Retro Instruments 176.

Used on Jones' piano for The Fall, as stated by assistant engineer Brad Bivens in this February 1, 2010 Electronic Musician interview with Jones, producer Jacques King and Bivens.

When tracking vocals live with the band, how do you adapt?

We knew what Norah was singing at any given time would potentially be on the record. We made sure she was isolated from the group. At The Magic Shop she was in the live room with half the musicians, but their amps were isolated. When she played piano [recorded with Neumann U 69 and U 67, Soundelux E49, and Neumann M 582 mics], we covered it with packing blankets to isolate her mic piano mic. Getting levels set beforehand was important, and Norah works very quickly. We were ready if anything went wrong, and we had backup scenarios.

"On the overheads we had a Neumann U 67 and AKG D19, both in the center above the snare. We then would choose one or get a blend that worked for each song. Occasionally I added a second pair of overheads, some Sony pencil condensers in x-y, just in front of the kit about two meters off the ground. These microphones sound very hard and in your face, so it worked out great."

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

"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."

In this YouTube short from the Tape Notes podcast, Laufey's producer discusses her vocal chain, sharing that she uses a U67 as her vocal mic.

Nigel Godrich is confirmed to use a Neumann U67 microphone, identifiable by its Tuchel connector, as seen miking Ed O'Brien’s Vox AC30 in a screenshot from Radiohead’s "From The Basement" performance of "Bodysnatchers" on April 2, 2008.

SOS Magazine Interview: Secrets Of The Mix Engineers: Renaud Letang

"Many people have asked me how I did Feist's vocal tracks on the album. We had two setups for the whole album. I had a Neumann U67 and an SM57 both going into a Vox guitar amp, on which we EQ'ed and added reverb. The Vox was miked up by an SM57 and a U87 and then went into the old Neve A646. This gave us what we called the 'dirty' vocal. The other setup was just one U67 going into the Neve preamp in Canada, which was similar to the Neve A646. In the end we used the 'dirty' vocal on all tracks, apart from '1234', which was done with the 'clean' signal chain.

"I’ve been recording with Universal Audio, and they were friendly enough to let me use all their plug-ins. So, basically Logic and Universal Audio. I use a couple of different guitars, some from Cordoba and one Alhambra, but they are all classical nylon-string guitars. No electrics.

I’ve been switching between the AKG 414 and the Neumann U67. Usually when I do demos, it’s with a Zoom stereo dictaphone. That’s usually what I use when I’m at home. I was recording so much at home and in the studio with headphones that I’ve got lots of different headphones but ended up using the Beyerdynamic DT880s." - Gonzalez in an interview with reverb