"But [songwriter and producer Glen] Ballard’s latest project, an acoustic re-recording of Alanis Morissette’s Jagged Little Pill required techniques a bit more delicate. Ballard’s collaboration with Ms. Ironic on the original was both artists’ biggest commercial success, and they commemorated the albums’ 10th anniversary by revisiting the songs unplugged.

The acoustic instruments were captured at Westlake Audio Studios (where Ballard once jammed on the synth of Michael Jackson’s Bad) with his cherished standbys — a vintage [AKG] D12, and a trio of Neumann mics — a 49, 47, and 67. These went through outboard Neve 1073 preamp, a classic Neve BCM-10 'sidecar' console."

In Vol. 4, No. 5 (the September/October 1973 issue) of Recording Engineer / Producer (a.k.a. R-e/p) magazine, an interview with recording engineer Don MacDougall mentions that Sinatra used a U67 on Ol' Blue Eyes is Back.

Well, all the orchestral and vocal elements were broken down to 14 tracks usually, sometimes 16. I usually keep some tracks open but a couple of times I couldn't. I put Mr. Sinatra in the center of the stage and put a baffle on each side of him, high flats, soft side to him. I used a Neumann U-67 on a boom, and used a Teletronix peak limiter with about 5 dB of limiting, which allowed me to record pretty flat through the system and get rid of all the unwanted extraneous sounds and get some pretty good tracks. The U-67's we used are really classy mikes, they've been rebuilt and they're pretty flat. And we recorded Mr. Sinatra that way, flat, the whole band was actually recorded flat; no equalization, no reverberation, nothing. The natural room acoustics were about, I would say, 3 seconds reverb time, and it lent a marvelous kind of ring to everything.

It was used extensively to record the instruments on Sinatra's albums, as stated in Sessions with Sinatra: Frank Sinatra and the Art of Recording by Charles L. Granata.

Used on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

The core of the drum sound came from a pair of Neumann U67 valve mics in 'Glyn Johns' formation: one above the snare and the other near the floor tom.

(...) "I take the Glyn Johns setup as my basis, with an overhead and a side mic equidistant from the snare — I use two drum sticks to measure the distance. I used to use two Mesanovic M2 ribbons for this, but now use two Neumann U67 mics. In addition, my kick mic is the AKG D36, and my snare mics are the Shure SM57 and Neumann Gefell M300, held together by an X clip. I have a mic pointing at the side of the snare which often is called the 'wurst mic' [a term coined by German engineer Moses Schneider for a saturated lo-fi drum mic that delivers a sausage-shaped waveform — Ed.]. I used to use the Neumann UM57 for that, but now it's the Sennheiser MD441. It's really pointy and effected-sounding, and technically you can use that mic for your entire drum sound. My room mics are two Mesonovic ribbons, in a Blumlein setup. All drum mics went through the API, straight into Pro Tools."

Credited on the Plays Wooden Child album: "David Tibet only sings Assyrian and Babylonian using the following microphones, which he utterly endorses"

You can see Chiaki Sato using what it looks like Neumann U-67 on this picture she uploaded to her Instagram account.

Jens Kidman (with all the band members together) used the Neumann U67 in a studio-treated room to record gang vocals for the 'None' EP in 1994, as shown in the YouTube video "Meshuggah - Making of None EP | 1994 Studio Recording Footage" by Haekki, which captures the recording sessions without pop filters.

In a studio tour video titled "EPIC HOME STUDIO Setup 2024 | John Osborne," published by Andrew Masters on YouTube, John Osborne is seen displaying a Neumann U67 Tube Condenser Microphone in his guitar room at the 46:01 mark.

"'I'll always have the Neumann U67 set up,' says Tsai. 'That's our main microphone. We'll try an 87 or a 251 on occasion, but it almost always goes back to the 67.'"

Used for vocals on Anthem of the Peaceful Army, as stated by mix engineer Al Sutton in this January 2019 Sound on Sound interview.

"We set up at Blackbird with the drums in the centre of the main room. Sam and Jake were in the same space, but their amps were isolated. Sam also had a full keyboard rig set up, with a piano, B3, Wurlitzer and Fender Rhodes, and so on, which mostly were overdubbed. But he played the B3 and bass pedals live during the tracking of 'Age Of Man'. There's no bass guitar in that song. Josh was in an iso booth with a Neumann U67. We recorded the acoustic in the same booth."

(...) "As I mentioned earlier, I recorded lead vocals with the U67, but did not send that through the API. Like for the bass I instead used the Acme Audio MTP?66 pre, and then a Neve 33609 for some compression and an Original Motown EQ if EQ was needed. MTP stands for Motown Tube Direct Preamp, and the Acme is a unit that I built, and sell. Motown used to have a small, five-channel input box, called the Motown Five Channel Guitar Direct Amplifier, that's coveted by tons of people, and the Acme is a single-channel version of that, with a mic pre added. I got all the schematics from Mike McLean, who was the chief maintenance engineer at Motown during the 1960s, and who did a great job in designing it. You can hear it on all Motown stuff, particularly guitars and bass from 1966 on. The Acme MTP?66 is all-tube, and the preamp sounds really open, with a classic fixed-gain design on the mic pre and DI."

In a 1965 recording session, a Neumann U67 microphone is visible, being used by James Brown's engineer.

In this YouTube video, Alissa says that she had tested multiple microphones, including the U87 and 67, but settled on the 67 as one of the best. She also says she used it on the latest Arch Enemy album (Deceivers?).

Used for vocals "for years", particularly 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.”