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

• Main guitars: Neve 8078 EQ, Universal Audio 1176, echo chamber, Neve 33609

“I don’t think I compressed the main guitar any further in the mix; all compression was added while tracking, probably an 1176. The guitars were mainly about balances and rides, and making sure the guitar line cut through, so I added some mid-range at the console. The song has an instrumental guitar chorus instead of a vocal chorus, so it was really important that it spoke. I multed the guitar out to two sets of faders, and one of them I EQ’d very mid-rangy and compressed with a Neve 33609 to get a slightly different tone. Every time the guitar riff came up the automation would switch to these faders. It made the melody pop out a little more. I also definitely used the live room in Studio A to add some ambience.”

In Macs Homestudio you can see part of a Neve 33609 down below the LA2A at the very bottom to the left.

Used on Shiftlett's guitar for "The Pretender", as stated by mix engineer Rich Costey in this March 2008 Sound on Sound interview.

"In the case of 'The Pretender' I had a couple of Urei 1176 compressors on Dave's guitar, to pump them up a bit and make them sound more aggressive whilst barely compressing. I had the Gates Sta-Level compressor on the clean guitar in the intro, with quite a lot of compression and a very slow recovery, plus a 33609 with a very short recovery time on Chris' rhythm guitars, to beef them up a little bit. I worked hard to make the octave guitars in the last chorus stick out. I ended up EQ'ing them with the 550a, in addition to the console, to make them cut through this formidable army of rhythm guitars. The rest was just rides. The stereo phase and flange guitars used in the track already had those effects on them."

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends. It is visible in this photo from the same interview.

"In addition to all the above effects, all tracks went through my ABCD multi–bus compression system [see 'Brauerize TheMix' box]. 'A' consists of a Neve 33609 going into a Pultec P1A3S EQ; 'B' is is almost always a Distressor going into my Avalon E55 EQ; 'C' is the Pendulum ES8 tube limiter; 'D' at the time was my Inward Connection stereo tube limiter (but currently it's the [TF Pro] Edward The Compressor P8). So the bass and drums went through B, the guitars went through C — sometimes I'll send guitars through A and C, or I'll send them to C and then send them to a mono compressor return, whichever excites them the best — the keyboards went through A, and the backing vocals through A and D. I did not put the lead vocals through my multi–bus system. I stopped doing that three years ago. Instead they went through these five compressors, the Federal, Gates, Fairchild, 1176 and Distressor.

Used for the drums on Echoes, Silence, Patience & Grace, as stated by mix engineer Rich Costey in this March 2008 Sound on Sound interview.

Drums: Quad 8 310, Pultec EQP1, API 550a, Neve 33609, API 2500, Lexicon 960, Urei 1176, Smart C2, SPL Transient Designer, room mics

"I had just gotten some Quad 8 310 EQs before I began the Foo Fighters project, and I found that cranking the s[**]t out of the mid-range with the Quads helped the drums quite a lot. On most of the album the bass and snare drum went through the Quad 8s, with severe amounts of mid-range added. Quad 8 grew out of Electrodyne and was very popular in the 1970s, particularly with film companies. I obtained some channels that came out of the Motown Sunrise console and they're basically three bands of EQ and a mic pre and output level, and the Q gets tighter as you push it up. The Quad 8s are a little bit rounder and warmer-sounding than similar API modules. I also used the Pultec EQP1 and API 550a on the bass drum.

"I had a bunch of different side-chain compressors on the drums that would change from song to song. On some songs it would be the Smart C2, medium ratio and fast recovery, on others the Neve 33609, the Urei 1176, the API 2500 or the Empirical Labs Distressor, and the SPL Transient Designer on toms. You can use the SPL to lengthen the sound of the toms. I don't compress all the drums at the same time, I'll compress individual parts and mix the compressed sound in with the natural sound of the drums. There was relatively little compression implemented on the drums in this song, because the band didn't care for it. They wanted the drums to sound more raw.

"Throughout the album mix I might have used a bit of Lexicon 960 on the drums for reverb, but the room mics — amongst them a heavily compressed foldback microphone — were so good that I tended to use those. I tend to like room mics that are on the darker side. If they're too bright, you can't turn them up very loud because you then also get all kinds of messy cymbal noises. One other thing to note is the drums that come in after the intro of the song. When the whole band is slamming accents like that, you want to make the drums sound very aggressive, and this meant pushing room mics, pushing compression mics and so forth. As I said, there were a lot of rides."

Used for C'est Chic, particularly on "Le Freak", as stated by this February 3, 2020 Guitar World article.

The Neve console’s 31102 mic preamp/EQ channel strip generously reduces bass (to provide extra room for Bernard Edwards’ booty-shaking bass low-end thump), while a miked Deluxe Reverb recorded simultaneously on a second track mixed below the direct track preserves body.

(...) Original gear

Guitar: 1960 Fender Stratocaster with maple 1959 neck and hardtail bridge (neck pickup only), Master Volume: 10, Neck Tone: 10

Direct input: Neve 8068 console with 31102 channel strips (Mic Preamp Level: -30dB, High Frequency: 12kHz, HF Level: +6dB, Mid Frequency: 4.8kHz, MF level: +4dB, Hi Q: On, Low Frequency: 220Hz, LF Level: -6dB, High Pass Filter: 160Hz, Low Pass Filter: off)

Amp: c. 1968-77 Fender Deluxe Reverb (Normal Channel input 1, Volume: 4, Treble: 7, Bass: 5) with Oxford 12K5 12-inch speaker

Effects (outboard): Neve 33609 compressor (settings unknown), Pultec EQP 1A3 2-Band EQ (settings unknown)

Strings/Tuning: D’Addario XL120 .009-.042/Standard

Pick: Fender Thin

The Real Mike Dean uses the AMS Neve 33609, as confirmed by a post on his Instagram account. On February 14, 2022, he shared a photo with the caption: "Little new sauce for D2 mixing. @analogrofficial with the 33609."

Used for the stereo mix of Mule Variations, as stated by producer Jacquire King in this interview from issue 9 of Audio Technology Magazine.

"I also used a Neve 33609 for bus compression over the stereo mix."

Clay Parton is confirmed to use the AMS Neve 33609, as evidenced by a post on Duster's official Instagram account, which features the equipment with the caption: "we didn’t have anything this nice in the olden days so what the fuck are we even doing but hey want to talk about weirdo equipment meow ok."

Amy Winehouse used the Neve 33609 while working on her album Frank, as documented in an article on Reverb.

Used on T-Pain's vocals for "Low", as stated by mixer Fabian Marasciullo in this Sound on Sound interview.

"The rest was done outside of the box. I used the Neve desk for EQ, and on the hook, ie. on T–Pain, I had a Neve 33609. On Flo I had a matched stereo pair of Distressors. I would have a hundred Distressors if I could. I use them on everything, vocals, drums, bass, guitars. They are just magical. Finally, I sent all the vocals through a Dolby 740. It's an old Dolby unit that was made for film music. It acts like a compressor, but it's an EQ. You can set it so that when the guy sings harder, he sounds a bit brighter. It's a really interesting device, and it gives me a glistening on the voice that no other EQ can give me."

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

(...) "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."