Bob Dylan's 1999 album, Love and Theft, was recorded on a Neve 8068 Mixing Console, according to this article.

This is the mixing console that Ghost used to mix the album "Meliora".

"For the latest album, we rented everything. We were in Stockholm and had a lot of contacts, collectors with cool guitars. We had this old Les Paul, I think it was from ’62 or ’64 or something like that, originally a Goldtop, but it looked like the Mona Lisa, it was all cracked up.

And besides maybe the Neve Console, it was probably the most expensive thing in the studio at that point, but it sounded so great. When you have something that is basically a museum artefact in your hands, you realise that white Flying Vs come and go, but this is something special."

-Nameless Ghoul, Interview with Tonedeaf

"I've used different mix compressors over the years. I've used 1176s, not linked up, I like that the left will react differently than the right. For added fun try inserting a couple of graphics before hitting the compressor. Lately I've been using the 32264a in my Neve 8068 console."

This is the legendary 8068 series from Neve. Simon used it at Phantom Recordings for a few years.

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

Vocals: Waves Renaissance Vox, De–esser, Metaflanger, Renaissance Channel and S1 Stereo Imager, Digidesign Revibe, Line 6 Echo Farm, McDSP Analog Channel, Neve 8068 desk EQ, Neve 33609, Empirical Labs Distressor, Dolby 740

(...) "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."

"The Session of 'You're Nobody Till Somebody Loves You', consisted of about 46 tracks. I mixed the whole album in Los Angeles, at Capitol Studio B on the old Neve 8068 there. It's a fabulous studio with a wonderful sound. I ended up so pleased with all my mixes on Crazy Love. They're all fat and well-defined-sounding, with incredible punch. I did a few things in Pro Tools, just a compressor here and there to get things to sound tight and to have more control, and I used the George Massenburg EQ plug-in to clean up some vocal proximity [low-frequency boost] and straighten out some other things. Michael sang some of the vocals in Vancouver and some in LA, and I needed to match these. But everything else in the mixes was done on the desk and with outboard."

— Humberto Gatica, producer of Bublé's "You're Nobody Till Somebody Loves You" and "Stardust"

Used on Flo Rida's vocals for "Low", as stated by mixer Fabian Marasciullo in this Sound on Sound interview.

Vocals: Waves Renaissance Vox, De–esser, Metaflanger, Renaissance Channel and S1 Stereo Imager, Digidesign Revibe, Line 6 Echo Farm, McDSP Analog Channel, Neve 8068 desk EQ, Neve 33609, Empirical Labs Distressor, Dolby 740

(...) "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."

In an interview on Reverb.com, John Vanderslice discusses acquiring and using a Neve 8068 Mixing Console for his studio, Tiny Telephone Oakland. He mentions that one of the consoles was sourced from Germany and another from Los Angeles, with both units eventually coming together at The Plant in LA. Despite being unused for a decade, the console's 31102 input modules were remarkably well-preserved, appearing nearly new despite their 1976 manufacture date.

Used on Toto XIV, as mentioned by producer CJ Vanston in this March 5, 2015 Mix Online article.

On the kick drum he placed a Sennheiser 421 and a Yamaha subwoofer, and on the snare drum a Shure 57 with another Shure 57 underneath. On the hi-hat he switched between a Neumann KM 84 and Shure SM81.

“For overheads I used a pair of AKG C12As,” Petocz says. “Tom mic’s were 421s and for room mics I had a 47 mono room mic very close to the drums, halfway between the kick and the snare. Then for the more traditional room mic drum sound, I used a pair of U 67 Neumanns and occasionally a C-24 from the back, just sparingly. They all went through the beautiful vintage 8068 Neve console, the best sounding Neve in town. And some compression on the snare when it needed it, but only slightly. Then what I did is go direct out when I could instead of busing it, just for that added purity.”

In the video titled "Restoration Sound Tour: The Studio Empowering Brooklyn Artists" by Gear Club Podcast, at 0:06, the AMS Neve 8068 Mixing Console is visible in the control room of the studio run by Lorenzo Wolff. At 0:20, Wolff discusses the console, noting that it is a Neve 8068 with some later modules, such as 31105s.