Kevin is seen holding this microphone in a photo of him in his studio.

Used for the piano on the "jazz band recordings" of Foreign Affairs, as is visible in "Bones Howe's layout diagrams for the Foreign Affairs sessions at Wally Heider Studio 4, showing the layout for the jazz band recordings" (pictured) from this February 2004 Sound on Sound interview with producer "Bones" Howe.

Mentioned in this June 1, 2001 Remix article.

Mics are only marginally important to El-P. He uses a Røde tube mic and a Shure SM54, which he calls “a raw performance mic with dents in it.” He adds, “I've also recorded songs through headphones. Ultimately, what matters is what sounds right for the song.” El-P recommends placing the mic about four or five inches from the vocalist's face, “so you can catch some of the tail end of the sound,” and recording the vocals the same way you would at a rock show: “It's unnatural for an MC to just stand in front of a microphone and spit his shit. Hold the mic in your hand, move around, do what you need to do.”

Used on Charles Bradley's No Time for Dreaming, as mentioned in this March 15, 2011 Electronic Musician article.

High-octane performances are at the heart of Bradley’s long-overdue debut album, No Time For Dreaming (Dunham, 2011). Started in 2005 in Brenneck’s former bedroom studio, the album is a reverent throwback to the days of Muscle Shoals, Stax, and Studio One, when entire bands would cram into a room with just a couple of microphones—in this case, Brenneck’s own six-piece Menahan Street Band, with only a Shure SM54 and an SM57 going into a TASCAM 12-channel mixer—and lay down a barrage of rhythm tracks that were bounced, squeezed, and compressed to make room on the tape for the wailing lead and background vocals.