This mic was used to record Matt's Vox AC-30 on Drones

Justin mentions at 5:16 that this mic was used heavily during the recording of the album Bon Iver, Bon Iver. He says, "It's so special. It's from the 50s. It's just got a look about it, and such a smooth sound."

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

"With regards to electric guitars, we usually had several amps set up, like an AC30 and a Marshall, or Marshall clone, and I tended to have a U67 on one and a U87 on the other cabinet, placed straight on the centre of the speaker. Sometimes I'd use a Sony C37 or a Shure SM57. All the guitar mics also went through the API desk, but I sent the bass through the Acme Audio MTP-66 pre and DI."

In this pic Deryck does an acoustic version of Hell song by Sum 41. To capture the his piano parts, He can be seen using what Is a pair of Sony c37a Tube microphones.

I like Shure SM57s and 58s. There’s always a vintage Neumann U67 set up that I can record anything with. I have this cool new mic that’s made by Chandler Limited called the EMI REDD. I love the sound of it, and it seems to never need any EQ. That thing always stays up on a stand, ready to go as well. I’m also very partial to my pair of old Sony C-37As, as well as my Beyerdynamic M 88. I arguably use an M 88 more than I use 57s and 58s. I dig AEA ribbon mics too, like the R-84As.

"I like the Sennheiser 409 on amps. For a different sound I like a ribbon mic. Acoustic guitar recordings are tough. If you can have a nice big mic further back from the instrument that's usually the best. Further back means no booming. Lately I've enjoyed a U47 or C37A with a 1066 preamp."

Dave Rawlings:

"The method that Matt Andrews, who has engineered most of the records I’ve done, and I came up with has been gradually dialed in over the years. I’ve always used a Sony C-37A microphone—a tube microphone made in the late ’50s and early ’60s—and an old Neve 1055 preamp module.

The sound of my and Gillian’s guitars is a combination of what bleeds through the vocal mics—we use a Neumann M49, usually—and the mics we use on our guitars. We’re usually sitting close enough that every sound blends through every microphone. So the sound is a composite.

The only other constant in my guitar chain is a Fairchild compressor I bought years ago that has a particular tone. I’m not interested in the compression as much as the sound its transformers add to the chain. It gives a little point to the midrange that makes it easier to poke out from Gill’s guitar and be present under the vocals."

How do you record your acoustic guitar?

The method that Matt Andrews, who has engineered most of the records I’ve done, and I came up with has been gradually dialed in over the years. I’ve always used a Sony C-37A microphone—a tube microphone made in the late ’50s and early ’60s—and an old Neve 1055 preamp module.

The sound of my and Gillian’s guitars is a combination of what bleeds through the vocal mics—we use a Neumann M49, usually—and the mics we use on our guitars. We’re usually sitting close enough that every sound blends through every microphone. So the sound is a composite.

The only other constant in my guitar chain is a Fairchild compressor I bought years ago that has a particular tone. I’m not interested in the compression as much as the sound its transformers add to the chain. It gives a little point to the midrange that makes it easier to poke out from Gill’s guitar and be present under the vocals.

In this photo, which got posted on Quesada's Insatagram profile, one of the items that can be seen is the Sony C-37.

John Kay's use of the Sony C-37 tube microphones has been confirmed by Gary Eskow in an article for Mixonline, where Richard Podolor mentions, "We liked the Sony C37 tube mics and tracked John’s vocals with them."

“On guitars, we had a selection of Royer 121s, Sony C37a’s, and I own a bunch of old ’60s Shure SM56s. Each amp would be double-miked with a condenser or dynamic, and a ribbon mic, and there were almost always two amps going at once,”

"For example, I'll use something like an Altec 175, which is a really bright microphone, and then maybe I'll use something that's darker like a Beyer M201 or maybe a Sony C37. I'll use the two and, if one has too much hi?hat in it, I'll just lock out the darker one"