Used as a room mic for the drums on Songs for the Deaf, as stated by producer Eric Valentine in this January 14, 2012 Rhythm interview and in this September 14, 2019 "Making Records with Eric Valentine" video at 19:16.

Rhythm, January 14, 2014, "Classic drum sounds: No One Knows"

Where exactly were the drums recorded for the track?

"The drums were recorded in a small isolation booth. It was roughly 8'x12' but not exactly a rectangular shape and the ceiling was quite tall (16'). It was very dead acoustically. It has curtains and cork on the walls and carpet on the floor. The idea was to have a room sound that still sounded very tight, focused, punchy and kind of claustrophobic. I used a pair of Sony C37A microphones for room mics. They were positioned up high - maybe about 12' up. I would just move them around in the room until they both sounded balanced between the kick and the snare and were roughly equal distances from the snare drum."

"Making Records with Eric Valentine", September 14, 2019

And so, I wanted to try and get away from having microphones right up on the toms and so I just had drum kit mics. So there was a mic that was sort of over on the left side that picked up the snare over here and the rack tom. There was this CMV 3, I don't know if you're familiar with those, with this old, you know, it's one of the very first condenser mics ever made by Neumann, and so that was in the middle of the kit and then I had another mic over here [on the right] so, these were C12As [gestures to left and right sides], I had the CMV 3 in the middle, and so here's the CMV 3. [plays isolated track, open another] There's the C12A on the left... [plays right C12A track] And so these three mics together would just give you, like, this stereo picture of the drum set that's really punchy and in your face because you're not in this big room, but the mics aren't, like, right up on the drums, you know, so for the toms, you know, the mics are a little further away. And then I had C-37As way up high in the room just capturing the ambience of the room.

Featured in this Reverb.com listing.

This legendary Sony C-37A mic came from the world famous Cherokee Studios (Michael Jackson, Elvis Presley, Frank Sinatra, David Bowie, Ella Fitzgerald, Judy Garland, Gina N Roses, Van Halen, Tom Petty) before it's closing. I purchased this from John Frusciante of The Red Hot Chili Peppers. I've recorded with it and it's wonderful. I fell in love with the production of Daniel Lanois (U2 Joshua Tree) and this is his go to mic. I have 2 of them!

Used as a vocal mic, as is visible in this photo of Hendrix and this photo from the same session.

This article, describing Lanois' studio setup. "For microphones, he’s fairly set in his ways: He says he hasn’t seen any improvement in the technology over the years. He listed these time-tested models as favorites: Sony C37A, Neumann U47 and U48, RCA 77 and 44 ribbons, and the more modern Sony 800-T. He also likes dynamic mics such as the Shure Beta 57 and 58, and the Sennheiser 409 and 421"

Used as his vocal microphone in this music video. Judging by the threaded section, it's not a c-37p (the c-37p's threaded collar is a dark greyish color, and is a slightly different shape/design).

Mentioned in this article by Sony Insider.

Frank Sinatra and Nat King Cole both demonstrated the advantages of the C-37A. If Sinatra did not like what he heard played back, he would walk out of the studio leaving the record company to foot the bill for the session. This tended to happen two or three times before he was satisfied and re-recording was expensive. When studios introduced the C-37A, they would 'get it in one take,' and Sinatra would go home happy. Capitol’s experiences led them to install the C-37A in all their studios. They were so proud of recording with the C-37A microphone that they even had it featured in photos on their album jackets.

The microphone appears on the cover of Sinatra and Strings, which was photographed during a live performance.

In this still of a White Denim Instagram reel a Sony C-37A is clearly visible.

"Frank Sinatra and Nat King Cole both demonstrated the advantages of the C-37A. If Sinatra did not like what he heard played back, he would walk out of the studio leaving the record company to foot the bill for the session. This tended to happen two or three times before he was satisfied and re-recording was expensive. When studios introduced the C-37A, they would 'get it in one take,' and Sinatra would go home happy. Capitol’s experiences led them to install the C-37A in all their studios. They were so proud of recording with the C-37A microphone that they even had it featured in photos on their album jackets."

In the video titled "Cozy LA HOME STUDIO Setup | DAVID PETERS 2026 Studio Tour" on YouTube, David Peters is shown at the 47:42 mark presenting microphone cases containing Sony C-37A microphones. He states:

Really fun, cool microphones, really unique microphones.

Used on A Thousand Kisses Deep, as stated by recording engineer Joe Chicarelli in this December 1, 2003 Electronic Musician interview.

What mic were you using on trumpet?

Mostly a Royer 121, which you wouldn't expect to work in that situation because it's bidirectional. You'd think there would be a lot of bleed into the back of the mic. I tried it because I've used Royers on trumpets before and they sound nice and warm. On some songs, Chris thought the Royer was a little too dark, so we ended up using a Neumann U 67. But overall, I liked the Royer, especially for muted trumpet, which can sometimes get a little nasty in the midrange. We also used a Sony C37A for some songs; I remembered it was Herb Alpert's favorite trumpet mic!

Mentioned anecdotally by recording engineer Joe Chicarelli in this December 1, 2003 Electronic Musician interview while discussing the production of Chris Botti's A Thousand Kisses Deep.

We also used a Sony C37A for some songs; I remembered it was Herb Alpert's favorite trumpet mic!