Derek Ali’s engineering skills were tested by the amount of live recording that took place in the making of To Pimp A Butterfly. “I mostly use our Stephen Paul-modified Telefunken U47 to record Kendrick, going through a Neve 1073 mic pre and then a Tube-Tech CL1B compressor, which gives a great, fat, warm vocal sound, especially in conjunction with the U47. Sometimes I’ll run his vocals through a Pultec EQP-1A3. On ‘Alright’ I used a U67 instead of a U47 on his voice and on ‘For Free?’ two Electro-Voice mics, the RE20 and the 666. We stacked the two EV mics on top of each other, and this gave a warm, almost distorted sound.

According to producer Al Schmitt, a Telefunken U47 was used to record Dylan's vocals for Shadows in the Night.

“I used Capitol’s Neumann U47 on Bob’s vocals. It’s the very same microphone that was used on Frank Sinatra, Dean Martin and Nat King Cole. It’s a great–sounding microphone. Fortunately, because I work a lot at Capitol, I get to use it frequently, and I’ve had it on Paul McCartney and on Diana Krall and others. The mic was maybe nine or 10 inches away from Bob, with a windscreen. Pops and esses were no problem. I used the Neve 1073 mic pres in the old Neve desk at Capitol on all the mics. It has an amazing sound, with lots of punch and warmth. So Bob’s 47 went through that. The only compression I used on the entire album was on Bob’s voice, a tiny bit of an old mono Fairchild. I barely touched it, I used it mainly for the tube sound. It just added some warmth. On the desk I also mixed in some of Capitol’s live chamber number four on his voice.

Despite Schmitt's mention of Neumann, Sinatra's U47 is famous for bearing the Telefunken brand.

"I recorded Patrick's vocals with a U47 tube in most cases, a U67 in other places, and compressed with a Neve 33264, a Distressor or an 1176," says Neal Avron in this interview.

In the 'Are you gonna go my way' video, Lenny can be seen U47 microphone during the whole video. It's most clear at 1:54.

In an Instagram post by Owl City, a Telefunken U47 microphone is visible in what appears to be his vocal booth during a shootout session.

Ariana Grande using a Telefunken U47 Condenser Microphone in the recording booth for "Almost is never enough"

Used for vocals on Sleep Through the Static, as stated by mix engineer Robert Carranza in this February 1, 2008 Mix Online interview.

Vocals went through an API mic pre from the Telefunken | USA U-47 re-issue into the API 512, into an LA-2A and straight into tape. “We used the 1176 every once in a while, not too much; this is more of an LA-2A kind of record. No aggressive stuff.”

""On some songs we used a [Neumann] 87 for Steve's vocals, a lot of times an RE20 worked out really well for him, and there was also a Telefunken 47 that he tried and didn't like all that much but which we did use for his harmonica.""

In this article by Sound on Sound it says MGMT used this mic when recording their album Congratulations - "The whole signal chain was nice — an old Neumann U47 microphone going into nice preamps — so everything we did there, we could take with us somewhere else,”

In this video (studio footage for "Lift Off") at 2:04, Machine Gun Kelly can be seen recording on a U47. At first glance it's hard to tell if it's a Neumann U47 or a Telefunken U47, but for a split second at 0:55 the Telefunken logo (definitely not the Neumann logo, although similar) can be seen on the microphone.

You can see him more often with this microphone in this video.

Used for the piano on "the orchestral track recordings" of Foreign Affairs, as is visible in producer "Bones" Howe's "[d]iagram for the Foreign Affairs sessions at Wally Heider Studio 4 showing the layout used for the orchestral track recordings" from this February 2004 Sound on Sound interview. Howe specifies a Telefunken version while recounting the sessions for Ornette Coleman's The Shape of Jazz to Come and Change of the Century.

"I set them up in a square, one in each corner of an imaginary room in the studio, close together, all facing the centre of the square. I had set up the microphones before they got there: I had an RCA 77 on Ornette's alto sax — the white plastic one he was notorious for playing — and a 77 on Don Cherry's pocket trumpet, a Telefunken U47 on Charlie's bass, and the drums were miked with a U47 as an overhead and a 77 over the hat and snare. We were recording live to mono and two-track at the same time. I liked this setup so much that I made sure I wrote it down, and I still have that setup sheet to this day. I would use it to record a lot of albums."