Caleb Followill

In a Mix article, front-of-house engineer for Kings Of Leon Brent Rawlings reveals that while touring for the Only by the Night album, the vocal mics the Followills used are Sennheiser e 935s. Original article can be found here.

Caleb and his band (Kings Of Leon) use Sennheiser MD 431 for vocals.

Used for vocals on Because of the Times and Only by the Night, as featured in this June 1, 2007 Mix Online interview and as visible in the "Only by the Night Home Videos" series by Kings of Leon (particularly "Day 14" at 1:49 and "Day 18" at 1:04).

As on the band's previous recordings, Caleb Followill sang into a Shure SM7 live during tracking.

Used for the electric guitar on Only by the Night, as stated by producer Jacquire King in this December 2008 Sound on Sound interview.

"We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools."

Used for vocals on Because of the Times, as stated in this June 1, 2007 Mix Online interview.

Caleb Followill sang into a Shure SM57.

An SM57 was also used for the electric guitar and vocals on Only by the Night, as mentioned producer Jacquire King in this December 2008 Sound on Sound interview.

"We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools. Caleb's vocals were recorded with a Shure SM57 going through a Chandler TG2 mic pre, a Neve 1073 EQ, an LA2A compressor, and I also had a Dbx 902 de–esser on them."