Diana Krall

According to this July 27, 2017 Mix Online interview with producer Al Schmitt, a Telefunken U47 was used for Krall's vocals on Turn Up the Quiet.

“The Neumann U47 sounded fantastic on Diana,” Schmitt says. “It’s my go-to vocal mic, the same one Sinatra used on his Capitol records. I placed it about five or six inches from Diana. I also used a Neve 1073 preamplifier and just a touch of my Fairchild 660 compressor for the warmth of its tubes, compressed a dB or two. I ran Diana’s voice through Capitol Echo Chamber #4, blended with my Bricasti Design [Model 7 Stereo] reverb to get the sound that I want.”

Despite Schmitt's mention of Neumann, Sinatra's U47 is famous for bearing the Telefunken brand. Krall's use of it is supported by the fact that Turn Up the Quiet was recorded at Capitol Studios.

It is also mentioned by Schmitt in this July 15, 2015 Voice Council Magazine interview.

The U47 – that’s the one I used on Bublé, Paul McCartney and so many others. (...) For Diana Krall and Paul McCartney (and others) I used a Neumann Tube U47 into Neve Preamp and then into a Fairchild compressor. That, to me, is the ultimate.

According to this Mixonline interview with producer Al Schmitt, a Neve 1073 was used for Krall's vocals on Turn Up the Quiet.

“The Neumann U47 sounded fantastic on Diana,” Schmitt says. “It’s my go-to vocal mic, the same one Sinatra used on his Capitol records. I placed it about five or six inches from Diana. I also used a Neve 1073 preamplifier and just a touch of my Fairchild 660 compressor for the warmth of its tubes, compressed a dB or two. I ran Diana’s voice through Capitol Echo Chamber #4, blended with my Bricasti Design [Model 7 Stereo] reverb to get the sound that I want.”

According to this Mixonline interview with producer Al Schmitt, a Fairchild 660 was used for Krall's vocals on Turn Up the Quiet.

“The Neumann U47 sounded fantastic on Diana,” Schmitt says. “It’s my go-to vocal mic, the same one Sinatra used on his Capitol records. I placed it about five or six inches from Diana. I also used a Neve 1073 preamplifier and just a touch of my Fairchild 660 compressor for the warmth of its tubes, compressed a dB or two. I ran Diana’s voice through Capitol Echo Chamber #4, blended with my Bricasti Design [Model 7 Stereo] reverb to get the sound that I want.”

According to this Mixonline interview with producer Al Schmitt, M149s were used to record Krall's piano on Turn Up the Quiet.

Schmitt covered Krall’s custom-ordered Steinway grand with two Neumann M 149 mics, touched lightly with a Thermionic Culture Vulture Phoenix [sic] compressor. Each M 149 was placed a foot above the piano: one over the hammers, one over the instrument’s lower half.

“Diana sings softly, and she plays piano reasonably soft,” Schmitt explains. “She’s not a banger. We got a nice blend and tried to separate the piano from the voice as much as possible. We used a sleeve that fits over the piano. The sleeve has two holes where the microphones go in; that gives us separation between her vocal and piano, keeping the two clear and distinct, somewhat, not 100 percent.”

"From the album credits for 'When I Look In Your Eyes'

Hamburg Steinway Model D#0250 and piano technical service provided by Pro Piano, New York"

Diana Krall – Neumann KMS 140 (Live in Rio DVD, 2008)

According to this Mixonline interview with producer Al Schmitt, an M7 was used for Krall's vocals on Turn Up the Quiet.

“The Neumann U47 sounded fantastic on Diana,” Schmitt says. “It’s my go-to vocal mic, the same one Sinatra used on his Capitol records. I placed it about five or six inches from Diana. I also used a Neve 1073 preamplifier and just a touch of my Fairchild 660 compressor for the warmth of its tubes, compressed a dB or two. I ran Diana’s voice through Capitol Echo Chamber #4, blended with my Bricasti Design [Model 7 Stereo] reverb to get the sound that I want.”

According to this Mixonline interview with producer Al Schmitt, an M7 was used to track Turn Up the Quiet.

Noting Krall’s preference for tracking vocals and piano live with the musicians, Schmitt recorded and mixed at 192k via Capitol’s Neve 88RS 72-input console, with very little post-production editing.