Graham Nash

Used live for his guitar amps with Crosby, Nash & Young, as mentioned by monitor engineer Rance Caldwell on the official Audix artist page for Crosby, Stills & Nash.

Rance states, "With the exception of just one mic, everything on CSN's stage is Audix. D6 on the kick; D2s for snare and rack toms; D4s on the floor toms; SCX1 on the hat; CX-111s for the overheads; and D3s for the guitar amplifiers. And for those golden CSN vocals, OM6s and OM7s."

Used live for vocals with Crosby, Nash & Young, as mentioned by monitor engineer Rance Caldwell on the official Audix artist page for Crosby, Stills & Nash.

Rance states, "With the exception of just one mic, everything on CSN's stage is Audix. D6 on the kick; D2s for snare and rack toms; D4s on the floor toms; SCX1 on the hat; CX-111s for the overheads; and D3s for the guitar amplifiers. And for those golden CSN vocals, OM6s and OM7s."

Mentioned by monitor engineer Rance Caldwell on the official Audix artist page for Crosby, Stills & Nash.

Rance adds, "Beyond the stage, Audix is an important part of what the band does in their home studios as well. Graham Nash and David Crosby each have a pair of SCX1s they record with, as does Stephen Stills who also used his CX-111s and D2s on his album Man Alive released last September."

Used live for vocals with Crosby, Nash & Young, as mentioned by monitor engineer Rance Caldwell on the official Audix artist page for Crosby, Stills & Nash.

Rance states, "With the exception of just one mic, everything on CSN's stage is Audix. D6 on the kick; D2s for snare and rack toms; D4s on the floor toms; SCX1 on the hat; CX-111s for the overheads; and D3s for the guitar amplifiers. And for those golden CSN vocals, OM6s and OM7s."

Used to record the vocals on "Suite: Judy Blue Eyes", as stated by engineer Bill Halverson in this August 2010 Sound on Sound interview.

"After Stephen had recorded his acoustic guitar part, he, David and Graham were ready to sing, and for that I was ready. We had done all kinds of jingles in the little room at Heider's, from the Anita Kerr singers to Jan and Dean, and so I just took the Neuman U67, opened it all the way around [ie. put it into omni mode], gave them three sets of headphones and went, 'Sing!' Singing into the one mic, they moved around a bit. They didn't need any music; they were rehearsed, they knew the lyrics, and while harmonising with each other they were also in the process of amazing each other."