Michael Bublé

In an Instagram post, Michael Bublé is pictured with a Warm Audio WA-47 Condenser Microphone, showcasing it during a playful moment as if he’s singing. This was highlighted by Warm Audio's own repost, adding context to his use of the microphone.

According to VoiceCouncil Magazine's website, Bublé used the KMS 104 on the To Be Loved tour.

Michael Bublé frequently uses the Shure 87C microphone during his tours and concerts, as highlighted in VoiceCouncil Magazine's article on top live mics for jazz vocals.

From the official Neumann website:

"The list of renowned artists who have created musical masterpieces with the sound of the U 47 fet – including AC/DC, Kate Bush, Bruce Springsteen, and later R.E.M, the Pretenders, a-ha, Dire Straits, Metallica, Michael Bublé and many others – can now grow longer ..."

Humberto Gatica, who produced Bublé's "You're Nobody Till Somebody Loves You" and "Stardust", states that "with Michael I use a vintage tube Neumann U47".

Al Schmitt, who produced It's Time, Special Delivery, Christmas, Nobody But Me and Love, stated in this July 15, 2015 interview that he also used a valve-based U47 with Bublé:

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.

Lastly, a valve-based U47 can be seen throughout various "Studio Clip" videos on Bublé's official YouTube channel. Its label can be seen up close in this video for Bublé's cover of Mariah Carey's "All I Want For Christmas Is You". The label reads "M7 Capsule Nov2006", offering that it contains the M7 capsule typically associated with vintage Neumann U47s.

"In terms of microphones, I had a (...) [Neumann] M50 for the ambience.

(...) I like to have options of close, section, and ambient microphones. The room at the Warehouse has an interesting height, and I put the M50 up at the balcony, and also put up two [Telefunken ELAM] 251s as ambient mics, just to fool around and check the frequency response up there.

(...) I mainly use the GML EQ and the Neve 33609 compressor, but very sparingly. I had both boxes on Michael's voice, and some reverb, and another EQ, that I don't want to talk about. I'm supporting kids that go to college!

(...) For ambience I of course used the ambient tracks that I had recorded at the Warehouse, mostly from the M50. I used two other stereo pairs of mics, because I'd never worked in that room, and I wanted to cover my back. But there was a resonance in the air that was fabulous. I had the precision from the close mics, and then when you open up the room mics you get the depth. I also added some outboard reverb from the live chambers at Capitol. They were amazing. You can't top that.

(...) I'd make stems of the saxophones, the trumpets, the rooms, the bones, the drums, the snares, the vocal dry and the vocal with reverb."

— Humberto Gatica, producer of Bublé's "You're Nobody Till Somebody Loves You" and "Stardust"

Used as an ambient room mic for "You're Nobody Till Somebody Loves You", as mentioned in this Sound on Sound article.

"(...) I like to have options of close, section, and ambient microphones. The room at the Warehouse has an interesting height, and I put the M50 up at the balcony, and also put up two [Telefunken ELAM] 251s as ambient mics, just to fool around and check the frequency response up there.

(...) I mainly use the GML EQ and the Neve 33609 compressor, but very sparingly. I had both boxes on Michael's voice, and some reverb, and another EQ, that I don't want to talk about. I'm supporting kids that go to college!

(...) For ambience I of course used the ambient tracks that I had recorded at the Warehouse, mostly from the M50. I used two other stereo pairs of mics, because I'd never worked in that room, and I wanted to cover my back. But there was a resonance in the air that was fabulous. I had the precision from the close mics, and then when you open up the room mics you get the depth. I also added some outboard reverb from the live chambers at Capitol. They were amazing. You can't top that.

(...) I'd make stems of the saxophones, the trumpets, the rooms, the bones, the drums, the snares, the vocal dry and the vocal with reverb."

— Humberto Gatica, producer of Bublé's "You're Nobody Till Somebody Loves You" and "Stardust"