Amy Winehouse

Used for vocals on Back to Black, as stated in a February 13, 2014 Facebook post by sE Electronics, which features this video of Winehouse using the microphone to record a stripped-down version of "Love Is A Losing Game".

Remember our original sE2200a? Amy Winehouse used it to record her vocals on the Back To Black album. She also used it on this session. A great voice truly missed...

#throwbackthursday

The product description for the microphone's successor, the sE2200a II C, specifies the original as Winehouse's main vocal mic, as can be seen on old product listings from zZounds and Performance Audio.

The SE Electronics sE2200a II Cardioid is the single pattern version of the recently launched sE2200a II Multi-Pattern. So why change the classic sE Electronics sE2200a mic which has been used on so many classic tracks and albums such as Amy Winehouse's 'Back To Black'? The sE2200a was Amy's main vocal mic.

Amy Winehouse can be seen in this video, performing "Stronger Than Me," with a Daphne Blue Fender Stratocaster; it can be seen most clearly at 0:14.

Amy Winehouse's Gibson Melody Maker Les Paul, known as "Lioness," is seen in use in a photo from the Daily Mail. This guitar, distinctively white and black, was reportedly ordered by Amy as a gift for Blake in 2007.

In this photo, one can see Winehouse with a Epiphone Les Paul Black Beauty.

In this photo, one can see Winehouse playing Gibson Les Paul Studio.

Amy used cream* Danelectro 56 in the studio when she recorded her landmark album Back To Black. This picture of Amy Winehouse playing Danelectro 56 was first published by Salaam Remi on Twitter after Amy's death

This very happy, very beautiful, very healthy looking Amy Whinehouse played this beautiful strat into a Fender Twin Reverb on November 2003 on BBC Two's Later with Jools Holland.

The closest plan of the amp is at the 2:33 mark.

In this video: https://www.rollingstone.com/music/music-features/amy-winehouses-early-rap-career-explored-in-bonus-documentary-footage-47017/?jwsource=cl near the 01:08, a 13/14 year old Amy Winehouse is seen playing what appears to be a 1997/1998 Fender "California Series" Stratocaster in Candy Apple Red metallic color and fitted with a pair of black tone and volume knobs; the model is given away by the headstock shape, the top truss-rod adjustment nut and the post CBS style logo, all along with the estimated date, since it is known that Amy's first guitar was given to her at the age of 13, being this also the guitar which one of her first ever written songs "Cherry" talks about.

In a series of images from The Jewish Museum, from the exhibit "Amy Winehouse: A Family Portrait", you can see a Dimavery RS-310 used by Amy. Source.

The microphone that was used most often to record Amy Winehouse was the U47.

In a photo taken by Nick Shymansky, Amy Winehouse is seen playing a black Johnson Instruments JG-420 guitar in a Miami home studio.

In this live performance on Later with Jools Holland on November 2003 Amy sings into a Shure Beta 58A.

You can see it clearly at 1:57.

go to 54:28 and you can clearly see she is using a wired sm58 live

You can see Amy Winehouse using the EV RE20 RE-Series throught the entire video.

UPDATE: It is actually a Spanish guitar Alcazar model, https://guitarrasbros.com/guitarra-clasica-espanola-alcazar. I contacted the manufacturer and was told that the model Amy owned was a special edition also a little smaller than the usual version.

In several articles, magazines and even in Mitch Winehouse's book "Amy, my daughter" it is stated that Amy and her father Mitch visited Francisco brothers' workshop during a vacation in Gata de Gorgos, Alicante, Spain where she got the classical guitar she'd later use for writing several of the tracks from Back to Black; highlighting too this was one of her favorite guitars amongst all the ones she had. Links below

https://guitarrasbros.com/amigos/amy-winehouse

https://www.niusdiario.es/cultura/artes/guitarras-francisco-bros-gata-gorgos-alicante-estrellas-rock-amy-winehouse_18_2884620234.html?amp=true

https://www.google.es/amp/s/www.informacion.es/cultura/2020/07/24/guitarra-alicantina-amy-winehouse-compuso-8709747.amp.html

On this picture Amy posing with Taylor BT1 Baby. Amy using Taylor BT1 during live performance at the Friday Night with Jonathan Ross in BBC Studios, London, UK (19/03/2004) https://youtu.be/92017dn3t_M?t=4m15s

Amy Winehouse owned a special edition of the Guitarra Bros Alcazar, a Spanish guitar. According to Guitarrasbros, this model was slightly smaller than the standard version.

Used for vocals during the Daptone sessions of Back to Black, as is visible in ca. 2005 archival footage shown at 3:45 during this November 29, 2018 interview with Daptone founder and engineer Gabriel Roth/Bosco Mann.

17/08/2008 Festival live@ Chelmsford (England).

Amy Winehouse used MOTU Digital Performer while working on her album Frank, as detailed in the article "The Making of Amy Winehouse's Frank and Back to Black" on Reverb.

Amy Winehouse used the Avalon VT-737sp Mic Preamp while working on her album Frank, as detailed in the article "The Making of Amy Winehouse's Frank and Back to Black" on Reverb.

Amy Winehouse used the Neve 33609 while working on her album Frank, as documented in an article on Reverb.

Amy Winehouse used the Avalon AD2055 while working on her album Frank, as detailed in an article on Reverb.

Amy Winehouse used the Universal Audio LA-2A while working on her album Frank, as detailed in the article "The Making of Amy Winehouse's Frank and Back to Black" on Reverb.

Amy Winehouse used the Yamaha DM2000 VCM Digital Mixing Console while working on her album "Frank," as detailed in an article on Reverb.

Amy Winehouse utilized the Ampeg B-15 bass amplifier stack during the production of her albums Frank and Back to Black, as reported in an article on Reverb.

Amy Winehouse utilized the Universal Audio Avalon 737sp Channel Strip during the creation of her album Back to Black, as detailed in Reverb's article on the making of her music.

Amy Winehouse used the Neumann U87 while working on her album Back to Black, as confirmed by an article on Reverb.

Amy Winehouse used the Digidesign Digi 002 while working on her album Back to Black, as detailed in an article on Reverb.

Used for Winehouse's lead vocals on "Rehab", as stated by mix engineer Tom Elmhirst in this August 2007 Sound on Sound interview.

Lead vocals

• Urei 1176 blackface compressor, Pultec EQ, Fairchild compressor/limiter, McDSP F2 Filterbank, Waves Q10 Paragraphic EQ, Waves De-esser, Great British Spring reverb, EMT plate reverb.

"I am not a techno snob, I'll use whatever I can to make a great record. Simple as that. I do try to keep compression and EQ analogue, unless it's EQ to notch out specific frequencies, in which case plug-ins are more precise and effective. Amy is a very dynamic singer. She has a lot of bite in her voice, but I wanted it to sound warm and not take your head off. I often use the Renaissance Q10 EQ for radical reductive EQ'ing, and you can see this in the settings I used on Amy's voice. I'm cutting four frequencies by 18dB; in two cases, 465 and 917, with a Q of 100! That's a really heavy notch. At 3107Hz the Q is only 13.7, so that's quite wide. Taking off 18dB here is enormous, but that's what it was.

"There were specific frequencies in Amy's lead voice [the track labelled 'AmC'], that were bugging me. It may be due to hundreds of things, perhaps to do with the microphone that was used on the day. Don't get me wrong, it was not a bad vocal sound, but she does have some hard frequencies in her voice. There are a few tracks on the album that I did not mix [instead they were mixed by Gary 'G Major' Noble], and you can hear on them what she sounds like without the EQ I applied. I also use McDSP's Filterbank F2, probably shelving around 40Hz, and the Waves De-esser cuts around 5506Hz. Amy is not hugely sibilant. The threshold here is 22, which is not that high for me. There would probably be no more than 3dB of de-essing.

"In addition, I was also filtering with a Pultec outboard EQ and on the board as well. The outboard chain on Amy's vocal was Pultec, going into a Urei 1176 blackface compressor, going into a Fairchild compressor. On the Pultec I was probably adding around 12k, just to brighten it up a little bit, adding air. The Urei will have been set with a very fast attack and a super-fast release, doing perhaps 10dB of compression, while the Fairchild will have had a very slow release. I can't quite explain what this does, but in my head the Urei will catch anything that jumps out, while the Fairchild will pick up the slack and keep a more constant hold of the vocal -- ie. smooth things out. During the mix I'll be constantly playing with these two compressors; it's not something I set up and then leave. How hard the signal coming from the Urei hits the Fairchild affects the sound a lot.

"The vocals had a spring reverb which would have been tracked when they recorded Amy, at Chung King Studios in New York. I also recorded an EMT plate on the vocals at Metropolis. You can see both at the bottom of the Edit screen. I spent a lot of time on the vocal, and I would regularly come back to it. Late in the evening of the first day of mixing 'Rehab' I would have the vocal pretty much in the track all the time, and after that I'd constantly be tweaking it a little bit. I don't just do it and leave it. You're getting constantly closer to the final mix, but it's not immediate."