Used for Winehouse's lead vocals on "Rehab", as stated by mix engineer Tom Elmhirst in this August 2007 Sound on Sound interview. An image of the settings can be found here, with the caption "Trillium Lane Labs' Space convolution reverb was used to add a spring reverb effect."

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."