Jamie Cook uses a Watkins Electric Music Copicat Echo Unit during the recording of “Suck It and See” noted in an interview with James Ford.

In an interview with James Ford about the recording of “Suck It and See,” Ford gives insight on why and how Jamie’s set up incorporates the Copicat. “Cook's guitar setup revolves around a '60s Simms Watts rig and custom‑built Rosewell Bluesman, though for the Sound City sessions, he also borrowed engineer James Brown's Audio Kitchen Big Chopper amp. For more ambient sounds, he'd plug into various toys, including a WEM Copicat or Roland Space Echo, Electro‑Harmonix Holiest Grail reverb pedal and Fulltone Deja Vibe stereo phase/chorus.” These extras expanded Cook’s sound in such as giving his tone a more ambient sound which is different in ways that had not been seen on Arctic Monkey’s previous efforts.

Ford continues, "Cookie does either the spacey, watery, roomy sounds,” says Ford, "which were vibrato and reverb and a bit of echo. Or he does the kind of heavy, single‑note type of stuff. We used the Audio Kitchen for his heavier stuff — it had a Vox AC30 sort of vibe, but with a bit more presence and clarity. His live take would be close‑miked, and then we'd bring the amp into the room and maybe double it with a distant mic, Jimi Hendrix‑style, from the other side of the room.”

In the interview shows a picture of Jamie’s set up of the WEM Copicat along with a Rolland Space Echo. Jamie used these two plug ins into his various amps used during the recording of their album at Sound City Studios in Van Nuys in the San Fernando Valley, Los Angeles.

(Sound on Sound, James Ford: Producing Arctic Monkeys) https://www.soundonsound.com/people/james-ford-producing-arctic-monkeys

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Guitars: EMI Chandler TG1, Lexicon PCM42, API 525, API 5502, Roland Dimension D SDD320, Watkins Copicat

"Normally I send each side of a stereo guitar to my EMI Chandler TG1 panned left and right and coming back on the console, but I didn't in this case, so I must have felt that it sounded bad. It might have taken away from the tightness of the guitars. They had already recorded it very tightly. So instead I didn't add anything to their stereo chorus verse guitar. I also had a mono verse guitar, which I sent to a PCM42 delay set at 224ms and panned to the opposite side, and every time the guitar strums it goes over to the right. On the acoustic guitar I did what I normally do, which is to send it through my acoustic patch, an API 525 going into an API 5502. That's a great combo and I have been using that for years. It makes the acoustic guitar very natural and full and gives it great presence without it sounding processed. In this song it's not very evident, because the acoustic guitar isn't very important, but, for example, on Parachutes the acoustic is very important, and I used the patch back then. There was no insert on the solo guitar. I did have a Dimension D SDD320 chorus on it, which spreads the sound naturally, and which went to a Watkins Copicat Echo unit with a fairly short delay. Otherwise it's totally dry, no reverb, hardly any EQ. Again, it was so well recorded that it didn't need a lot of work."

Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this Sound on Sound interview about the production of Viva la Vida & Death and All of His Friends.

Vocals: Waves Renaissance & Digidesign de–essers, AMS reverb, Zoom 1202, Lexicon PCM81, Watkins Copicat, Empirical Labs Distressor, Federal, Gates, Fairchild 666, EAR 660, Neve 1176 & Awa G7201 compressors

"I used two Renaissance de–essers on Chris's voice that were doing different things, and then a stock Digidesign de-esser. That was it for the plug–ins I added on this session. The Sonnox Oxford and the Eoisis were not out yet at the time.

"The analogue things I did on the lead vocal are really interesting. As I said, I initially mixed the songs on my own, because the band was in England re–recording some songs, so I knew I might have to recall each song. But on this song I pretty much nailed it, apart from that Chris wanted the vocals to be more exciting and different. In the end the vocal had some AMS non–linear reverb on it, while the main sound came from an old Zoom 1202 reverb and a Watkins Copicat delay, plus a special patch that I created in the PCM81, which is a much bigger reverb. So it's a combination of things, but you don't really notice them, all you notice is that Chris is in a very present, big room. When I had found that combination 'Violet Hill' really became a song, it really came alive, because his voice was able to fight through all the stuff that was going on and make it personable. There's no reverb on the rest of the track, which is another reason why the lead vocal sounds so huge: it's not fighting another bunch of reverbs. If you send everything to reverb, you don't hear it, but if you send only one thing to reverb, it'll be huge.

"For the main part of the song I had a Distressor on the insert of the lead vocal, and I sent this to another five compressors: the Federal, the Gates, the Fairchild 666, the Neve 1176 and another Distressor in Nuke mode. They're all coming back individually on the board, and it was a matter of blending those compressors. As usual in my way of working, the compressors are there to give attitude and tone, and don't necessarily compress. For the end bit of the song, where it's just Chris and the piano, I used the Awa G7201 limiter/compressor. It's an Australian compressor and it has an incredible air and presence. It's a unique sound that you can clearly hear at the end, as it's the only effect on the vocal on that point. Finally, the church group background vocals are sent to the same combination of reverbs as the main vocals. No other effects, no EQ. It means that all the vocals in the main section blend together."

According to an article on Guitar Lobby titled "Ritchie Blackmore Guitars & Gear (2022 Update)," Ritchie Blackmore used a WEM Watkins Copicat tape echo in the early 1970s.

Mentioned in this May 1974 Guitar Player interview, transcribed to the Elephant Talk wiki on November 11, 1997.

What type of volume pedal is it?

It's the cheapest one I found, and the only one I could afford at the time that seemed any good. I think it's a Farfisa [by C.M.I.] pedal. It's still the finest volume pedal I've found anywhere. It's the only one that goes off and still has a wide movement. It's quite incredible. On stage I use three pedals on a pedal board: A volume pedal, fuzz-tone, and wah-wah. The fuzz-tone and wah-wah are pretty rubbishy. I'm not sure what type of wah-wah it is. The best fuzz-box to use is a Burn's Buzz-around which they discontinued making in England about six years ago. I have two of them, but they're not at the moment attached to my pedal board. The more pedals you go through, the longer leads you need, and in turn the less volume you get. You lose gain along the way. To lessen that, the wah-wah and the fuzz are on the knock-off circuit. In other words, when I'm playing, all the time I'm going through the volume, but when I'm using either fuzz or wah-wah, I knock a different pedal which brings in a different circuit for the fuzz and the wah-wah. When I'm not using them I press a button and knock them out of the circuit so that the circuit shortens, and I keep up my gain. I also use a Watkins Kopy Kat echo unit. It's all right, but it's not particularly good. It suffices for what I want, which is not really a lot of echo effects but just a slight edge, because the sound on stage is very dead in a lot of halls I play in. It really doesn't matter what kind of fuzz box you use. It has more to do with the state of mind.

But if somebody wanted to obtain the same sound you got, wouldn't it be important to know what type of fuzz you were using?

No. I can get that same sound with every kind of fuzz box I've ever used. It's not a question of equipment.

Seen here on Adult Swim's Fish Center Live is JPD hookin' it up with the classic Krautrock tape echo,the watkins copicat,just to the left of his amp head where his keyboards used to be

I'm guessing it's being used for guitar here because there's an orange cable going from the output of the tape echo to the input of the amp and Dwyer runs his keys through the PA,not his amp.

Plus,dig those runaway tape tones when he mutes a hard strum,real cool.

Pictured on Gallagher's official website's "Effects / Pedals" page and mentioned in an interview in Kerrang No. 15, May 6-19 1982.

"Echo units are indispensable, however. I always have a small delay on one of my amps, like a Memory Man or a DOD, but if you want anything like that authentic Rock 'n' Roll sound, then you have to have tape echo. The Copicat is great for that, but you can also set it with a very shallow delay and it can compensate for dead halls.

In the Equipment Notes on his official website, Robin Guthrie mentions using the WEM Watkins Copicat in the 10th paragraph, 10th line.

Jeff Tweedy owns a 60s tube WEM Watkins Copicat tape echo, as listed on Reverb's Wilco Loft Shop. This vintage effects processor, known for its unique sound, features modifications like a 3-prong grounded AC plug and a Switchcraft output jack. Despite its quirks, including occasional ground noise and a broken tape loop, it remains a cherished piece of studio gear.

The item can be seen 2:11 into this video

A MK2 unit was listed for sale on Reverb.com on July 21, 2021.

This Watkins Copy Cat Tape is owned by Mike Campbell

Cosmetically the unit is in pretty good shape other than a few small scuffs and rips here and there. The inside tolex is also coming apart. This unit is currently non functioning and will need to be repaired. There is a piece of tape with it that is currently held together with blue tape but it will likely need a new tape entirely.

The unit passes signal and the "gain" functions but the echo does not work. Again this unit will need some repairs to get it to full functionality but with the right expertise it could be pretty close!

Serial: All items in The Official Mike Campbell Reverb Shop ship fully insured with delivery confirmation and a signed and embossed Certificate Of Authenticity from Mike.

In this interview, Oborn states that he has a Copicat in his home studio but never specifies what kind.