Amy Winehouse

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."

Although the Fairchild model goes unspecified in the Sound on Sound interview, it is specified in a September 2010 Electronic Musician interview covering Mark Ronson's Record Collection, the pertinent fragment of which survives online via Soundgas pages here and here.

I used a lot of external reverbs: a Fairchild 670, old spring reverbs, and a couple 1970s Pioneer Reverberation Amplifier Model SR-202s. They’re old home hi-fi units; they’re not normal! I am not a fan of digital reverb, so I have a few springs I really like... Spring reverb was a big part of the Winehouse record, and it’s in Mark’s sound as well. I use two or three different springs on a track and even on the vocal.

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 "Waves' De-esser was employed on Amy Winehouse's lead vocal to cut sibilance."

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."

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 "As well as plenty of hardware processing, Amy Winehouse's lead vocal was treated with surgical EQ from Waves' Q10."

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."

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."

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

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."

The F2 was 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."

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

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."

While the Pultec model goes unspecified in the Sound on Sound interview, it is specified in this May 4, 2014 Audio Technology interview covering Beck's Morning Phase and visible in this September 17, 2020 Mix with the Masters video at 3:05.

On lead vocals, Elmhirst used a Neve 1081 with a high pass at 82Hz and a little cut at 15kHz, an Altec A322C tube compressor and Pultec EQP-1A3.

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."

While the EMT model goes unspecified in the Sound on Sound interview, Metropolis Studios' two EMTs are specified to be 140s in the product description of Wavefactory's Mercury Piano:

Recorded by Grammy Award-winning Paul B. Norris at Metropolis Studio's Studio A, using the finest microphones and preamps in a beautiful sounding live room that sounds rich and warm. [...] With effects specially designed for the piano. Including the fabulous Metropolis Plates, EMT 140s both solid state and valve versions with different decay times, along with a compressor, EQ and chorus.

Amy Winehouse is known to have used the Audio-Technica ATM710 microphone. This is confirmed by her audio engineer, tour manager, and tour consultant, Dave Swallow, who stated, "We were trying out a lot of different mics to achieve more warmth in the lower end, and found an old Audio-Technica ATM89R, which sounded perfect but was discontinued. Audio-Technica suggested the new ATM710 vocal condenser from the new Artist Series. I just love it. It has the tone and response of a mic like the AE5400, but with the off-axis rejection of a good stage dynamic; it’s smack in the middle of the two – just perfect." This statement was sourced from an ETNow.com article titled "Audio-Technica Endorsee Amy Winehouse Sweeps the Board at GRAMMY Awards."

The JC-120 was used by Amy in the studio, and was later sold in an auction along with other items used by her.