Christine McVie

The Yamaha CP-30 now satisfies McVie as a replacement for the Pianet. She recorded with it for the first time on Tusk, and approximates the Pianet sound live by engaging the first three stops on both groups of stops and using more bass than treble. Her model was modified to eliminate a loud hum that occurred when the volume pedal was opened all the way, but otherwise she has had no complaints about it.

"It can sound a lot like the Hohner," she says, "and it can sound like a Rhodes, really pretty and clean. It has great variety, a volume pedal, a nice sustain, and a dual pitch control where you can tune it just a little out of phase with itself to get a fatter sound, which I like to do. You can use it for so many things I used to have; where I needed three keyboards in the past, I only need this one now. Besides, I think it would be pretentious of me to have a huge stack of keyboards, since I'm not a brilliant keyboard player. I get by, but I'm by no means a genius, and I don't pretend to be. I don't want to come off like Keith Emerson. So long as I can get the sound I need, I'm happy to just stay with the keyboards I have onstage now."

The B-3, the instrument she most frequently plays, has been parabolized by Keyboard Products. Christine has no settings that she regularly favors. "I use the drawbars a lot; in fact, I don't think I've ever used anything else but the drawbars," she admits. "Sometimes I perk it up with a bit of percussion too. But I don't think there's any particular sound I go for every night. I try to get whatever sound suits the track best when we're recording, and I just look for something that sounds good when we're playing live."

"But we have recorded with some synthesizers — we've used a Minimoog and an Oberheim. And I remember using a Multimoog on 'Crystal' [from Fleetwood Mac]. It wasn't even mine, though. There was some mad little professor guy running around, twiddling all the knobs for me while I played it. I think he slept with the damn thing," she adds with a laugh. "But we don't really need them too much. I cover most of the sound that we use on records with what I have. And people tell us that we still sound pretty big for a band with four instrumentalists."

Christine used a Hohner Combo Pianet from, 1975 to 1978, in 1977 it was repainted to black

At 1:24 Christine McVie is using a Hohner Pianet N II electric piano.

Christine McVie used the Roland AP-7 Jet Phaser during the recording of "Gold Dust Woman," as shown in a user-uploaded photo on Tumblr.

Christine McVie used the ARP Solina String Ensemble, as depicted in a photo from around 1976 on Tumblr.

Christine McVie used the Beyerdynamic M500 microphone from 1977 to 1982, as evidenced by a user-uploaded photo on Tumblr.

20:19, Christine using a Roland EP-10, She use's it on the Rosebud Documentary.

Used for the keyboards on Rumours, as stated by producer Ken Caillat in this August 2007 Sound on Sound interview.

"For Lindsey I always used an SM57 and a 451. I found that those two mics complemented each other, and if I put the 57 about an inch from the cloth and the 451 about two inches from the speaker, a little off to the side, and then moved the two faders up and down both together and independently, I could change the sound radically. And you'd get a really interesting sound if you also put phase on one of them. Added to that there was always a direct, although I didn't use that so much with Lindsey unless we were feeding a Leslie with it. We had everything mic'd up for whatever effects we wanted.

"The same applied to the keyboards — a grand piano, Rhodes, Wurlitzer and [Hammond] B3. Pretty much all of the electronic stuff was recorded direct, but again we'd have an amp in another room in case we wanted that sound on a keyboard. It all depended. We had plenty of time, so when they started playing we'd dial up everything. You know, 'Let's put a little amp on that. It'll fill out the sound better.' Basically, it was like we were mixing while we were recording."

Used for the keyboards on Rumours, as stated by producer Ken Caillat in this August 2007 Sound on Sound interview.

"For Lindsey I always used an SM57 and a 451. I found that those two mics complemented each other, and if I put the 57 about an inch from the cloth and the 451 about two inches from the speaker, a little off to the side, and then moved the two faders up and down both together and independently, I could change the sound radically. And you'd get a really interesting sound if you also put phase on one of them. Added to that there was always a direct, although I didn't use that so much with Lindsey unless we were feeding a Leslie with it. We had everything mic'd up for whatever effects we wanted.

"The same applied to the keyboards — a grand piano, Rhodes, Wurlitzer and [Hammond] B3. Pretty much all of the electronic stuff was recorded direct, but again we'd have an amp in another room in case we wanted that sound on a keyboard. It all depended. We had plenty of time, so when they started playing we'd dial up everything. You know, 'Let's put a little amp on that. It'll fill out the sound better.' Basically, it was like we were mixing while we were recording."

In their most famous concert, The Dance, Fleetwood Mac's Christie McVie is using a Yamaha KX88 master MIDI-controller.

She is using the great DX7 in the video to Fleetwood Mac‘s „Seven Wonders“.

Christine McVie can be seen playing Yamaha CP4 STAGE in this photo. Judging from videos on Youtube, it seems that she used that keyboard until the end of her career in her later years. Ex(1:14) : https://youtu.be/VElI89y_-QI?si=cujMmd7yyMe0b5cZ - at 0:34 the name of this stage piano can be seen for the first time.

Christine McVie has been confirmed to use a Yamaha YPG-235 portable grand keyboard, which is part of her touring collection. This instrument was specifically used for practice and warmups during her time on the road with Fleetwood Mac in recent years, as verified by an auction listing from Julien's Auctions.

Christine McVie is confirmed to have used a Yamaha PSR-E433 61-key keyboard, serial #UAU101144. This keyboard, which features a backstage pass from the Rolling Stones' 2018 No Filter tour adhered to the right-hand side, was documented as owned and played by her, according to a listing on Julien's Auctions.