Christine McVie

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

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."