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From a Mix magazine interview w/Synthesists Robert Margouleff and Malcolm Cecil who engineered the Isley's "Who's That Lady"<http://mixonline.com/recording/interviews/audio_isley_brothers_lady/> Margouleff says he bought the 3rd or 4thMoog produced.These guys also worked w/ Stevie Wonder teaching him to use synths. “What happened was, Ernie Isley was nine years old when Jimi Hendrix was playing with his brothers, and he was very, very motivated by Jimi. Jimi came to him one day and gave him his first guitar, showed him a few things and said to him, ‘You know what, when you grow up, you'll be playing with your brothers.’ He was right, of course, and this totally changed Ernie's life! “When he came to us, he brought his Stratocaster and I took him over to meet Roger Mayer, who was another Englishman I'd known since my childhood in England in the late '40s, when we'd go over to surplus stores on Edgeware Road in London to pick up old bits and pieces to build equipment, because that's what we liked to do. There were all sorts of surplus equipment around after the war. Roger went on to become Jimi Hendrix's guitar tech and then Jimi brought him back to the States. I bumped into him in New York and he helped me build some of TONTO, as well as working on audio treatments and [building] limiters. “Anyway, he took Ernie's guitar and completely re-modified it exactly the way Hendrix had his, and he also built him an Octavia box, which is part of what allowed Hendrix to get that screaming sound. And Roger taught Ernie how to use it. So, we essentially Jimi Hendrix-ized Ernie when he was 18. He was so blown away and enamored with it; he took to it like a duck to water. He'd be in there just playing and playing; he wouldn't give it up . ...The lead guitar part alone took several tracks: “We had the Octavia box, a direct from the guitar, a Berwin noise suppressor, limiters, all sorts of things going,” Cecil says. “The Octavia made a tremendous amount of noise, so we had to use whatever means were available to minimize it. One small turn of a knob and all the parameters would change. It was trial-and-error. Ernie would play a line and we'd try different sounds on it. He'd come back in the control room and we'd listen to it, decide if it was right. Then, when it came time to mix, because we had four or five tracks for the guitar, we'd find the blend that worked best. Ernie was always very cooperative, and he could really play.” Other sources say he used a Maestro PSA-I phaser,the first commercial phaser,with the octavia. ( I have one I'll sell for $100) wich would be the flanger sound.It's myunderstanding that both names originally reffered to pressing againtst the flange of a tape reel to get an out of phase effect,which people later figured out how to do electronically)There are interviews in Guitar Player magazine w/Ernie Isley,and they definately would say what his gear was,but the archives can't be accessed online.here are the dates: Isley, Ernie: 9/81, 5/90, 4/01 I .If you can find one of these it probably says what his gear was,Esp the first.