The Electric Mistress flanger (David used a late 1976 V2 model) is essential for David’s late 70s and early 80s tones. The pedal was heavily featured on the 1977 Animals tour, his 1978 solo album, 1979-81 The Wall album and tour and last on 1983’s The Final Cut.

Used on The Great Southern Treadkill, as stated in this June 1996 Guitar World interview.

You've got a huge pile of effects boxes in the studio. Aside from the ones you've already mentioned, what other units did you use?

I hooked up my MXR Flanger/Doubler every once in a while and I used an E-Bow for a real smooth, continual sustain on "10's." I also used one of those little Korg Pandora boxes for a weird, fluttering sound on a short passage in "10's" and a Lexicon Vortex for the shimmering, breathy tone on my theme-like lead in "The Underground in America."

I also used a Roland AP-2 Phase II pedal, a KorgAX30G, a Digitech Whammy pedal, of course!, a Boss CE1 Chorus and a bunch of old Electro-Harmonix shit -- a Small Stone Phaser, an Electric Mistress Flanger/Filter Matrix, a Little Big Muff and a Soul Preacher Compressor/Sustainer. I also used a Korg G1 on the demos and some of that made it on the record. If l can't beat a part of the demo we'II just extract that small section and use it. The G1 is a bad-sounding little unit, man.

There's some wah on the record, too.

Shit, I almost forgot about that! I used my Vox Wah on the earlier part of the recording and then Jimmy Dunlop sent me one of his rack-mount units [Crybaby DCR-1SR]. Man, that thing is incredible, you can literally get whatever you want out of it. I also really like the idea that you can run a bunch of Wah pedals all over the place on stage with it so you're not always tied to that one spot. The only uncool thing about it is that Rex [Brown, bassist] will be dicking me off every night 'cause he'll be jumping on my pedals all the time!

Trent Reznor is confirmed to have used the Electro-Harmonix Electric Mistress Flanger/Filter Matrix during the recording of "The Fragile," as listed in the equipment section of the Fragility Tour program. This information is sourced from nin.wiki, specifically from the page detailing Nine Inch Nails' work on "The Fragile."

"Oh, the original 'pumpkins' Electric Mistress... Gish/Siamese era. (I'm) still rocking that." - Billy Corgan at 3:20.

In a user-uploaded photo on Imgur, Robert Smith is seen using the Electro-Harmonix Electric Mistress Flanger/Filter Matrix, showcasing its role in his guitar effects setup.

In an interview with Guitar World, guitarist Alex Lifeson confirmed that he used the Electro-Harmonix Electric Mistress Flanger/Filter Matrix on the Rush song "Spirit of Radio." He stated, "The flanger on that song was an Electro-Harmonix Electric Mistress, which I still have."

In the very early days of Police, Andy was using just the MXR Phase 90 pedal, and a reverb. As he became more successful, he got himself the Pete Cornish pedalboard, which had all kinds of effects programmed into it, including Mutron Envelope filter, wah wahs, fuzz boxes and distortions like EHX Muff Fuzz and Distortion+, MXR Dyna Comp Compressor, Phase 90 and others. He also used the Roland GR-300 Guitar Synthesizer.

But, the two effects which were really the key to Andy’s sound with the Police are the Maestro Echoplex tape delay, and the Electro Harmonix Electric Mistress.

According to this article, Vangelis used an Electro Harmonix Electric Misstres pedal on the song Memories of green: Raphael Preston: "We used an Electroharmonix Electric Mistress flanger pedal on 'Memories Of Green', putting a Steinway Grand through it.

Used by Munky on "No Place to Hide".

Mentioned in the July 1980 issue of Guitar Player, with the details summarized in this March 13, 2009 Gibson article.

Guitar Player, July 1980, "British Rock Guitar Veteran"

What other amps and effects have you employed on your solo albums?

With exception of In City Dreams, there are only one or two tracks on all of my albums that haven't got Marshalls on them. For In City Dreams I used an amp that my electronics guy Mike built for me in the studio: a quarter amp, which would get the same sound as a Marshall. We had a lot of different effects on that album, too. For instance, that's when I started using an [Electro-Harmonix] Electric Mistress flanger. To get say, that rocket ship sound, I ran a Fender Blender [distortion/harmonics/sustain device] through the Mistress. On Caravan To Midnight I used effects in stereo. In other words, I had the output split - one to one amp, one to the other. On each split were different effects, like two or three going to one side, and two or three going to the other, so that you had the same guitar with a different sound coming from both amps. Also around this time Mike and I redid my pedalboard.

Were you having problems with it?

Well, we talked a hell of a lot about what we wanted to get out of the sounds - you know, what the problems were. The problem basically was that if you used more than a couple of pedals, you lost sound: The more pedals connected up, the more the signal died. So he invented a system whereby that wouldn't happen. Now I can have a hundred pedals in the line and there will be no difference at all. Before I got Mike, who also doctors my amps, I used to use a noise gate at the front; that didn't affect the power, but, unfortunately, I lost a lot of top end.

[Ed. Note: Robin preferred to keep the operational details of his pedalboard and amplifiers confidential.]

From your left to right, how is your pedalboard currently set up?

The first effect is a preamp that Mike built, which is on all the time. The second is another volume booster, a Dan Armstrong Red Ranger, which I use for even greater sustain. Third is my Tycobrahe wah-wah. The fourth is the Fender Blender. The fifth is the Univibe, and the sixth is a Mu-tron II. The seventh and eighth are Mistresses with different settings; the one on the left gives a double-tracking effect, while the one on the right provides more of a flanged sound. But I think I've come to a halt as far as effects go. I mean, I can just barely handle what I've got now. There's so much stuff going on that if you just started mixing them there would be a limitless number of combinations you could get.

From your pedalboard, where does the signal go?

Into a splitter box, then to my amps. I don't use a mixing board or anything when I'm live because I like to be very much in control of what's going on. Especially concerning dynamics, that's so much a part of my music that I wouldn't feel happy if someone else were controlling it. I like to be creating the sound.

Gibson, "How To Get That Robin Trower Sound", March 13, 2009

Trower’s hottest rig blasted his array of Strats through a pair of 100-watt Marshall JMP-100 Mark II heads feeding two 1960-B 4x12 cabs and had an impressive effects chain on the floor: custom preamp and clean booster pedals, a Dan Armstrong Red Ranger treble booster, a Tychobrahe wah-wah, an octave/fuzz Fender Blender, a Uni-Vibe chorus/vibrato, Mutron II phase shifter, and two Electro-Harmonix Electric Mistresses.

FLYNN: The Electro-Harmonix Electric Mistress [flanger], which is a big old hunking, 9-inch-wide pedal. It's one of the stomp boxes that I use religiously on every album. I use that thing so much, I can't even tell you. It's one of the best pedals ever invented. Listen to the opening riff of "Imperium" [from 2003's Through the Ashes of Empires]; that effect is on both the clean part and the heavy part.

You can basically hear it in any clean tone on any of our records, like at the beginning of "Aesthetics of Hate" [on 2007's The Blackening]. The way that it flanges is unlike any other flange I've found. It's got this watery, glassy tone to it that makes almost anything sound better. I've actually gotta be careful I don't overuse it, because I like it so much.

Rich Robinson of The Black Crowes owned an Electro-Harmonix Electric Mistress Flanger/Filter Matrix, as indicated by a "Property of Black Crowes" sticker. This pedal is known for creating textured sounds reminiscent of "Axis: Bold as Love," utilizing its Filter Matrix mode for manual flanging. The unit shows signs of flood damage and is sold as is, without a power supply, according to the listing on Reverb.