Welcome to the Bucket Brigade! If you want warm and dark... this puppy is for you. This unit is approximately 46-47 years of age... still works and sounds great. Overall in good condition with some scratches... please look at all the pictures (the last two show 2 cracks on the front panel which do not affect any of its magic).

The heart of the unit is its BBD (Bucket Brigade Device) chain. It uses a single MN3004 512-stage BBD for the 10ms range and four chained MN3005 4096-stage BBDs for the longer ranges — you can see the MN3005 chip in your interior photo, along with TC4049 and TC4011 CMOS logic (the BBD clock drivers), multiple 4558 op-amps, and the NE570 compander, which compresses the audio before the delay system and expands it by the same ratio at the output to improve signal-to-noise ratio. That companding is a big part of why these sound better than most BBD delays of the era — thanks to the compander and filters, the E1010 has a better S/N ratio than most analog BBD delays. The LB1405 chips are the LED bargraph drivers for that red input meter. 

The five buttons under the DELAY/FEEDBACK/MIXING knobs select the base delay range (10, 75, 150, 225, 300 ms), and the DELAY control scales the selected range between 0.25× and 1×. BASS is ±12dB at 70 Hz and TREBLE is ±12dB at 7 kHz, applied to the direct signal before it enters the BBD chain — a useful tone modifier not seen on many BBD delays. The INPUT control has enough gain range to handle small guitar signals up to pro audio +4 dBu levels. The FREQUENCY and DEPTH knobs on the right control the modulation LFO for chorus/flanging textures. 

You have front and rear input/output jacks (the front input is -30dB instrument level, rear is line). The "OPTIONAL OUTPUT DIRECT ONLY" jack on the rear is what makes this unit unusually flexible — the direct output is useful for stereo Haas processing: route unprocessed direct signal panned hard left and delayed signal (MIX fully wet) panned hard right. The GND SW. toggle is for ground-lift to kill hum loops.

It's known for warm, dubby BBD echo and, importantly, a strong modulation section — flanging at the short delay times is a particular highlight. Push the FEEDBACK past around 7-8 and it heads into self-oscillation, which is why dub and ambient producers love it. The trade-off is the classic BBD high-frequency rolloff: at 300ms the upper frequency limit is 2 kHz, and even at the shortest delay time the upper frequency limit is 8 kHz — typical of all analog BBD devices. That darkening of the repeats is the sound.