The Ibanez AD190 Time Machine is a table top analog delay. I’m assuming Ibanez were thinking “on top of amp” would be a great place for these, since they do not easily fit into either a rack or a pedal board. It has one 1/4″ mono input jack, variable pad switch for the input signal, two 1/4″ mono outputs (dry plus delay and wet only), and seven pots controlling input level, tone, delay time, regeneration (feedback), blend and two for a flanger mode “width” and “speed”. A switch turns on the flanger, the delay is bypassed when flanging. There are only two knobs to adjust the flange. Anyhow, it does what you may expect from a good vintage flanger. The delay is the outstanding part of the unit: It makes everything sound better. The “tone” knob on this does what you’d expect, but the need for it ebbs and flows as the tone is also radically altered with the “delay time” knob. The longer the delay time the darker the tone gets. There is significant loss in upper frequencies with long delay times, even with the tone knob turned up all the way, but this is not a bad thing. The delayed signals are dark, warm and muddy. You get a gooey mess of a delay that doesn’t fight for your original signal's bandwidth and is extremely pleasant to listen to. The shorter the delay time, the brighter the delayed signal and the greater the effect of the “tone” knob. The “regeneration” knob is your delay feedback that will take you from a pleasant one or two delays to a monstrous gain-heavy feedback loop cycle. It’ll even start feeding back on its own signal path noise without anything being fed into it which makes the AD190 a capable noise generating instrument unto itself in the correct hands.