Legendary Tones Time Machine Boost

Very easy to use. There are some tricky points in using this pedal. First, it can be placed before a od pedal, after the od, or just stright to the amp. In this case the amp should be valved.
Some knobs ( 3) Two toggle switchs that are very useful.

Well, here is the point. Some people think this is an OD device. It isn??t. Remember this unit is a booster, and what a booster. I??ve tried it before, after and straight to the amp. Can??t tell my favourite combination. Just an amazing tone in each place. As others said, the vintage side with the toggle at 1973, fattens the sound of single coils beatifully.
I??ve gone mad with my Les Paul too. And here I should pray for my neighbours thoroughly, cause they don??t complain the noise.

Keeley products are very reliable. I have no issues about it

Can??t say nothing cause I had never had problems with it

What coud I say? The pursuit of the perfect tone never ends. The role of this unit is always important. Either testing other amps, fellin?? the valve saturation, or pushing other pedals, it gives me a tonal range that is all to me.

Easy to use, controls are very straight forward. This is basicly 2 units in one pedal. The vintage side has 2 knobs for drive and volume. There is a switch for voicing. The other channel has one knob for gain. I found it difficlt to get a good sound from the vintage side. There is a great deal of bottom roll off and the gain gives you a fuzzy crunch but to me it sounds animic. The mordern side is nicer with a more even gain but both sides are noisey! The manual is pretty straight forward.

The gain on this pedal is good, there seems to be plenty of drive. However the noise is not good and the hiss is more pronounced with single coils(P90s are unuseable, Humbuckers work OK). I have had the best results with an SG with humbuckers. In a high gain enviorment it works pretty well as with my Marshall or my Ashdown but with the Vox or Valcos it is noisey and the bottom end is weak. The more drive the more noise, especially with the vintage side of this box. Considering the cost of these in my opinion the nose level is unacceptable. When you stop playing you will need to close the volume! This box seems to sit between a treble booster and an overdrive but does neither paticularly well.

The build on this box is awesome, but it suffers from noisy components. I would not gig with it beacause it just does'nt deliver the goods, but it seems to be put together like a tank. Mine is an early board model so maybe the hand wired ones are better but this one definitly suffers from production cuts. I have found this in many production versions of many botique effects, and it was expensive for a production box. There are many boxes in this price range that IMHO smoke this box.

I have heard they are good but I am hoping that I can get rid of it before it breaks!

Very middle of the road. I play rock, progressive and alternative and I have been at it for +20 years. I have many amps and guitars and I am always adding and selling things to find the stuff I like. As with all effects there are some that require a spacific enviroment to preform at there best. I had heard many great things about Keeley so anticipation was met with great dissapointment but everyone has there opinions. The noise and bottom suck on this pedal are killers. To me this is just somthing to trip over and It dosent get used. If it was stolen I would be more upset about the cost than loosing it.

for me it was very easy to hook up and make my hot rod deville scream

i seem to gravatate towards the modern side. the vintage side seems a bit different for me to dial in, I still need to work with it but it seems like the vintage side is better for rthym crunch and power chords spanking.I totally love the sound when i add amp over drive, or i should say go to the 2nd channel of my fender, then turn on the modern side on the time machine, i click the toggle switch on the tm for added sustain. This sound thru my ash custom strat is my favorite medium heavy overdrive sound, i also use a eternity for med to med high searing lead sounds, a keeley modded rat and a skreedy mayo for over the top thick sick singing sustain to a fuzz sound that will blow you away.I wanna experiment a bit more with the vintage side of my time machine, i might sell my time machine and buy a new Katana boost cause the tm does take up more space on a pedalboard. i was thinking of getting a katana cause if im not going to use both channels of my time machine, ill get the katana cause it will give me more real estate on my 10-14 pedal sized board, the modern side does give you that thick singing harmonically rich tone for solos,

great solid and well built

great

id think this amp works good with multi channell tube amp. i wanna find out if i can some how loop my modern side time machine with my amp channel selector so i can engage them both at the same time instead of two stomps, one on my amp channel selector and one on my time machine, im surprized this pedal hasent gotten more aclaim for the tones available, you need a good biased tube amp time machine a nice guitar, and your off. Of course i always add in every review ive ever printed that the player makes the pedal the pedal dont make the player, so practice and get good cutting edge equipment to expand your Sonic possibilities

Pretty simple to use but needs a decent tube amp at stage volumes to get a good tone. Manual is good and the online information is excellent. The unit is highly interactive with your guitar, amp and other pedals so a bit of experimentation is in order to find the BEST placement and settings for you and your gear and style. I had one quibble... I could not see the settings on the standard chrome knobs I mentioned this to Brian at KEELEY and he sent me some different knobs right away. (Thanks again! Brian) One caveat... Germanium transistors can be touchy about power. Keeley recommends using batteries (speciflcally carbon zinc) and my experience is there can be some hum with a power supply so I keep a battery in the unit and if there is some noise, I unplug the power cord and go forth on battery power. I do NOT duct points for this since it is a known issue and KEELEY is up front about it.

My pedal board goes:
Modified CryBaby-->FUZZ HEAD-->BiComprossor-->TMB-->Keeley BD-2-->Keeley True Bypass Loop-->{VooDoo Lab MicroVibe, Analog Chorus, Trem in the loop}-->Dunlap Volume-->Mesa Heartbreaker with a Chandler Delay in the FX Loop and a THD Hot Plate on the output. I know it sounds like a lot but it works for me and the various styles I play.

The TMB is great with single coils and humbuckers the 1966 side gives a nice squawk to the Strat and makes my 335 cut through with out being offensive. the 1973 setting really fattens up single coils and helps get nice jazzy tones (a la Joe Pass) from humbuckers if you roll the volume back a bit. The Modern side is a great "more me" button with nothing after it but the amp and it really slams the front end of another pedal (a BD-2 in my case) or the amp if you have it set on the edge of breakup. I use the warp switch for a bit of grind sometimes but there is no way to switch it in and out on the fly.

The reliability of KEELEY products is Legendary and I have had none nor do I expect any.

Superior support before and after the sale. I cannot say enough about the level o fsupport you can expect from those guys in Norman, Oklahoma. See above about the Knobs.

I've been in the business since Christ was a corporal and I play anything this side of metal. I would replace this unit if it went missing

I love that the TMB does exactly what it sets out to do.

I compaired it to the JAVA and KATANA boost and it came down to "is the juice worth the squeeze," for me. The TMB was little if any different as far as sound quality and the advantages of having the two units seperate was not worth the increase in price.

I never thought of using a "treble booster," until I sat down and played one through an amp pushed to the edge. This is where the TMB (and other such devices) live and until you play one for yourself, it is hard to explain what they do to your sound. I love mine now and don't look back.

I deduct points only because it is hard for ne to say a device that costs nearly $300.00 is a "good value." It is well worth the cost to me. You will have to make up your own mind.

As long as you drive your amp, there will be no problem getting this pedal to make it scream using the vintage side and in a clean sounding way if you want. I play blues/r&b/funk with classic rootsy loud, slightly crunchy vintage strat through a plexi tones, like scott henderson's "dog party" sounds. I put it after my Tube Screamer set at low gain/high level setting. I used recommended settings for the vintage side: volume (3 o'clock) & intensity (full), with the toggle set to the '73 mode and it worked nicely. However, I found that I didn't have to have the volume as high in order to get the pedal to make my amp scream since I drive my amp hard anyway. If you want Brian May tones, then you probably want to use a louder volume setting, but I found that either backing the volume off or the guitar's volume knob allows you to use the pedal get more bluesy/funky/rootsier tones. In other words, don't think this pedal is just for those wanting Brian May/Tony Iommi tones. It's great for blues with a strat. The modern sound is easy to use. Just turn the volume knob to the desired boost. I used the modern side with the warp toggle on. I didn't notice much difference. However, this is as good as any boost I've ever had and I've had almost all (ZVex Super HO, ClearGain, Dimarzio Pickup whatever, Fulltone ?). I will not color your tone and can be used to make a already loud amp drive harder.

It took a few songs during the show to get used to being able to toggle the pedal on and off versus switching from the vintage to modern side. That's just natural human learning. It's very usable, more than I expected. It will stay on my pedal board.
(I gave it a nine only because it has a few options that naturally you just have to take a minute to think about how you're going to use it, as you would with any device that has more than just a volume knob.)

I give it a 10 because it adds a nice clean scream if you already drive your amp and/or put it after a tube screamer or other OD. I use ...

Strat with Lindy Fralin vintage single coils -->
Analog Man Sunface set a creamy smooth drive (not square wave fuzz)-->
tube screamer 808 low gain/high volume -->
TMB -->
Maven Peal Ganesha set at 70 watts, loud clean/slightly broken up

For solos, I prefered using the TMB with the 808 on. On occassino, I would add the fuzz face which was over the top, but worked ok for me by rolling the guitar volume back because there would be way to much gain/thickness at full guitar volume. I liked also using jsut the TMB and the Sunface as well. It seems best combined with another od or boost pedal, but if your amp is driving already, the TMB CAN be used alone.

For songs requiring fairly rootsy, clean funk or blyes rhthms', it left the TMB off because it slighly reduces warmth, making it more brittle/bright; especially when the vintage mode was in the 65 mode). I prefer the 73 mode is more full/warmer and my strat sounded warmer with it. Perhaps the 65, being brighter would work better with a humbucker. Don't let this scare you: The brightness can can help a rhthm cut through a mix. I still kept it on for some funky/blues rhthms with the guitar volume rolled back and using the neck or middle pickups. But usually I would either turn it off or switch to teh modern side.

It is suprisingly quiet for this type of pedal. I was impressed.
I was able to get nice clean screaming vintage blues leads like scott henderson's dog party and make the amp go into nice feedback on demand during solos (by positioning the guitar face towards the speaker cabinet. I was able to get a nice Stevie Ray lead tone: driving, screaming, but still clean sounding.

It seems very sturdy. It has a special battery compartment that slides out. You just stick the battery in without hooking anything to the posts. Then you slide the compartment in. Very clever and easy to use.

If it went bad, I would just use my tube screamer and fuzz face. However, I would replace it as soon as possible.

I bought other Keeley Electronics products and am very impressed with the products and their staff's customer service. Iv'e called a few times to ask questions about pedals. They take time and are polite. Plus, they made an extra effort to ship the TMB so I could get it in time for a gig.

I've played for 25 years and have good taste in tone and gear. I play vintage, rootsy r&b/funk/blues as well as Pete Anderson-style country, loud snapping lines. I recommend having such a treble booster to compliment an OD pedal, as opppossed to OD on OD, which is what I've always done. I wish I had done this years ago, but always thought treble boosters were meant to clone Brian May's tone. They definitly help cut through a mix. I have not played any other treble boosters. I would definetly buy another one. However, I would like to try treble boosters just to see what they're like, but I'm so pleased with this one, I can't imagine beating it. Plus, the fact that this one has a clean boost included (and a great one at that) makes it a very versatile pedal.

Very easy to use, nice to get a manual as well.
Go to www.timemachineboost.com for all tech details

Well, I have to say, as far as and Overdrive/boost pedal goes, the search is over for me. I've had them all, Fulltone, Menatone, Xotic, etc. And though they all have something, this one just has "the sound", really, just good ol' Rock'n'Roll Growl, as it should be.
Essentially, you get four distinct sounds out of this, very versatile if you switch between single coils and humbuckers. Can be almost a distortion pedal with the Rangemaster side (1966 or 1973 setting) 1966 is more suitable for Humbuckers as its more trebley, like the original Dallas Rangemaster and the 1973 side is more for single coils as it has more mids. The modern side can be transparent or grinding (warp off or on), very usable and balanced overall.
I play a Chandler Telecaster with Harmonic Design PUs (the best pick ups!), 2 custom Koll guitars (best guitars as well) one with P90's the other with a lipstick and Electraflux PU and a Telecaster Custom ala Keith. Amps are a Fender Tweed Super replica and a Bad Cat Black Cat 30R.
Sound quality is as good as it gets with the equipment I have, and this pedal just blew me away from the moment I plugged it in, I got it on a Thursday and gigged with it two days later, The Tweed Super never sounded so good as with the Time Machine in front of it. I can safely say that if you are refined about your sound, it is very unlikely that you won't love this pedal. It is top quality all the way, and dead quiet as well.

Seems very well built, I used it without a backup, and probably will again.

I've heard all good things about these guys, no reason to doubt it.

Great range of sound, you get both transparent boost and rangmaster type growl in one pedal. Don't expect spitting metal dirt out it, but if you have a good tube amp, a good guitar and appreciate true Rock'n'Roll tone, than look no further, this thing is sweet!

This unit is a breeze to learn and get a great tone out of. There are not a lot, but just enough functions for your tonal options. If it were any more complicated, I don't think the pedal would be in my rig since a boost pedal should do just that, boost your signal!

Since this is a simple, high quality, true bypass, germanium transistor, treble/clean boost pedal, there are no "Edit" or store functions. It works like this:

Two modes: Vintage and Modern

Vintage mode: The pedal has a two position mini-toggle that has a '66 and '73 postion. The '66 is based on the later 60's tones that I would approximate as Clapton/JTM 45 with John Mayall, This setting has pushed mids and what seems some rolled-off higher frequencies. this sounds very fat and sweet.

The '73 has more enhanced mids, more bottom and to me sounds more full overall than the '66 circuit. These two tone circuits are controlled with the mini-toggle on the left side of the unit where all of the Vintage controls are.

Two knobs on the Vintage side control Volume (gain to me) and Intensity (tone to my ears). I prefer the '73 circuit with both Volume and Intensity set at around 2:00 to 3:00.

Modern mode: This is a single knob that controls volume of the Modern circuit. This circuit does not color or alter the giutar's signal other than boosting the volume and pushing your amp's front end into breakup. With a clean amp or channel, this can be a considerable increase in volume. With higher gain settings, it results in more amp breakup than volume. The Modern setting does not provide a "Modern"-type scooped, high gain sound! They call it Modern since it's not designed as a treble boosted/gain inducing circuit.

There are two quality footswitches that either turn the unit ON/OFF and switch between the Vintage and Modern modes. There are three LEDs that indicate the selected modes and on/off. The LEDs are very bright and easy to see on stage or in bad light. The modes have different colers for each and the unit on/off is s bright red color. You can't make a mistake unless you get them mixed up which I have, mistaking the mode select switch for the on/off.

The manual clear and concise, it explains the unit's functions very well. Once you plug it into your chain, you won't need it at all - it's that easy.

Since this is a simple boost pedal, there are no software or upgrades associated with it.

I have this unit as my ONLY boost or floor/pedal effect. I have tried numerous other gain, boost, distortion and fuzz pedals before and dumped them all. I never was happy with any of them.

My rig is either a '60 RI strat with Hot Rails in bridge and Kinman noiseless middle and neck pickups or a Les Paul Studio with 498T and 490R pickups through a Sennheiser wireless out to the Time Machine Boost and finally back into either a VHT Ultralead or 50/CL with either VHT Fatbottom 2 x 12", or 4 x 12" cabs. Each cab has a mix of V-30 and G12 H30 speakers. I run a Rocktron Xpression processor through the amp's FX loop as well.

The unit is quiet to moderately noisy, largely depending on the gain of the amp's channel you're running the pedal with. With the UL's clean channel, it's very quiet, with the rhythm channel there's some noise, with the lead channel it's moderately noisy. With a lower gain amp, the pedal is less noisey as would be expected.

The effect's tone is perfect if you want a slightly to moderately pushed clean tone which is great for strats, a medium crunchy rhythm and nice, fat, sustaining lead tones where the notes hold on with feedback overtones. There is also a percussive and juicy vibe with the pedal and the strat's single coils. The unit thickens the strat quite a lot!

With the Les Paul and humbuckers, the pedal roars out gain and crunch and can become violin/saturated very easily. Very cool tones are available in either Vintage or Modern modes.

Since the pedal goes into the front of the amp and not in the FX loop, it doesn't color the processor's sounds. I can't comment on it's sound when run in a pedalboard chain. However, it sounds great with the amp/processor rig I use.

The pedal is a well-built and sturdy looking unit, from the components to the workmanship, there are no issues with either the functions or operations of the unit.

I would definitely use the unit for a backup since it's quality is so high....and so is the price!

I have not had to contact the manufacturer and would not anticipate doing so since the pedal's quality is so high. I have not had to either repair or modify the pedal.

I play all sorts of music and all sorts of styles for blues to classic rock to meatal. I would say this unit gets the most use with the blues and rock stuff. The VHT covers the metal well enough!

I have been playing since 1970! I know that's too long and should give it up, but still love rockin' out. I have a few Rivera combos (Fifty-Five Twelve and Suprema 55) and a Vox Tonelad floor unit. A lot of Fender strats and Gibson Les Pauls.

I would replace the unit if it were lost or stolen.

I love the pushed clean to crunh tones of the pedal with my rigs. It also adds a lot of grind to medium gain solos. I don't like the noise, but hey, it's a boost pedal! My favorite setting is the '73 circuit.

I wish it had a mid-cut control for the Modern side, that's all.

It helps me make music, it doesn't get in the way at all.

Plain simple, you just need to find a sweet spot for the intensity control with some guitars.

I could A/B this unit with some GE Treble Boosters and it's a great pedal, TMB is my main stompbox for solo working, I just can't play without TMB anymore.

Built qualit is excelent but I got 2 bad transistors in a short span of time.

You can't find a better guy than David out there, period.
It was not easy to get an e-mail reply from Robert about my transistor problems but he took care of it very well after all.
I will not give a 10 because if you have an e-business you should be able to give quick replies for your customers, but David alone deserves an 11.

I don't use the Vintage channel 66 mode a lot, but the clean boost and the 73 mode are amazing.
The unit is on the expensive side of the game but overall it's pretty good for the money.

This pedal is unbelievably easy to use. No manual is required.

This unit contains three different treble boost options. My understanding of a Treble Boost is that it is a simple circuit that does not change your signal, it just cleans up what you have by giving you more of it. You end up with a pure, uncolored tone. I think it is important to note that this pedal is not an overdrive.

Many artists have used treble boost pedals as an integral part of their sound. Most notably, Brian May has used a treble boost on virtually everything he does. Moreover, treble boosts seem to be becoming popular again. The most famous treble booster is the Dallas Rangemaster. Most treble boosters are based on this famous and expensive pedal. One of the TMB options nails the Rangemaster perfectly.

I have used the pedal with a number of amps and guitars. A treble boost seems to be best suited for a humbucking pickup, however, I have used it with my K?z Guitarworks Brian May model guitar whic is a single coil configuration. I have also used it with a NcNaught Vintage Double Cut, Gary Jacobs, 1964 Gibson Byrdland, and various PRS guitars. My main amp is a Vox AC30 with Blue speakers.

I have never had any sort of a problem with this unit.

My favorite part of owing a Kelley product besides the great tone, is having the pleasure of dealing with the folks at Keeley Electronics. I own six different Keeley products and have dealt with them for many years. You will never encounter a nicer, more responsive group of people.

Quite simply, this is my favorite pedal out everything I own. It is a cool concept to have the various options of treble boost based on different transistors. I own seven different treble boosters. You really can tell the difference. Keeley also makes the Javaboost. This is a treble booster based on the original Dallas Rangemaster. It also has some very cool features that Keeley has added.

This pedal is worth every Penney that I paid for it. This pedal is completely hand built using the finest materials. Nothing is compromised. It may seem a bit expensive at $279, but I think it is a bargain considering the flexibility and quality of the product. I would replace this unit instantly if it were ever lost or stolen. If you are considering a treble boost, I recommend this without reservation. You should get one immediately. You will not be disappointed.

I bought the Legendary Tones Time Machine Boost. I don't know the exact model number but it is the one with the circuit board in it, not the one that is 100% point to point and wired.

Bout as easy to use as it can get. There are 2 independent channels. The Vintage effect side has an INTENSITY and a VOLUME knob, the Modern channel has only a VOLUME knob. The Vintage side also has a toggle switch that selects 1 of 2 modes. The 1966 mode adds a little more treble than the 1973 mode but they both sound great.

There are easy to see LED's that let you know what channel you are using.

If you want to use batteries with this pedal, you need to flip it over and take out 4 screws to get to the compartment. I personally can't stand using batteries in pedals so I just use a standard 9v adapter and it works great. I'll give it a 9 for ease of use just because the battery compartment would be a pain.

I just got the TMB so I have not run it through many different setups yet. My guitar is a Carvin DC127 with active electronics. I swapped the pickups so I am using a Seymour Duncan Jazz in the neck and a JB model in the bridge (these are humbuckers). My amp is a Carr 4x10 Imperial. This is a single channel class A tube amp. There is no overdrive on the amp but it gives great clean tone.

First just how quiet is this pedal? DEAD quiet. Like I said my guitar has active pickups so they pick up and amplify any amount noise they can find. It is as if the pedal was not even in the chain...even turned all the way up. (I'm using a standard 9v lead from my MKS pedal board power supply).

The Carr Imperial amp gives great tone with no effects at all but the only channel is clean. There is not even a gain knob. If you want any effects, you gotta buy a pedal. I play everything from classic rock to trance-rock type stuff and the amp by itself does cover all the bases. Just plugging the guitar into the TMB (Vintage 1973 mode) and then into the amp, I get that TONE that I had been hoping for. Even with the INTENSITY knob turned up all the way, the tone is tight and clear but with an edge of electricity and sustain. Like other reviews for the TMB have stated, this is not an overdrive or distortion pedal. Now I know exactly what they meant.

I tried running my TS-9DX after the TMB and it really added some nice crunch. I tested it by turning off the TMB and running only with the tube screamer and that great sound disappeared immediately. I never knew how crappy the tube screamer actually sounded. I will never turn on the tube screamer again without having the TMB on in front of it... yes it is that much better. TMB saved my TS-9DX from the pawn shop or Ebay !

I don't plan on using the Vintage 1966 option very much simply because my guitar is prone to sounding too trebly as it is. The 1966 side is a lot like the 1973 except it seems to enhance the higher frequencies. The 1973 gives a much fuller sound on my guitar.

If you stomp on the Vintage/Modern channel switch, your LED switches from the VINTAGE mode to MODERN. MODERN is simply a boost channel. I would use this if I was playing very clean and needed additional volume for my phaser or other non-volume adding effects. The boost is good but not as good as the boost that is already built into my Carr amp. I plan on using the Vintage channel all the time and using the amp's boost when needed but I can definately see where others would like to use the MODERN side for a line boost.

PLEASE TAKE WARNING : If you have a bad sounding amp this pedal won't do much for you. If you want super distortion for thrash metal, don't even think about getting the TMB. If you want your guitar to sound like music, this is definately a pedal your should consider. It is ideally suited for a good tube amp. It does what it was designed to do, add sparkle and shimmer to your tone, not dominate every other pedal in your line-up. I don't like giving out 10's but if this pedal does not get a 10, I can't imagine a pedal would warrant one.

I would/do gig without a back up. The case is very sturdy and the switches seem like they will last quite a while. I have not had the pedal for long so I'll have to pass on reliability because I just don't know.

Couldn't say. It worked when I got it.. what else is there? :)

Fantastic. It is well worth the money. This will not be the only pedal in my bag because it does not give you a lot of different sounds. It gives you great classic rock type tone on it's own but the true benefit is how good it makes other pedals sound when used in conjunction. Definately my 'secret weapon' on my pedal board. I'd get another one in a heartbeat.