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.

This is a COMPARATIVE review of several pedals, some of which I own and some of which I have had a chance to try in guitar stores through high quality equipment. The pedals evaluated are the following models of treble boosters: BSM RM, BSM RM-Metal, BSM HS, BSM HS-Custom, Homebrew Electronics (HBE) Germania, HBE Germania 44, Robert Keeley Java Boost, Legendary Tones Time Machine, and Scott?s Crispy Creme. Most of these treble boosters use Germanium transistors, except Scott?s Crispy Creme, which uses a Silicone transistor. Of those that use Germanium transistors, the BSM pedals, the Java Boost, and the Germania +44 use NOS OC44 Germanium transistors, while the plain Germania and the Time Machine use the modern varieties of Germanium transistors. The BSM HS has the fewest features, flowing the traditional Hornby-Skewes unit, not a single knob, not even a volume knob. The BSM RM, RM-Metal, and HS-Custom are single mode units with one volume knob, and so is Scott?s Crispy Creme. The HBE Germanias have two modes and a volume knob. The Java Bost has three modes, as well as volume and tone modes. The Time Machine would be the most flexible: two channels, two modes on the Germanium side, one on the Silicone side, a volume knob, etc.

There are a couple of other treble boosters out there that people have mentioned ? Divided by 13 Dyna-Ranger and Cesar Diaz Texas Ranger. I have not had an opportunity to try those.

I have spent the most time playing these pedals through a 1993 Marshall 1987X 50W reissue non-master amp, into 4x12 cabs with Celestion 25W, 30W, and 75W speakers. I have also tested them through an Orange Retro 50W head, into a 4x12 cab with Vintage 30?s, and several other amps in guitar stores. I have tried various guitars with these pedals, and each has behaved very differently: Gibson Flying V?s with Classic 57 pickups (one with a rosewood and the other with an ebony fretboard), SG and Les Paul with Burstbucker (Alnico 2 non-potted) pickups, and two Fender Strats with rosewood and maple fretboards.

BSM RM: This would be the pedal that sounds the most like the Rangemaster tones on the records by Clapton (Bluesbreaker and Cream), early Judas Priest, and Rory Gallagher. I have obtained the best results through the bass low-sensitivity channel on the 1987X and with humbucker guitars. The optimal amp settings were Volume 7, Presence 8, and everything else about half way. With humbucker guitars this might be the best sounding of all the pedals, although RM-Metal is comparable and shines on slightly different amp settings.

BSM RM-Metal: Quite similar to RM but with more gain, bass and treble. It sits somewhere in between the RM and the HS. This pedal instantly gives the Tony Iommi tone on some of the records from the second Sabbath album on. I have not tried any of the stuff tuned to C# but with the songs in regular tuning the Iommi tone is so ?there? that it is hard ?dial it out.?

BSM HS-Custom: This pedal is better with Strats than with Gibsons. It really has the sweet spot set perfectly for them. I rarely play Strats but have to admit that, with this pedal, not only is the Ritchie Blackmore tone immediately available, but perhaps the Strats sound better than the Gibsons.

BSM HS: This is a replica of the original Hornby-Skewes, whereas HS-Custom has an added volume knob, following a mod by Blackmore in 1974. HS and HS-Custom sound similar but not identical. I have compared two pairs, one in a store, and another pair that I own, and they both sounded different. Additionally, the sound samples on the US importer?s web site for BSM pedals display those same differences. HS sounds warmer, whereas HS-Custom sounds more aggressive. I personally prefer the sound of the plain HS.

HBE Germania: This pedal has two modes, one would be a straight Rangemaster clone, and the other would be a mode with more gain, bass, and highs, kind of an Iommi mode. In theory, the first mode should be similar to the BSM RM. While this pedal sounds quite decent on its own, the BSM RM sounds much better. There is a big difference in price, however, Germania is around $100, while the BSM RM is more than twice that. To my ears, this difference is justified. There are many good reviews on Harmony Central for the Germania and they are particularly complementary about the price. I suspect that these reviewers have not had an opportunity to try the BSM pedals.

HBE Germania 44: This is supposed to be a ?better? version of Germania, containing the ?original? OC44 transistor as in the Rangemaster (which is standard in the BSM pedals and the Java Boost). To my ear the plain Germania actually sounds better. There is some spikiness in the Germania 44?s tone that cannot be tuned out with amp EQ. For example, going from the Germania 44 to the BSM RM is a switch from a somewhat ice-picky and thin treble boost, to a sparkly but warm and responsive boost. In addition, the Germania 44 is somewhat microphonic, while the BSM?s are dead quiet due to the circuit being soaked in epoxy. I think the plain Germania came out first and the 44 was a subsequent ?upgrade? to match the offering by other manufacturers like BSM and Keeley. I conjecture that the original circuit was optimized for the newer Germanium transistors and then the OC44 was added ad hoc, without redesign. Even as such, this pedal sounds better to my ears than Scott?s Crispy Creme which uses a Silicon transis

These are all hand-built pedals and exude confidence. However, there is still difference among them. The BSMs? circuits are soaked in epoxy to make them less noisy. Outside and inside they look like tanks. The Java Boost?s insides are also very impressive in a different way, see the www.javaboost.com website.

I have communicated with BSM and with Robert Keeley. Keeley is swamped with e-mail and took almost a week to reply to a very simple, short question. With Bernd S. Meiser I have communicated extensively. Always prompt in response, very detailed, volunteering lots of information on the gear (unrelated to pedals) of the 1970?s guitar legends, and a big Ritchie Blackmore fan(atic). My opinion on his pedals however was formed before I got in touch with him, so his courtesy did not influence my opinion on the sound of his pedals.

Looking at the reviews on Harmony Central, one finds numerous reviews for the Germania, Java Boost, Crispy Creme, etc. At present, only one for each of the BSM pedals. If this is an indication of how many people have actually bought BSM pedals in the US compared to the other pedals, it is said that guitarists have not discovered these superior products.

A final comment on sound samples that can be found on the web. You can find samples for BSM, Java, Time Machine, and Crispy Creme on the manufacturer?s or the importer?s web site. Beware, ?your results may vary!? :) Crispy Creme samples are done through Brian May type of equipment and what I have obtained is far from those sounds. On the other hand, the samples for the BSM pedals are not even close to how good those pedals sound. I asked the importer what guitars and amps they used for them. Here is an example: A Strat type guitar through a Fender Blues Junior for the BSM RM and HS. So, a Strat on a neck pickup to illustrate the Clapton Bluesbreaker bridge-pickup Les Paul tone! And using a small single-speaker EL84-based combo to illustrate the Ritchie Blackmore tone! Your results are likely to be much better than what you hear on that web site (http://www.europeanmusical.com/BSM/bsm.html). The sound samples on the Java and Time Machine sites display good but generic tones. The Java samples especially seem to have been recorded by average guitarists. Someone with more tone ?in their hands? would have made them sound better.

Very easy to use.As you start with the modern channel set at 12 o'clock you're already in tone heaven!
Manual very helpful,but it would be easy to get great sounds even without it.

Various Fender Custom Shop Teles and Strats,Gibson Les Paul Special TV yellow with Fralin's P-90's>Fulltone Clyde Deluxe Wah>Menatone Foxy Brown>Time Machine Boost>Menatone Red Snapper>Keeley mod Rat>Dunlop Rotovibe>Digitech X-Series Delay> '65 Reissue fender Deluxe Reverb,with NOS tubes and Tone Tubby hempcone speaker.

I don't own this pedal long enough to tell...but I have other keeley's pedals and never had a problem.

I spoke to Robert in person and he was incredibly nice and friendly. I call from Italy.

Rock and Roll and Blues. perfect!
I have been playing for 34 years and I always look for great tones.
I would buy another one in a minute,tough it took quite some time to get it.On the vintage channel the 66 position is lacking some bass for my taste,so I keep it on the 73 position.I also own a Klon,and the TMB sounds quite similar on the modern channel,but it's not noisy at all.

Simple as pie. Plug the guitar in, plug the pedal to the amp. Easy controls. you got volume, which is also going to drive the amp, and you have intensity on the vintage channel. I like to think of intensity as blend. It controls the amount of harmonics the vintage channel has to offer. The modern channel is one knob, and that's volume. It can't get easier. The vintage/modern mode is toggled by a footswitch, and some for on/off of the pedal.

This is the pedal to get if you really don't need too much change in tone, but want that thick powertube overdrive from your amp. I happened to have the unfortunate pleasure of plugging this thing into my friends 10W solid state marshall. Conclusion: this pedal will work ONLY with decent tube amps. Don't try to push a SS amp into powertube overdrive kids ;-). Anyway, with that said, I used a Peavey Classic 30 tubed amp (JJ tubes, celestion greenback speaker) and an Agile Les Paul 2800 guitar with a Duncan 59 in the bridge. The sound is awesome on the vintage channel with the amp on clean. It adds nice soft harmonics to the clean. It does not overdrive easily w/ the clean channel on my amp but it does add gentle harmonics and softens the tone. Now I turned the amp to the drive channel and put it into light overdrive sans pedal. NOW I turned the pedal on and this amp was really singing! I turned my amp well into its saturation point (pre ~5) (Post-8) and I put the pedal on full drive, 1973. The tone I got was a PERFECT JIMMY PAGE LIVE tone. The 1966 mode adds some nice sparkle which is the same idea but a little on the trebly side. The modern mode is great for boosting the drive of your tube amp, without the pedal coloring the sound. The intended idea of the modern (clean) boost is to allow your tubes to really soak up the guitar, and not the pedal. Works great, minimal noise.

Only had it 3 days but it's built like a tank. I dont think it will ever fail me. Inside this thing is amazing solder work and awesome craftmanship.

N/A...like I said, only 3 days w/ this.

Overall this is a kick ass pedal. The vintage modes will color your sound to suit any classic rock/blues player in dirty clean or screaming overdrive. The modern channel will add an intense clean boost that can get from light overdrive to near metal distortion on my amp. This pedal rocks, really. Buy one..now. A little disclaimer though, and I think it's obvious by now: You need a good tubed amplifier. No real way around that. \m/

This pedal is very easy to use. Set the toggle boost on whichever treble boost you prefer, set the dials, and set the dial on the modern boost side. You have a foot switch to switch between the treble booster side or the volume boost side and you have a foot switch to engage the pedal.

I use this pedal with an American Standard Tele with Bill Lawrence pick-ups. I play through a 1987X Marshall 50Watt Re-Issue Head. The only other pedal I usually use is a Keeley Mod Boss CE-2 Chorus pedal.
I also use a THD Hotplate for volume control. This pedal does exactly what I wanted it to do. It "hits" the amp harder and produces more sustain and guts without major tone changes. The modern side is almost transparent tonally other than the extra sustain and drive. I also like the 73 treble boost. This is the pedal I was looking for. I didn't want a huge amount of overdrive or distortion, and I can't stand scratchy pedals. I wanted a pedal to make my amp sing and this pedal accomplished it.

I have had this pedal about three months. I would gig without a back-up. This is the most solid looking pedal I have seen in a long time.
Looks real dependable. Time will tell.

If I remember correctly, the fellows name was Dave and he was very polite and friendly. I believe he will stand behind his product.

I play a mixture of rock, blues, some country with an edge. I am in my
early forties now and have been playing since my early teens. I would
immediately replace this pedal if lost or stolen.

Very easy to use, a by-pass, 2 channels Vintage & Modern (in vintage position the choice between 1966 / 1973)

First, sorry for my poor English, I'm from Belgium...
I use a SRV Strat, a 52 Telecaster reissue and a Gibson Les Paul Stdt
through a Fender 65 Super Reverb or a Fender Hot Rod DeLuxe. Before My "Time Machine Boost" I used 2 Ibanez Tube-Screamer. Now, exit the tube screamer I only use this wonderful little blue box. This machine sound really GREAT. I'm creasy about my sound. It's difficult to explain exactly how this piece of equipment works but it works... that's all

Strong construction and very good finishing.

Very good contact with the company and very fast delivery. Only one week after my order and the machine was before my door ! (From USA to Belgium it's... very fast)

I only play blues, (more than 30 years now), and this is the best piece of equipment I ever had. I don't regret my noney. One problem: now it will be impossible for me to play without this "magical box"

This is a great boost machine indeed, simple to use and easy to get a great sound right out of the box. The Modern side is a super transparent boost (my favorite) the Vintage side has the 66 or 73 switch with Intensity control along with Volume so it is just a matter of taste the 66 is brighter and the 73 is darker think Clapton vs Brian May. Just twist the controls around and engage the TMB right after you turn up your amp to where its starting to clip. Awesome sound at any setting.

I have alot of modded pedals and I think you can use this TMB before any of them and really warm and fatten things up in a rich harmonic fashion. A few would argue that this would enhance any regular pedal too and I'm sure it would make a shoebox sound better. This is a needed pedal for me, I put it in front of my Keeley Fuzz Head and Java Boost and Holy Smokes what a great full sound, I then hit the selector switch during my solo and go over to the 1966 side with the Intensity dimed and it get really compressed and graphic, very fun stuff. I used it last week with my acoustic on the Modern side for a big clean boost...really kicked it nice...big boom sound when I hit the low strings...cool! It does however shin eth ebest when in front of your favorite dirt/od/fuzz it likes all its neighbors too...
It will cover all types of music I can do and I think this is a must have to sound your very best.

No problems here, it is a work of art inside.

Keeley Electronics reccomended this to me a while back an dI was not sure I need a boost machine with so many options on it. He was right on the money, Robert Keeley is a first class tone master. He has helped me sound better and will do the same for you. The Time Machine Boost is not a cheap noise treble boost. It is a well made machince that has changed my view on boosted tones. It is no wonder a lot of great artist use this concept in the past. Get one while you can.

I play mostly classic hard rock/blues and gig acoustic solo alot. There is no value you can put on such a great tone maker and it has helped me achieve "my sound". I love it with the Keeley Fuzz Head and Java Boost which is amazing all by itself. This is one pedal I'm sure glad I got and a big "Thank You" to Robert Keeley for getting me on my way to Toneland via the House of Blue Lights.

Couldn't be better, well thought out design.

Using this pedal with AC15TB and various guitars including Burns Red special and an Amercian strat. The modern boost is more of what I'm used to but a definite improvement over my DOD bi-fet pedal - I actually wasn't aware how much low-mid-range thunk the Bi-Fet was adding, the TMB is sweeter and a more even boost is obtained.

'It does what it says on the tin' and that is boost and shape the signal before another OD pedal or cranked tube amp. You need to work with it and modify your existing set-up/settings accordingly to get the most from it. True bypass is a must for me as I don't have switching system yet but to be honest the pedal is never off - just toggle between modern and vintage setting.

Still getting to grips with 1966/1973 setting but I know what it's there to do, just need to adjust my exisitng set-up accordingly to get the most from it.

Superb craftsmanship, opened the inside to remove the battery and it's so well put together by people who obviously take pride in their work.

Dealt directly with David (company president), he was quick to respond, he kept me up-to-date and shipped the pedal very quickly in addition to providing useful additional advice.

The craftsmanship and quality speaks for itself, it's up to the player to get the most from the unit.

Check out the site: legendarytones.com as it's an Aladins cave of information for guitarists on the quest for the best tone.

Controls are straightforward and intuitive. It pays to check the brief manual so that you know to start with max intensity (knob fully clockwise) for the vintage sounds. That's about it.

It's really superb in all three modes.

I use a modded Strat (with Hot Rails in the bridge pos), --> Maxon compressor-->ChoralFlange-->ToneBone Classic-->Danelectro Dan-Echo--> Rivera M60. I took the Maxon Comp out and replaced it with the TMB. The TMB's compression is more natural, so it was no longer needed. And the sound! Man, it is just first-rate. If there's such a thing as a "make everything better" pedal, this is as close as you're going to come.
This pedal also has the property of making the amp sound more consistent across different volume levels. I'm an actively gigging musician, playing funk-rock and pop-rock stuff, and I frequently have to adjust my volume levels for different sizes and shapes of the rooms we're in. Pre-TMB, I generally liked my sound at moderate volume, but wasn't satisfied at lower volumes. With the TMB, I *love* my sound at moderate-to-high volume, and like it almost as much at lower volumes. This pedal is a must-have. I can see why it is billed as a "secret weapon" -- it's not the kind of thing you realize how much you need, until you have it. Do yourself a favor. Just get one. I have no vested interest in saying that. Just get one, you'll love it.

Mine is #93, so it's all point-to-point, beautifully put together. Solid as the proverbial tank on the outside.

Haven't had it long, so can't say much more. There is a limited lifetime warranty.

Don't know. But Mr. Keeley appears to be a good fellow, by all reports, and really knows his stuff.

Killer for anyone who simply wants more fullness in their sound. It's also a great way to produce overdrive and sustain without losing definition. If it were stolen, I'd be on the website, ordering another one.

I compared it on paper to the Fulltone Fatboost, The Force, the DOD Bi-fet unit, and others. This just seemed to offer the most bang-for-the-buck. Those other products are fine, I'm sure. But I have zero regrets.

Very easy to use, 2 channels & 3 modes. Modern mode which is a transparent clean boost and the vintagew channel which has 2 modes being the 1966 treble boost and 1973 mid boost. It is VERY easy to get a great sound out of it, i plugged it and within one minute I had awesome tone which was 10 times better than before

I'm using a few guitars being : Ibanez JS1000, Epiphone Les Paul with a Seymour Duncan 59 in the neck and JB in the bridge and a Fender Strat with Bill Lawrences. So any of those guitars into the following : Guitar > Tuner > Crybaby > EHX Small Clone > TMB > Marshall TSL100 with a 1960A Cab. Noise....What noise ? This pedal is perfect and is totally silent. All the settings sound great, I tried getting a bad tone but that's not possible this pedal is God in an effects pedal (He does wonders for your tone). With this pedal I can nail anywhere from Brian May to Eric Clapton to SRV (all my favourites) and many many more, such as vai for example (with the modern boost). This pedal is VERY versatile and can nail any tone you want, on clean with the modern boost it gave me a very fat overdrive (when you turn up the volume on you get more break up) like SRV which sounds....well....Orgasmic. With the vintage modes on the clean channel you can get a nice cutting tone with the 1966 or get some sparkley tones with the 1973 mid boost. Now on dfistortion; WOW instead of using my lead channel for lead I used the modern boost on the crunch and man do I get a really fat lead tone ala Jimmy Page or change the amp settings for a really fat Steve Vai tone or Satch tone, switch over to vintage and I have instant Eric Clapton with the 1966 mode which I enjoyed very much and is a great treble boost (I'm a bit of a treble boost addict) and then for the 1973 mid boost which gaves me tones ala Brian May so I turned up and let rip on the Bohiemian Rhapsody solo which blew me away. Awesome.

I opened the box this morning and sweet jesus, this pedal is built like a tank, I've never seen anything like it. This makes boss pedals look as flimsy as a 3 wheeled mini. I'd definetly gig without backup....kinda makes me think whether my other pedals need back up now

I've got to say this has to be the best customer support ever, David at legendeary tones is the nicest guy in the whole world and is really, really helpful. So don't have any worries ordering from this guy, he's a disciple. Top Man !

I play anything from classic rock (which it nails perfectly) to blues to punk to instrumental rock, this pedal does everything. I've only been playing 2 years but I've learnt a hell of alot about effects and guitars and play a few hours everyday and this pedal is going to make me play even more. If this pedal where ever stolen I'd hunt the guy down hang him on a washing line20ft high in the air by a meat hook from both his nostrils then let everyone pelt with abuse and whatever they want to throw and while they do that I'll be in court getting the death penalty for him, I love this pedal. My favourite mode is probably the modern boost because it can give me a great break up or a nice fat rounded boost which is great for solos. I think I've pretty much covered everything but if I haven't check out www.timemachineboost.com to hear some clips and anymore information on it and if it's not on there pop David an e-mail and he should reply rather quickly in the friendliest way possible.

You don't need a manual to use this pedal. Basically there are two sides and each is footswitchable. The "vintage" side is based on old germanium treble boosters and has two modes, "1966" and "1973". The "modern" side is a full range clean boost. There is no battery compartment but a wall wart was supplied; it's a standard Boss type power supply. I would much prefer a battery because the cord gets annoying, but it obviously wasn't a deal breaker. I'm not sure why it was designed this way, but I'm sure there's a reason.

I use the Time Machine Boost with a couple of Rivera amps and Gibson Les Paul guitars. I occasionally use a Strat as well. I love the way the "vintage 1966" setting drives the input of my amp. The treble gives my sound a real cut that blends in well with the band. It's also cool in that it almost sounds like a notched wah, kind of like Mick Ronson's sound. I set the amp up dirty and use the boost to kick it up one more notch. The "modern" setting is more transparent and really increases sustain for leads. This pedal is perfect for giving your amp a couple of additional colors and is a nice secret weapon for solos. It really doesn't seem to be exceptionally noisy, but it does add a little when playing at high volumes. This is to be expected, to some degree, with any similar type of pedal though.

Sometimes I use the "modern" setting with the clean channel of my amp. The clean channel is set so that it's just barely breaking up and then the boost gives a really great electric blues tone.

I don't see a booster pedal as essential, just nice to have. In other words, I would not feel the need to bring a backup. It seems to be very solidly built and I'm confident that it won't break if I take care of it.

Davis Szabados has a really cool and unique product on his hands. He seems to be enthusiastic about it and I think he would go the extra mile to ensure his customers' satisfaction. I e-mailed him about the unit before purchasing it and he helped guide me through the pros and cons of how I intended to use the pedal. He was a salesman, but first and foremost it just felt like he was trying to help me make an informed decision. There was a trial period during which I could send the unit back for a full refund.

This is unit #0084 that I ordered in December 2002. I have to imagine that this is the best pedal of its kind and I don't know of any other dual function boosters. It really seems to help bring out the sound of a good guitar and amp rig by enhancing all the things that make them sound great. It isn't cheap, but when its versatility is considered, and you're in the market for a booster (not an OD), this is the way to go. I had intended to get Butler's Rangemaster, which I've heard great things about, but I'm really glad that I picked the TMB instead. Now I have both the rangemaster sound as well as the clean boost.

This boost pedal is easy to get around on. There is a true bypass footswitch, along with a footswitch that allows you to go choose between a Vintage or Modern boost, and a toggle switch that gives you two vintage modes- 1966 which is a Clapton/Rangemaster boost that boosts the mids and scoops off some lows, or the 1973 mode which is a Brian May type treble booster. There are Volume and Intensity knobs for the Vintage side and a Volume knob for the Modern side which is a full range boost. A well laid out set of pages comes with it and does a great job of explaining it. It also mentions the people behind this pedal which is cool. You can tell this was a labor of love and not some hack attempt to make money off the boutique pedal craze.

I have to say when I first got the pedal I had it here at the house and I was trying to keep the volume down (you know, you don't want to hurt family members and small pets), I wasn't really knocked out with it. Remember, it's a boost pedal, not a overdrive or distortion pedal. With a typical od/dist pedal you just turn down the volume and you can still here what it does and keep the peace with the neighbors. I took it to a session here in Nashville where the other guitar players on the date were Dann Huff, Gordon Kennedy, and Dan Dugmore. I finally got to play it through a tube amp that was cranked and then kick in the TMB. OH MY GOD. I was using a 70's Les Paul goldtop through an old Jim Kelly amp (think black faced Deluxe with a 60w output) that was set for clean but just starting to break up. Using the neck mini humbucker and with the TMB 1966 boost kicked in, I got a tone that I've NEVER had before with overdrive and distortion pedals. The notes just sang! It was hands down the most expressive lead tone I've EVER HAD!!! When I would bend notes there is now this vocal/phasing quality to the bend (think Brian May). It was so great to see the reaction from the other guitar players- that look where they point to the pedal, screw up their face and do a slow approving head nod and ocassionally say "Oh my gosh, there it is!" I've never done drugs (and I don't recommend them), but I have to think this pedal is like cocaine for a tube amplifier! I can't wait to try other guitar/TMB/amp combinations out. I know that I want to pour epoxy over this Les Paul/TMB/Jim Kelly combo and freeze that sound for future work.

As far as dependability, open up the back and have a look. It's like opening the hood of a Ferrari. Special kudos go out to Tom Leavenstruth (he's mentioned in the papers that come with the pedal) for wiring these up. Personally in my years of collecting pedals I've never seen it's equal. It looks like the same kind of wiring you get with an old Mark Sampson Matchless. Also remember this pedal is a collaboration with Robert Keeley! You already know how killer the Keeley stuff sounds and how bullet-proof his pedals are.

The guy at Legendary Tones, David Szabados, was really good at getting emails back in a timely manner. I've never spoken to him, but he seems to be a good guy that would support his stuff.

I hope that I don't come across as gushing. It's just that as a session player I know what my stuff sounds like, and this pedal just KICKS it to the next level. I have a lot of od/dist pedals- Bixonic Expandora, a vintage large case ProCo Rat, a vintage law-suit model Tube Driver, an old tube Garnet Herzog overdrive, a Nobels ODR-1, a 70's Japanese Boss DS-1, Fulltone Distortion Pro, an old Vox Tone Bender, an old Dan Armstrong Blue Clipper, an early 70's and late 70's Big Muff, a DOD 250, a Boss SD-2, a Line 6 disortion modeler, a Foxx octave fuzz, an Ibanez Smash Box, a primo condition TS 808 Tube Screamer, etc..... I've never gotten the expressiveness from any of those pedals like what I've gotten from the Time Machine Boost. It will be in my gig bag from now on.

This is as simple as can be. You have two channels: Vintage and Modern, which you can choose with footswitch Vintage/Modern.
Modern channel is operated just by Volume control, which sets for boost level.
Vintage channel has two options: '66 or '73, which gives treble or full range boost accordingly. This channel also has an Intensity control to set the tone of the channel.
With this you effectively have three channels of boost to choose from: two vintage/dirty kinds of boost, and one modern and completely clean (!) kind of boost.
This description is really much much more complicated than the real thing. Takes about two minutes to get the hang of it.

I use this with my Fender Jaguar, Epiphone Les Paul and Gretsch Setzer Hot Rod. This along with either my Fender Twin Reverb or Vox AC30 gives incredible results. The setup was pretty good to start with, but the TMB increases your tonal range beyond belief.
Like others have said before me: It takes the tone you have, and it makes it better, better, better, than ever.
One comment though. You have to have a good adapter for this pedal. Thing is: It comes with a great adapter included, but as this is an American type plug, and I live in Holland, it didn't work over here (well duh). Don't try to power this sweety with a cheapo adapter, because you will get a lot of hum. Works fine with a Boss, Ibanez, or Pedal Power.
You can get the sound of all, I repeat, all your favourite artists. In my occasion, this varies from Brian Setzer to Peter Green, and a lot more.

This pedal is in my opinion totally reliable. I had a little peak inside and it is, like others noted before me, a piece of art. Hand wired, point to point, only the best of components. I can't imagine this breaking down, although one of my friends keeps claiming he can break anything.

I have dealt with David Szabados and Robert Keeley. Because of the aforementioned trouble with adapters I couldn't get the TMB to work at first and I was worried it was malfunctioning.
Both of these gentlemen were very concerned with this, as it is a unit they hand tested themselves(!). Both of them wouldn't rest until the solution to the problem was there (being a better adapter, Boss in this case).
You don't find this kind of customer service anywhere in Holland these days, I can tell you that.

To summarize: This is a great pedal. An absolute must have for anyone who is into Boost pedals (clean boost, Dallas Range Master or clones of it, and otherwhise). It is also some sort of secret weapon to great tone for anyone who isn't in to Boost pedals, or who just doesn't know what a great boost pedal can do to your tone.
In my opinion this pedal can help any kind of guitarist playing any kind of music, ranging from blues/jazz/roots/rockabilly to rock/hard rock/heavy metal.
It is not cheap, but it is worth every penny. I would trade in all of my other effects pedals just to keep this one (and I have collected a lot of little boxes in the last ten years that I have been playing guitar).

3 knobs two buttons and one switch. It's pretty self explanatory. I can't fuss with pedals while performing so this is perfect. It's basically two modes. One is a clean boost and the other is a mid and treble boost with a switch for one or the other. The modes are not cascadable like a Fulldrive.

Here is the main feature that I need. It takes the tone you have and makes it more. I use the modern setting the most which is amazing with my Hiwatt DR-103, but works equally as well with the other amps I use which are mostly vintage non-master volume amps. The mid boost is the one I use next to most and it allows you to overdrive the front end of the amp without muddying it up which is I suppose the main use for a treble booster. This is a professionally built piece of gear with a sound to match. I highly recommend the '73 setting for the normal channel of an AC30. I recently got to try the Keeley Java boost, and while it is a similar sounding pedal in the treble boost position, I definately prefered this. Simply put, this pedal helps me to get the sounds I need to get while gigging and recording.

It is built like a tank except for the toggle switch. (see customer support).

I took a break at my regular gig and it was one of those crazy nights with half clad people packed to the rafters and spilling into the street. When I got back onstage, I noticed that the toggle switch was lying broken on the the pedal. I'm not sure if I broke it or some yahoo climbed onstage and stepped on it. I rarely use the '66 setting so I just made sure the toggle was set to '73 and played it like that until I sent it back to Keeley the next week. I think I had it back in less than a week with an apology from Mr Keeley for it breking. No charge for the repair and I only paid to have it shipped there. Pretty kick ass if you ask me.

I bought this as a promotional launch on ebay. I took a chance and am glad I did. I love AC30's and I needed a good treble boost pedal. The modern setting turned out to be even more useful. Bonus! Like I said, I can't screw around with pedals. If one works, it may stay on the pedal board. Usually, the first time it lets me down or gets in the way, off it goes, often to be sold, traded or lent out. This pedal has earned it's place on my board over and over and for me, that's saying a lot. Sorry, you can't borrow it.

The unit is an easy effect to get a good sound out of. It gives you a little bit more of what your amp sounds like with a couple of twists. There are three selectable settings that make it very versatile. The data sheet provides a very good explanation of the functions and preset suggestions. David also emailed me some thoughts which I appreciated.

This item is used with one of several Marshalls, Mostly 1959's and 2204's as well as a Hiwatt DR103. Primarily, I use a 1972 Marshall Super Lead into a Hotplate and a Marshall 4x12 slant bottom with Celestion Greenbacks. I run the guitar into a Teese RMC3 wah, a TS9 Tube Screamer (either an Analog Man or Keeley), and then the TMB. I like Gibson Guitars.

The TMB is pretty quiet and adds some nice "cheese" to the setup. On the 60's setting, I get a Billy Squier kind of tone "Ma Kind a luva" etc. The '73 is good for the early Aerosmith stuff. The Modern setting is very usable alone or with the Tube Screamer on for more aggressive sounds.

I like this pedal with my '79 Hiwatt DR103. The Hiwatt is not a real high gain amp and the Tube Screamers don't really push it enough alone. By using a Tube Screamer and the Modern setting of the TMB, it puts it where I like it. This makes a really versatile set up. Fron "clean" to "whoa" in a second

I think this piece is very well built and was fully tested prior to delivery. I use it without a backup.

I have purchased from Legendary Tones on a couple of occasions and have had a very good experience. David has a genuine interest in customers and goes the extra step to ensure questions are answered. Robert Keeley contacted me as well. I like his Tube Screamer too.

I play mostly classic rock and heavier stuff. I like the TMB because it accentuates the pedals I already use and functions well as a stand alone too. I was getting bored with just the Tube Screamer. I now have many more sounds available and that helps me get closer to the tones of my favorite players. It's a nice addition.

It's really a no-brainer to get three very useful sounds out of this thing. There are two footswitches - one is on/off, the other is to select the Vintage or Modern boost modes. Each mode has a different color LED indicator, as does the on/off mode - so you can see at a glance where you're at. Within the Vintage mode there is a toggle switch to select either "1966" or "1973", and there is an Intensity knob to adjust the harmonic content of this channel. Both channels have a Volume control to adjust the level of signal boost.

The sounds available from this unit are fantastic! Each is also very useful in its own way.

In the Vintage mode, the "1966" boost gives a creamy bright (but not at all glassy) boost with nice harmonics from the germanium transistor. It's fantastic for general lead work when playing the blues or rock. The "1973" boost is fatter, with a little more harmonics and output - perfect for getting a very sweet "woman-tone" sound on demand. It should be noted that the Vintage mode does not offer a totally clean boost; however, the harmonics don't sound like an overdrive. Rather, they seem to put an amazing "haze" around the notes and seem to be part of them rather than sitting on top of them. And I like the fact that the harmonic content is adjustable, which I understand is something the original Dallas Rangemasters (on which the Vintage mode is based) didn't offer.

The Modern mode, on the other hand, is totally clean. The guitar's personality remains the same but is made better rather than just louder. Some very mild, yet very sweet chiming highs become part of the tone, which gives the sound a three-dimensional quality. Much better than other clean boosts which often seem to either make the sound either too dull or too glassy. (I believe JFETs rathern than Germanium transitors are used in the Modern mode.)

Hard to say - I just got the thing a few weeks ago... It feels very solid, though, so I'm not going to worry about it.

Dave Szabados at Legendary Tones is very friendly, and he responded to all of my emails promptly and thoroughly. Dealing with him gives me a high level of confidence that I'll be taken care of if anything should go wrong in the future.

The Time Machine Boost is, I think, unbeatable for offering a wide variety of incredible, yet subtle, boost styles. It retired all of my overdrive pedals. It also retired one of my other boost pedals (but it would be impolite to say which one). The TMB would definitely be my choice for "desert island" stomp box; of course, since I don't live on a desert island I also use my Colorsound Power Boost for the over-the-top stuff. ;-> It essentially starts where the TMB leavs off...

The only reason I can't give this unit a perfect "10" is because it requires a battery eliminator "wall wort" for power. In a perfect world, the TMB would also be battery-powered.

If I lost unit #088, I'd definitely be on the Legendary Tones website the next day to buy another one.