Legendary Tones Time Machine Boost

Very easy, can't say anything else.

This thing works well with everthing I've tried so far. My favorite has been a Boogie Mk IV. With the Time Machine I have a 9 channel amp. On the lead channel (1973) it makes my strat sound like Carlos, really. I'm very happy. I have learned the less you have invloved the better, the more pedals, the more noise. The amp and the booster are all you need. If you want one pedal, this is a good choice.

Keeley is a great guy. It is as well built as anything out there.

Don't know much about David, I bought the thing because of Keeley.

I got to try the prototype out last summer. I just waited for a few units to go out before I bought mine. I'm happy with the thing. I have tried it on a 1970 Marshall too, with a Weber MASS and it worked well there also. I'm just very pleased with the way the thing works on the Boogie. The perfect match to me. $250.00 is not cheap but I don't know of anything that will do all this does for any less so...

Very easy to use. Everything is layed out clear and youve got a vintage boost and a modern boost that you can switch between. The manual is great, there's a clear diagram of everything but also full notes about how to get the most out of this pedal.

I use a Gibson with EMG active humbuckers through a Marshall JMP head and 4 x 12 cabinet. I play a heavy style and the Time Machine gives my distorted tone the boost I need. I bought this for the Modern boost side but after I heard the vintage side too, that was a surprise. Really wild tone all around. the guys in the band even commented on how this really made my guitar tone feel more open. I had a tube Screamer before and this is so much better for boosting my amp.

Looks bulletproof to me. I saw the pictures of how the Time Machine was put together at the site. Im not an expert here but I'm not worreid about reliability at all.

I know if there is a problem, Dave will take care of it right away. He answers e-mails very friendly and helpful and gives a lot of info to try to help you out. He really seems to care about his customers and that makes me feel good that I'm buying from a cool company.

I can't say enough good things about the Time Machine. Definitely worth checking out. It would be cool if I had the option to use a battery with it, but since it works with my pedal board power supply its not a big deal. It comes with a power supply and Dave told me its the same kind as what you would use with a Boss or Ibanez pedal so that's fine. Other than that, I've got nothing bad to say about the Time Machine. It just sounds amazing!!!!!!!!

I find the Legendary Tones Time Machine Boost very easy to use. There's not much to understand. Vintage is a treble booster with two tone settings, volume and intensity. Modern is an extremely clean and tight boost for boosting were no tone coloring is wanted. The manual takes great care to explain not only the controls but the idea behind it's construction and applications. i don't know if this is an ease of use item but the Boost doesn't have room inside for a battery so David sends it with an extenal supply

Firstly, this PEDAL IS FOR TUBE AMPS ONLY!! I use several guitars and the Boost acts the same to all of them, although it is partial to neck humbuckers and the two single coils nearset the neck on a Strat. I use a George Dennis Blue head and two 4-12 cabs. Line6 modulator and delay pedals, a first issue Big Muff, '68 or '69, Digitech S100 for standard delay, and a Chicago Iron Parachute Wah, the coolest. Place the boost after Drive pedals in the chain.
The Boost has less noise than vintage treble boosters but with increased gain you'll have noise. It's far less than the Big Muff. The main use of this pedal will be boosting solos of rock and blues in the vintage setting with some drive, Clapton, Brian May, Mick Ronson, Frampton. It works excellently for SRV leads that need to cut through a two guitar band mix. The Modern Channel is perfect for my second guitar player's JCM900. All the gain and then a controllable unaltered volume increase and little drive, some call it "over the top gain."

David has a great warranty policy that I hope I never have to use but responds to your e-mails usually in a day or two. David, I had to open it up to have a look. Inside are two Fulltone 3P2T heavy duty footswitches, high grade Pots, military grade components through out, all hand wired and in an aluminum chassis. The only thing worth noting is the position of the tone switch. I'm concerned that I may step on it one time too heavy and break it. It hasn't happened yet and I figure if it becomes an issue David will rework it. I'm giving a 9 because of this.

David is great to work with. I bought mine through his Ebay sales, this will save you about $10. Shipping is included. He answered all my questions with a couple of days and was actually ahead of shipping schedule with mine. I highly recommend his services.

Overall, if you play 70's rock, rock/ blues, or just plain blues using a single or two channel amp that doesn't provide you with a good brown sound and a strong lead channel that will cut through a mix then this pedal is for you. The modern channel would do very well for Boosing Glenn Tipton solos and just as well for Roy Clark.
Here's THE TONE from this pedal, using a brown sound rythym have the pedal in vintage, intensity maxed, volume as needed. Put the guitar in either the neck humbucker or two neck singles of a strat and here this huge bottom end with singing highs. This is really hard to get without a treble booster and this one gives you the two tone variations. This pedal is a must for ANY LEAD PLAYER worth his salt. Of course if you use solid state this pedal is not going to help you. I haven't any idea how it would react to rack style systems.

3knobs(vintage:vol-intensity modern:vol) 2 stomp switches(on-off effect L vintage-modern R) 1 toggle(66-73 vintage ch only)
manuals good
pretty easy your tone just more
66=range master ala eric clapton
73=modded range master ala brain may/tony iommi
modern=full range clean boost

tested with strat-les paul-epi 335- acoustics 12&6 / marshall 100 watt-ampeg jet 2- vox ac15-matchless dc 30 - acoustisonic jr/ lots of pedals
pretty quiet o.k. that said
this pedal sounds great in every application i tried
if you dime out you amp/pedals ect then turn on the boost you won't hear much.this is best when amps/pedals are set to the edge of break up or rythem gain & use the boost to push it over the top.
this is where this pedal shines
the 66 hitting the treble side the 73 more mids &the modern full
i found this turning all the single channel amps (& pedals for that matter)into 4 channel amps/pedals VERY COOL multi-ch amps endless combinations
it seems to like single coil & humbucking pu's equally
this pedal also does wonders for clean tones & acoustics making things more punchy &thick choruses/phases/flangers are warmer sounding or push the hell out of them & make them go nuts AWESOME
i also let a freind try it w/ a reissue vibro king -fulldrive 2-TMB- g&l asat - this was one of the most clear high gain sounds i've heard changed my oppion of that amp
does a great job of retaining your amp/guitar tone
it takes a more than a treble boost & vox to sound like brain may but it does touch this territory
i found this pedal best for discovering better tones in my sound than immetating others but imo that should be the goal & TMB deliverd

had it about 6 mon. to soon to tell but it's built like a brick shit house i would have no problem using it without a backup

david&robert are both awesome guys very freindly very helpful
they did'nt mind taking time out of ther day to talk to me on the phone & make sure i was getting what i wanted
great 10 so far

i've been playing 17 years i dabble i all kinds of music
i think this pedal works well i all styles
i also have a fulltone fat boost i find these to be dif. so i kept both
i would buy another if stolen my favorite pedal yet & i've had TONS of 'em
if your gear sucks this won't save you
but if have good gear& you like you tone now you should like it a hole lot more w/ the TMB

Couldn't be easier to use. Two footswitches, one to choose the circuit or true bypass, and the other to select the vintage or modern channel. The lights are REALLY bright, it really is almost like christmas! Two volume knobs for the respective channels, an intensity knob on vintage and a 1966 or 1973 mode switch in the vintage channel. It's very easy to use.

First of all I would not describe myself as a "pedal" guy. I have 2 pedals, one of which is a slapback delay and the other is an octave pedal that I use for ONE song that my band plays, oh and a volume pedal but that of course is not an effects pedal. I've never really been happy with fulldrive 2, brown sound, any tube screamer, or similar types of OD boxes. I've never tried a hotcake or Klon so I can't speak to that. Forget about distortion boxes. I never liked the midrange hump, the compression, the fake sound, and the loss of "touch" that comes with these pedals (IMHO). So I decided to try the TMB based on descriptions on the website and sound clips.

In a word... WOW!!! This pedal makes my amp sound like it does when the volume is cranked. It gets the feel, the harmonics, the great powertube overdrive at lower (human) volumes. In order to get my amp to sound like this I would have to really crank it up well beyond ear plug volume. Now at a normal (but obviously still loud, this is guitar playing) volume I get that same overdrive and feel. If you want to use this pedal to get great overdrive at bedroom levels this is not right for you. You have to give the pedal something to start with on the amp.

Please note that this is not an overdrive. When my amp is set on a very clean setting, adding the boost just gives me a lot more clean (which in itself is cool), but i have to set the amp to where it is on the verge of breaking up and magic happens. I have the amp set here and simply use my volume knob to get clean sounds, then increasing the volume and adding the modern channel (tons of clean boost) I get a nice mid-level crunchy sound. For leads I hit the vintage channel and get that great Duane Allman at Fillmore sound that I long for.

This is an extremely versatile pedal because it works with what you have. If you want a certain type of tone (say stinging buddy guy blues) you can get that with some fiddling of your amp. Or if you want Slash you can also get that. But this all depends on if your particular amp is capable of getting close to there. The TMB takes what you have and simply makes it a LOT better.

Pinch harmonics sound better, controlled feedback is easy, the strings feel alive... all of these things happen with overdriven power tubes (at very loud volumes) and the TMB at normal volumes.

For the purist, like me, it is an incredible tool.

It looks like it is built solidly. Strong metal construction, the soldering work on the inside is really incredible.
I haven't had it very long (mine is #29) so I can't talk about reliability, but I expect it to last forever.

David at legendary tones was always extremely helpful. He helped me decide whether this was something that I was looking for. They offer a several day trial period (which is very nice) and a lifetime warranty. David always answered my e-mails promptly and clearly cares about this product.

For the purist this is the ultimate pedal. I have a mesa heartbreaker (great amp) and it is quite versatile and therefore useful for my music. Like I said before this pedal gives me my cranked tone at much lower volumes. I don't play in stadiums and you can't crank the amp high enough in clubs to really get the feel. With this pedal I can get the tone that I want without making the audiences ear's bleed. Everyone's a winner.
If it were lost I would definately buy again.
I would strongly suggest that you head over to www.timemachineboost.com and take a look at the TMB. Listen to the clips and see if it is what you are interested in. It is definately NOT for everyone, but it is gold for me.

This pedal is simple to operate. The Vintage boost has two tone options-1966 and 1973. Two knobs control volume and intensity. The Modern boost has only a volume control.

I play a Godin P-90, Carvin DC 135 and G & L ASAT through a Fender Deville. The pedal is a great boost to any of my guitars. The P-90 guitar through the '66 Vintage boost side is my favorite. The tone is treble-boosted with a great "edge" added to the mix. This setup also sounds great through my Keeley-modded TS9 and Rat pedals. The treble edge it adds cuts through and sounds like a wah-wah in the mid sweep range. It sounds sweet with that great "edge". The '73 Vintage boost works great with single coils by adding bass to the tone. The Modern boost works great with any guitar by adding a clean boost to my clean setup or a volume boost and edge through my distortion effects. It is simply fun to play around with it. The Bluesbreakers tone is also easy on the '66 boost mode through a Marshall tube amp.

The pedal is quality built with quality parts. I think it will be very reliable. I must also comment that my other dealings with Keeley- modded effects has been exceptional. I expect his work on this pedal will ensure quality and reliability!

My dealings with Legendary Tones during the ordering process were good, though the demand meant several weeks wait! I trust their future support.

I play Blues/Rock music mainly for personal pleasure. The Time Machine Boost works great for my style. I must rate it a 10 for what it does. Understand that it is not a Distortion pedal, nor is it suppose to totally alter your sound. It simple adds a boost and/or edge to your tone. It sounds great!

Two foots-witchable channels with independent volume levels for Vintage ("1966 and "1973" modes with toggle switch) and Modern. Both Vintage modes are adjustable for intensity and volume. The Modern channel has a volume pot. It couldn?t be easier to use

I am the proud owner of TMB serial #4. I have played the TMB through an ?81 LP Custom, ?78 Ibanez Artist (335), ?74 ES-175T, ?88 Am Tele Std., ?85 MIJ Strat and Taylor concert acoustic. In the signal chain, it is wired before a Fulltone Distortion Pro and H&K Tube Factor and ultimately to a Traynor YGL-3 2x12, 85 watt (Twin copy). The amp dialed in for a clean sound with flat EQ.

I haven't used the Vintage side very much yet, but the "1966" modes seems to emphasize mid to high frequencies and reduce lows and "1973" seems to concentrate on highs. The Modern channel is where I?ve spent 99% of my time. The Modern channel boosts the signal with no coloration or added distortion. So you get more of the sound you love. The pedal is worth the price of admission for this channel alone.

I haven't used it the traditional fashion yet (boosting power tubes) since my amp has major headroom. So I have used it to push my Tube Factor or Fulltone into more distortion. It does this without changing the tonal character. The TMB seems to work best for pushing OD pedals when they are set to mild or "blues-type" overdrive. For the H&K, I use the TMB for Factor 1 only. For the DistortionPro, the drive is set fully counterclockwise. The TMB works by adding more saturated OD to a mildly overdriven pedal. It's like having a three-channel amp - clean, blues drive and saturated drive. When I add a second OD pedal, it becomes a sort of a six-channel amp by adding another blues drive/saturated drive combo and the combo of H&K and DistortionPro. Now that's versatility! And I use the pedal to boost the clean sound when I want to play with a very light touch and work the dynamics with the assistance of a Ernie Ball volume pedal. I have even used it to as a boost for soloing on an acoustic guitar through a P.A. Just make sure you?ve got enough headroom in the P.A. input.

Finally, as most of us know, everything plays a part in great tone. Thus, the TMB makes great equipment sound greater. But don?t expect it to make crappy stuff sound better.

Hand made with the best parts available. I can't imagine what could go wrong. Having worked with David (Legendary Tones) and Robert (Keeley) before, if something did go wrong, no worries.

From my experience, you can expect nothing but the best.

I play rock, jazz and blues mostly and I?ve played for almost 30 years. I?ve spent most of my time the last couple of years working on Robben Ford and some Larry Carlton tunes. I love the music, the tunes and of course the tone. The TMB improves my tonal possibilities. I?d buy it again for sure.

The Legendary Tones Time Machine Boost is rather easy to use. It has an on/off footswitch and another to switch between the "Vintage and Modern" boost modes. The Modern side has one control for volume. The Vintage side has two knobs to control volume and intensity and a toggle switch to select between '66 and '73 boost styles. It doesn't take long to figure out what everything does, then it is happy tweaking.

The Time Machine Boost is a clean boost and this one is SUPER clean! Some people are confused about what a clean boost does or doesn't do. It is NOT a Distorion/OD unit. It doesn't add distortion on it's own. But it does boost your guitar signal and sends your amplifier into overdrive/distortion. Therefore the breakup comes from your existing rig, (guitar/amp combo) not from the boost, but BECAUSE of the boost.

I have used this with several guitars Les Pauls/Strats/Tele/ES-335/ES-175 and several different TUBE Amps Fender/Marshall/Mesa-Boogie/Gibson/Traynor(no solid state) and I have to say this is the ultimate clean boost. It sounded awesome with every guitar and amp combo tried. My personal favorite is with my 1982 Les Paul with Seymour Duncan '59s and my 1964 Fender Bandmaster 2x12.

The Vintage side has two boost styles '66 and '73. The '66 is voiced with an emphisis on Treble Boost. It sounded very good. I think this mode would be more for a country picker for that Tele/Fender sound. I prefer a thicker tone, but the '66 might be great for rhythm work to cut through the mix, etc. I need to experiment more with the '66 side.

The '73 is voiced to keep the high end but emphisis on the lows. It really thickens your tone and gives a nice bottom end. This is my favorite. It made my Bandmaster growl with rich tube distortion while keeping the highs. It gave me this huge sound with tight punchy bass response. It really compliments my Bandmaster 2x12 cabinet.

The Modern side has TONS of head room. It is super clean while really boosting your signal. The distortion that came from my Fender was unreal. It wasn't muddy or midrangy. It was full and warm with rich harmonics. This is what any quality tube amp deserves! It kept my guitar and amp character while pushing the Fender tubes. The distortion I got was from my amp, not a $69 fuzzbox. REAL TUBE OVERDRIVE!! Classic tone.

Point to point wiring and true bypass. Legendary Tones/Robert Keeley colaboration, (anyone that knows Robert Keeley's reputation knows that this is the ultimate in workmanship and design). It is a new pedal, so it isn't "road tested", but I have no worries about it's dependability.

Super friendly. I asked many questions of both David at Legendary Tones and Robert Keeley. Both were very patient and helpful with my numerous questions. If only all companies were so helpful and friendly to their customers.

I am into blues/rock and this is a welcome addition to my setup. I was using a modded TS-9 for my Boost/OD needs, but the TS-9 colors your guitar/amp tone. I have owned and used lots of overdrives and distortion units, but what I have finally realized is that what I really needed to do was enhance my rig with a clean boost not color it with an overdrive or distortion unit. This one is from the gods. It is simple to operate, ultra clean with not one but THREE styles of boost! Nothing else like it!! If it were lost or stolen I would buy another in a heart beat.

The Time Machine Boost is a breeze to use. The "vintage" side has knobs for volume and intensity. The intensity controls the amount of treble bite and harmonic content. The volume knob does, well, volume adjustment... There is also a mini toggle switch for choosing the "'66" or "'73" mode. The "modern" side only has a volume knob. The bright LEDs let you know what mode you have chosen and whether the unit is switched on.

There are two foot switches -- one for turning the unit off and on, and one for choosing between the "vintage" and "modern" modes. You can set your amp for a nice rhythm sound, and switch on the Time Machine for a lead sound that really cuts through the mix. Or you can set up a nice rhythm sound on the "vintage" side, and switch to a creamy lead sound on the "modern" side.

I tested the Time Machine with two Les Pauls (one with stock humbuckers and another with Rio Grande P-90s), a Gibson SG, and a Fender '57 re-issue Strat. Amplifiers were a 1971 Marshall Super Lead, 1973 Marshall JMP 50-watt, and a 1961 Fender Concert. Just for laughs, I also tested it with a 1972 Fender Champ.

The Time Machine is NOT a distortion device. Instead, it excels at pushing non-master volume tube amplifiers into breakup. It seemed to prefer the Marshalls, although I was able to coax some nice overdrive and controlled feedback out of the Concert amp. The Champ just begged for mercy...

Using the Time Machine is almost like turning a single-channel amp into multi-channel unit. You can set your amp for a somewhat cleaner sound, and then use the two modes for a crunchy rhythm sound and a balls-out lead sound. No matter which mode you are in, you can reduce the drive by lowering the volume on your axe, without losing treble or clarity.

The '66 mode has the most treble of the bunch, although you can moderate it by turning down the intensity knob. The LP with the P-90s liked the '66 mode, as it cleaned up the sound and really brought out the chime in those pickups. The '73 mode is a bit warmer than the '66 mode, and has a bit more output. The sound is punchy, and will really cut through a mix. The modern mode is the creamiest of the bunch -- tons of output across the spectrum, yielding fat leads and gut-pummeling chords, even with single coil pickups.

The Time Machine Boost has only recently been issued (mine is serial number 008), so it's hard to say with certainty how reliable it will be. However, it sure looks to be well made, and it is housed in a very rugged case, so I'd be surprised if it didn't last a good long time.

My order was acknowledged promptly, and I got a heads-up email when it was shipped. I've dealt with David from Legendary Tones before, and the service has always been top-notch all the way. I don't think you have anything to worry about here...

I think that for the money, the Time Machine Boost is one versatile little machine. I've been using other pedals (such as an Ibanez Tube Screamer) to boost the signal hitting my Marshalls, but I'm selling them now that I have the Time Machine. If you have a tube amp that you want to push over the edge, I'd recommend the Time Machine.

Very well-designed, and small, box. Two switchable channels: Vintage and Modern. The Vintage channel has two modes, "1966" (think Dallas Rangemaster) and 1973 (think Brian May/Tony Iommi), that are switchable by way of a small, but sturdy, toggle switch. It also has a Volume control and an "Intensity" control that boosts/cuts the highs and harmonics. The Modern channel has only a Volume control. There are two footswitches: a true-bypass On/Off and a Vintage/Modern channel select. Then there are the three very bright indicator LEDs: Power On, Vintage Channel and Modern Channel. You can preset the channel you want, then turn the effect on and you're off.

The TMB comes with a very thorough and informative four page manual that explains the ins, outs, features and some suggested uses of the pedal.

The TMB was designed to work off the supplied wall wart or other suitable power supply (ADL Juice Box and similar devices) and thats OK with me because I forsee applications when it could be left on at all times. I'll explain below.

I currently own about twenty boosts, overdrives and distortions. They each have their own personalities when it comes to what amp/guitar combinations are used. A couple, such as the Fulltone '69 or Don Butler (ToneMan) Rangemaster are pretty versatile, usable with many different setups. The Time Machine Boost, however, is different...

This pedal is not, I repeat not, a distortion. It is meant to boost a signal into an amp or other device. If your amp is running clean it will add some "breakup". If the amp is already distorting it will add to the distortion, sustain and harmonics and put it "over the top". The TMB can also drive another OD/Distortion pedal harder for an additional level or stage of OD/Distortion.

My guitars: Les Paul Classic w/Duncan '59s, Custom Shop '60 Les Paul Special w/ p-90s, 52 Telecaster RI (stock) and a friends ES-335 Dot (stock). Amps: Marshall JTM45 RI (Mullards pre, VA KT-66s power) into a Vibro World 2x12 Marshall-style cab w/Vintage 30s, Victoria Deluxe w/Celestion Blue, Allen Class Act (Mullards pre, Svet EL-34 power) into a 1x12 w/Celestion Blue,and a 30 year-old Silver Face Champ.

As God is my witness, I have never had any pedal that has been as usable, with any guitar in any pickup position, with any amp in any channel, in front of or after any pedal, as the Time Machine Boost. The results ran from very good (335, Vintage channel, "1973" mode, into the Normal channel on the Vicky) to spectacular (Les Paul Classic, Modern channel, JTM45 RI, Bright channel). I'm awaiting a Sweet Sound Ultra Vibe and I'm sure the TMB will sound great with that too.

This pedal will mostly be used into a Framptone amp switcher feeding a Clark Gainster into the Bright channel of the Marshall and the Rangemaster into the normal channel. This gives me so many tonal variations that my head is spinning. This same set up also works great with the similar input arrangement of the Victoria Deluxe.

One final, but important, point: this pedal cleans up fantastically. I can go from a overdriven, harmonic roar down to a jangly wisper by using the volume knob of my guitar. This means that in many cases you could leave the TMB on all the time, for instance, when using a warm (dull?) sounding tweed-style amp. Rory Gallagher was known to do this with his old Fender Bassman and Deluxe amps using Rangemasters or a Boosely-Hawks (sp?) treble booster.

Extremely well made with premium components. I fully expect to last at least as long as my 25 year-old MXR Distortion+.

Purchased through PayPal. Quick notification and thank you from David at Legendary Tones. Shipping update was nice touch. Limited lifetime warranty to the original owner with the usual abuse and misuse provisos. I'm not worried, I'm certain that the TMB (and future products) will be well supported.

I play for my own satisfaction. I'm mainly into getting the 60's and early 70's tones of people like Kossoff, Green, Beck, Page and so on. Anything that seems like it would contribute is worth at least a try, which is how I approached the TMB. Boy was I surprised. I've bought and sold so many pedals (and guitars and amps) in the last 30 years I've lost count. I finally realized that each pedal has it's own place in the tonal scheme of things so now I rarely sell anything off, even if I rarely use it. This one, though, will see a lot of use and is a keeper for sure!