All three modules share the same philosophy: a 100% tube gain stage without touching your amp. What sets them apart is their character.
The original, the modern all-rounder. Plug-and-play simplicity: set the two switches to taste, then control your amp from the front. With the Bass switch down it has the tightest response of the three – a great choice for metal.
€335.00 net
VAT not applicable, art. 293 B of the French Tax Code – net prices, no VAT to pay on top
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George Lynch’s signature, tuned for clarity and transparency. The knob lets you dial in exactly how much more gain, from unity to all-out compression. The Mr. Scary is like your amp, just more of it.
€375.00 net
VAT not applicable, art. 293 B of the French Tax Code – net prices, no VAT to pay on top
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Over-the-top gain and grit, the aggressive voice of the ’80s. Inspired by Tim Caswell’s S.I.R. #39 from the Appetite for Destruction era. Thump switch for the strongest low-end push of the three, Bite for upper-mid harmonics: the most gain and compression by design.
€395.00 net
VAT not applicable, art. 293 B of the French Tax Code – net prices, no VAT to pay on top
Full specifications →
The mods work with amps using a cathode follower stage into the tone stack. They perform best on amps with a master volume. Choose the Standard or Reverse Wired version from the list below.
Not compatible: Marshall Silver Jubilee, Origin, Vintage Modern; Mesa Boogie “Mark” series; Bugera 1960; Carvin; Hiwatt DR. Your amp isn’t listed? Contact us before ordering.
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On Marshall SC20C / SV20C combos and some Friedman combos (Runt 20, Runt 50, JJ Jr.), tubes are mounted upside down with no tube shield base for the mod’s L-bracket and thumbscrew. A dedicated fastener kit holds the mod in place and protects the tubes from speaker vibration. Other listed combos (Friedman BE, Smallbox, PT…) use the standard bracket. Installation requires removing the chassis: if in doubt, have a technician do it.
Tubes or modeling? The Tone Master Super Reverb keeps the front panel of its tube cousin (four inputs, Normal and Vibrato channels, reverb and vibrato), with no tube maintenance, light weight and a built-in attenuator. Our take: an excellent clean platform, very convincing at reasonable volumes. But the touch response, natural compression and harmonic richness of a real tube stage remain out of modeling’s reach – exactly what a Legendary Tones module brings to a tube amp.
An overdrive pedal pushes the amp’s input: all the noise from the chain (cables, pickups, pedal) is amplified by every following stage. A Legendary Tones module creates its gain inside the amp, later in the circuit: the preamp can stay set low to preserve note definition, and noise is dramatically reduced, even at high gain.
Saturation stays 100% tube, with no clipping diodes: harmonic response is rich and progressive, and the tone cleans up as soon as you roll back your guitar’s volume.
Note: on Marshall 2203/2204 built between 1976 and early 1979, the V1 pin 7 wire is unshielded and may squeal at high gain. Marshall fixed this at the factory afterwards; a technician can perform this recommended update, with or without a mod.
David Szabados, founder of Legendary Tones, is opening up his personal collection: Marshall, Mesa Boogie, Soldano, Ampeg, rare guitars and pedals, often with stage history. For any piece, contact David directly: david@legendarytones.com.
