Seeker Electric Effects Tonebender MKI

The Tonebender MKI circuit is one of my favorite fuzz circuits and one of the rarest fuzz pedals. Luckily for us, builders such as Seeker Electric Effects are making the circuit in modern times, as finding a vintage pedal is highly unlikely, especially without a price tag that would make even the avid collected flinch.

Knowing how many original tone benders inventor Gary Hurst made is impossible. The first run of them was made in wooden enclosures. Gary then switched to metal-pressed sheet metal enclosures that were painted gold. We do know that there weren’t very many of either MKI model.

The MKI as we know it only existed for about a year, from 1965-1966, before the MK1.5 came out, which had a considerably different sound.

The MKI was based on the first commercially made fuzz pedal, the Maestro FZ-1 fuzz. The Maestro had been used on “Satisfaction” by the Rolling Stones, and I believe, is the fuzz on the Ennio Morricone Spaghetti Western soundtracks.

But the Tonebender MKI isn't just a knockoff of a Maestro. Guitarists in London were looking for more sustain than the Maestro had to offer. Also, getting a Maestro in the UK at that time was difficult.

Gary Hurst delivered a fuzz with more sustain that was more accessible, which British guitarists loved.

Although the Tonebender MKI isn’t precisely a Maestro FZ-1 copy, they have similarities or are cousins. They are both three transistor circuits for one. I also have a love for the Maestro FZ-1. A cool abandonment of convention lives in these early fuzz circuits. They’re quirky and unique.

In fact, no two Tonebeder MKI’s are alike. If you could line up a collection of vintage MKI fuzzes, each would sound different.

This partly has to do with the values of the transistors. Due to the allowance of difference, they allow in a transistor, it can cause the fuzz to vary. This means that just because there is a value number on a transistor doesn't mean that is what its value is.

Modern builders like Mike Timpson from Seeker Electric Effects take the time to test transistors. A level of detail that was not performed in the 1960s. When they built fuzz pedals in the 1960s, they used whatever transistors they had. And they didn’t think about the bias or tuning the pedals.

All of this led to inconsistent fuzz pedals. There are stories of guitarists from that time who had to try several fuzz pedals of the same circuit to find “the one.”

This issue persisted in the 1970s with Big Muff fuzz pedals as well. Buying a vintage Tonebender might get you a different sound than you expect. And with so few to choose from, it doesn't give us much to experiment with to find the sweet one.

Fuzz Revolution

Nowadays, pedal builders are much more aware of the inconsistencies in transistors and their effect on the sound. Some specialized fuzz makers, such as Mike Timpson, have their hands in every circuit detail. It’s not an assembly line of workers who haven't researched what a Tonebender should sound like. Or what changes alter the tone significantly.

Mike Timpson checks the values of each transistor and then tunes the bias of each fuzz to sound right to his ears.

Tuning

Ah, yes, I did mention tuning. Germanium fuzz pedals require some patience when building. If you're into schematics and look at the Tonebender schematic, you may say that's a pretty easy circuit.

But looks are deceiving. You can combine all the parts and end up with a fuzz that doesn't sound good. A great Tonebender builder has good taste. This is a detail some don’t take into account.

Few people have had their hands on a real Tonebender MKI. And even if they did, it’s like a snapshot of an ever-changing landscape, which means that Ione MKI isn’t the poster child for all Tonebenders.

Mike Timpson of Seeker Electric Effects tunes his Tonebenders to sound good. And remember, getting a great sound from a Tonebender is a matter of taste.

Character

One characteristic that varies in the Tonebender MKI circuit is how spitty or gated they sound. Tonebenders have an excellent zipper effect. It’s as if the fuzz grabs and sustains your signal but then drops it. This dropping is reminiscent of a noise gate. Except it’s a bit unpredictable in the way it works.

Some players prefer less of the gated sound, which can be tuned. Others bask in the glory of being an agent of chaos.

How bright a Tonebender MKI sounds and how much gain can vary between pedals. Mike Timpson is considering what values of transistors to use to attain the desired sound of your Tonebender MKI.

The Seeker Electric Effects Tonebender MKI I have is more on the gated spirit side, which I like. As I mentioned, I like the wild nature of early fuzz pedals. I was pleased to hear that Mike didn’t stray away from this original characteristic of the Tonebender. Of course, I could have asked for a Tonebender with less reckless abandonment. But that didn't fit my personality.

Tonebender MKI circuits have more attack and are birighter than later Tonebender circuits. This cxam allow them to pop through a mix more.

Act two

The Tonebender MKI differs considerably from the Tonebender MK1.5, which inspired the Dallas Arbiter Fuzz Face and only had two transistors.

The Tonebender MKII returned to a three-transistor design but sounds more rounded and less wild than the MKI.

There is a brightness and gated quality to the Tonebender MKI that isn't matched in another fuzz.

I talked to Mike Timpson about building fuzz pedals.

Can you tell me about how you got into making fuzz pedals?

Years ago, maybe around 2006, it started with wanting to replace pickups in a guitar and then repairing/modifying old Fender amplifiers when you could still buy them for a few hundred bucks. I already had a solid background in schematics and electronics when I got into pedals.

The first pedal I bought was a Black Russian Big Muff from a Musician's Friend. I’ve always been after the texture and dynamic feel fuzz pedals offer, but I didn’t know how to get the sound I heard on many records I liked. It wasn’t too long until I built my first fuzz pedal around 2011, and I was pretty hooked. It was a kit from buildyourownclone of an FY6 SuperFuzz. I didn’t have the dough to afford a lot of the excellent or even vintage stuff around then, so I ended up experimenting and building a lot of clones of old and current pedals. For about ten years, I made one or two pedals monthly just for myself and my friends.

What drew you to fuzz circuits, and why is the Tonebender MKI your favorite course?

Fuzz is THE sound! Growing up, I listened to a lot of alternative rock music, and there was always this very intense and dynamic tone; it felt like it changed the guitar's sound into something completely different. Bands like Smashing Pumpkins, Radiohead, and the Pixies got me sold on the idea of dynamics and doing something different with guitar. Fuzz does that for me. I only discovered the MKI around 2016 or so. I’d been after a fuzz for years that can transform into its instrument, and I think it represents that idea very musically.

It’s all the personality of the MKI that hooked me immediately: the texture, sustain, and decay. The particular EQ shifts the emphasis towards a very cutting midrange and treble. I like the idea of playing to the fuzz, which takes you out of yourself and to places you’ve never been musically. It’s an inspiring circuit to play if you want to let go of the reigns.

You're talking about the option to modernize vintage fuzz circuits on your website. Can you discuss some modern modifications people may want in the MKI circuit and why?

The MKI is a tricky circuit to nail down. It’s also not loud enough in its stock form, so the best mods I like to do for this circuit to modernize are to make it louder and more consistent. I’ve developed a few ways to achieve consistency that allow me to use a lot of different transistor sets you couldn’t usually, key bias points that will set the feel and tone right. This also allows me to tune it to a customer's spec, adjust critical parts of the circuit with transistor selection or resistor swaps, dial in the range of the attack pot, etc., to work with their setup.

What are some of your favorite MKI recordings?

I'm not sure, honestly; I don’t listen to much music in that context. I know there are a few classic recordings of them that people reference, like Bowie, that might be my favorite, but just because I like the songs, not precisely the guitar sound. Some middle-period Beatles sounds remind me of that sound, and I like them. Sometimes, I hear a song and think, “That would sound killer with an MKI,” or even “That sounds like an MKI?” even though I doubt it was recorded with one.

How hard is it to source the right caps in today's world?

In general, caps for fuzz circuits or pedals aren’t an issue. They don’t impart much in the way of sound except when they aren’t the correct value (drifted over time) or working correctly, i.e., leaking DC voltage where it shouldn’t or becoming very microphonic. Several reliable sources for nice old caps are in spec, sized appropriately for the pedal, and have good sturdy leads. That’s what I mainly look for in a capacitor.

Your prices are very reasonable compared to a lot of companies building MKI. Yet, you seem to use the highest quality components. Can you discuss your decisions not to gouge the price to $1k and over for the MKI circuit?

My prices are in line with my contemporary builders; there are, of course, a few that sell for much more. Instead, I’d reach more people and share my work and enthusiasm with as many people as possible versus selling only to a few who can afford it. I always think about “Would I buy this?” when I develop a product, and pricing matters in that question.

What’s your favorite guitar and amp combination for the MKI circuit?

I don’t have an amp per se that I think works best, but generally, I prefer something that’s a little broken up; if there’s a bright cap, I may want to clip it or turn it off (unless I like that grating unpleasant treble sizzle, hey it’s a sound!?). I typically run my amps on the edge of a breakup; it seems to take dirt pedals the best. For guitars, I prefer single coils with most things, MKI included. Telecasters are my favorite.

Would you like to run a clean or slightly dirty amp with the MKI?

Either way can work. It depends on what you’re after. If you want to hear more of the fuzz, you might go into a very clean amp, but I think part of the experience of a fuzz is how it interacts between the guitar and amp, so a slightly broken-up amp works best for me with integrating it into my overall sound.

I’ve previously discussed how making vintage fuzz pedals isn’t just about buying the components. A master builder knows how they’re supposed to sound and can tune them to ensure they’re right. Do you have any comments about this?

I don’t think there is any one particular sound. If you’ve bought enough fuzz pedals, you’ll start to notice nobody makes the same thing; even within the same circuit, there will be a lot of variations on the same theme, but no two pedals will be identical. There isn’t a right way to do anything; as long as you like it and believe in it, that matters the most.

The MKI is no exception; original units vary as much as anything and more than most! Not to mention, only a handful of people own one to play. Of the originals I have heard, they all sounded different, and only one sounded good. Haha! I give the same advice to any builder: practice building them, be patient, and write down your findings. There’s some science in there just as much as magic, but your touch often makes it what it is. I could tell you exactly how I make mine; yours would sound different.

I also want to mention your custom shop. Do you have any favorite custom shop jobs you’ve done?

A fuzz face or two; those always look nice. Of course, several MKIs, especially the wedges, are lovely, and I put a lot of time into them. There’s been a few I’ve wanted to keep, but I’m glad they’re out there and people are enjoying them. I’m content keeping a few signature models to play or use on my board.

How consistent do vintage circuits sound? Do you mean you make two MKIs at the same time? Do you find they vary?

Yep, there’s always variation, though I’m typically aiming for a similar thing with each one unless someone asks explicitly otherwise. There’s a lot of one-on-one with customers, so I’m often trying to suit their needs, but with an MKI, I will always make it so it makes me want to play it, first and foremost. There will always be variation, as well as innovation. My ideas have changed and reshaped through the years to achieve my ideal sound.

Do you substitute any parts from the original MKI circuit?

I often sub Q2’s bias resistor for one that gives it the most range. I’m usually looking for a particular voltage within a range, but I will also listen to see what it needs; each transistor is different, and bias setting is done within a degree first and then fine-tuned by ear. I’ll also occasionally swap the output cap based on what Ist with a particular transistor set or think sounds to be what the customer asks for.

All of this was done on originals and is documented. I will also use a much smaller resistor on the output, giving it twice the output volume. More is better for my taste; it’s a much more intense experience than the stock value, and you can still turn the volume back down if needed.

Are there any “happy accidents” you’ve found in a vintage MKI or any vintage fuzz that you’ve adapted into any of your pedals?

I’ve never played a vintage MKI or even seen one. I don’t think any exist in the US, or none are discussed. I’ve played several other vintage fuzzes, fuzz face, SuperFuzz, NuFuzz/Fuzzrite, etc.; they are much more common. I wouldn’t say there are any accidents. No, 99% of what I try to do is deliberate. I have had a few things happen with other circuits; I can make a Harmonic Percolator do sub-octave tones that I found by accident; I wrote that down for sure!

Sometimes, with an MKII, you’ll get some oscillations; it can be fun to tune them in and get something musical. My experience experimenting with circuits inspires me to change something or modify a circuit. The breadboard is where I get my creativity going.

Do you want to share anything about your knowledge or love of fuzz?

My experience with fuzz first came as someone looking for a specific sound, which led me to buy and sell many pedals, never really finding what I was looking for, and eventually making my own and on and on… I found out many years and many pedals later that what I was looking for was my voice. It’s always been there; sometimes, gear can impede it, and occasionally it can release it; often, it changes daily. The advice I want to give everyone is to not be so hasty with trying to find “the one” or “the sound in your head.” It’s straightforward to make a snap judgment about a pedal/guitar/amp, etc., playing it for 5-10 minutes, but it can take some time to fully digest and learn what each piece of gear is capable of.

I wish I had kept so many things I’ve bought and sold over the years; for many of them, I just needed to give it some time and learn how to use them to express what was in my head and set my voice free. Fuzz is like its own instrument, so you may need to relearn, readjust, rethink how you play, etc., to maximize each. What has really helped me the most is letting go of preconceptions and seeing where the gear takes you; your voice will come through after some time.

Playing a Fuzz

Players who love fuzz often play them like an instrument. Fuzz Face users know about rolling your guitar volume knob back to get a warm, lightly compressed, clean sound. Rolling back the volume knob on a Tonebender MKI doesn't have the same result. However, it changes the reaction and sound of the pedal. I love rolling back my guitar volume about one notch with the MKI for a sound like no other.

Humbuckers

I am fond of pairing a Les Paul or another humbucker-equipped guitar with the Seeker Tonebender MKI. I haven't found a fuzz that pairs better with humbucker guitars for my tastes. This may be partly because of the influence of Mick Ronson, who played guitar on David Bowie’s Spiders from Mars records.

Ronson used a Les Paul, wah, Tonebender MKI into a Marshall Major amp. He often cock the wah for midrange boosts for a more nasal sound.

If you want to try this, you should know that the Tonebender circuit (as well as other Germanium fuzz pedals) doesn’t like other pedals in front of them, especially if they are not true bypass.

I use a Teese Picture Wah, which has special circuitry to get along with Germanium-based fuzz pedals to get around this. Plus, the Picture Wah is such an inspiring wah. Doesn't get any better.

Price Point

If you’ve been searching for a Tonebender MKI, I’m sure you’ve seen some surprising prices with modern builds. A few builders are making MKIs for sale from the original store that sold them in the 1960s. They go for one thousand dollars and over.

These builders are making historical reproductions of the Tonebender MKI. I’m not just talking about the transistors. I’m talking about the cosmetics as well. The enclosures are made and hand-painted the way they originally were. Even the feet for the pedal have been meticulously recreated.

This is cool if you're a collector and want a historical recreation. But one point should be made clear. A historical reproduction doesn’t sound better than a Seeker Electronics Tonebender MKI.

Seeker Electric Effects is making a Tonebender MKI as legit as any collector model but with a more friendly price. I wanted a pedal that fits on a pedalboard easily as I would use it rather than collect it. And I’m thrilled this led me to Seeker Electronics.

Warning

There are many builders of fuzz pedals out there these days. There are many great options with each builder's unique sense of taste. I encourage you to try Seeker Electric Effects and many other builders. You can’t just have one fuzz! But beware of a company called British Pedal Company. They have a scandalous past and present and are not reputable in their branding, building, or business ethics.

The Times

We live in an excellent time for fuzz pedals. Builders understand the nuances of what makes specific characteristics shine and scrutinize the components so you get the fuzz you want. Fuzz pedals are more consistent than ever.

I’m delighted with the Seeker Electric Effects version of the Tonebender MKI. It’s in no way a generic fuzz. Personality oozes from this pedal!

Not to mention, the build quality is immaculate. This is the work of someone who loves what they do.

Let’s listen to some examples of the Seeker Electric Effects Tonebender MKI.

Links to gear used in these examples:

Ampete 88S, FSC 59s, Gemini Mercury One, Demeter Reverbulator, Surfy Bear Metal, Teese Picture Wah, Marshall SV20H, Headstrong Lil King Reverb, Vox AC15, Victoria 35115, DR Strings, Asterope Cables, PSP 42