- 68 - | Stainless Steel

The Sound of the 68 Fuzz

Fuzz tones can be created from the very first circuits known to guitarists all the way to modern variations – an overdriven sound that has evolved over many decades, constantly redefining itself and leaving its mark on every era and genre with its own unique characteristics.

For the 68, I went on a little fuzz time-travel to take a closer look at these traits. But it quickly became clear to me that my interpretation would be firmly rooted in the origins of rock.

As with all my designs, I strive to improve weak points or outdated aspects and make them more enjoyable for today’s players. The 68 delivers true rock tone in the classic way – but in a modern package, with features like impedance matching for optimal pedalboard integration, true bypass, and daisy-chain compatibility.

NOS Transistors

In the fuzz world, it’s almost considered a rule: if you’re building a pedal that visually and functionally takes its cues from the classics, players expect to see NOS (New Old Stock) components inside. Of course, it’s not an absolute must – and whether these parts truly sound “better” is ultimately up to each player to decide.

My own little time-travel confirmed one thing, though: if you’re chasing the true spirit of the ’60s, modern silicon transistors just won’t cut it. That’s why the 68 runs on two carefully selected Germanium transistors from the UK – rare parts whose limited availability explains their price...

NKT214

Dating back to the early ’60s, the NKT214 is considered the predecessor of the famous NKT275. With even more grit and edge, it captures the raw, unpolished sound of the early days – while both transistors remain legendary staples in classic fuzz circuits to this day.

Mullard OC44M

Also dating back to the ’60s, this transistor was originally developed for military applications – offering greater precision and higher gain. Paired with the NKT214, it forms an unbeatable foundation for the authentic fuzz tones of the 68.

NOS Capacitors

The capacitors in the audio circuit come from the rock decades of the ’70s and ’80s – original components from renowned German manufacturers such as ERO, ROE, and F&T. Highly regarded in the hi-fi, audio, and musician communities, they are valued for their authentic tonal character, which plays a key role in shaping both the sound and frequency response.

Pre-Amp and Bright Switch

The preamp boosts and compresses the incoming guitar signal, opening up an even wider range of tonal variations. Combined with the Fuzz control – from zero to eleven – you’ll find everything from country twang to stoner rock tones.

On the back, the Bright Switch lifts the upper mids and highs out of the mud, making it easier to integrate the pedal seamlessly into a wide variety of setups.

A Modern Environment

True Bypass

As a true bypass pedal, the 68 ensures your guitar signal remains completely unaffected when switched off – no tone loss, no coloration. That way, fuzz only comes into play when you really want it.

Equipped with a soft-touch footswitch, the pedal is not only easy to engage on stage but can also be operated effortlessly by hand in the studio or at your desk – perfect for recording or fine-tuning your sound.

Power Supply & Daisy-Chain

As many players know, Germanium transistors from the ’60s were almost exclusively built in PNP configuration – which means they require a negative supply voltage. Back then, running them off a single battery was no problem. A 9V jack, however, is only partially practical, since it prevents the pedal from being powered alongside others.

Instead of the widespread quick-and-dirty solutions, I rely on a voltage converter – the same clever technique Bill Finnegan used in the Klon Centaur. While in the Centaur it served a different purpose, the principle is exactly the same.

Impedance Matching

Anyone who’s ever had a classic fuzz pedal on their board knows the problem: just a single extra pedal or a buffer in the signal chain can make the fuzz practically unusable. The 68 solves this with built-in impedance matching – preserving the vintage tone while letting the pedal integrate seamlessly and reliably into modern pedalboards.

Enclosure, Design & Screen Printing

The pedal features a handcrafted enclosure with a unique design, made in Germany. It reflects the precision and dedication of our craftsmanship. Thanks to its robust construction, it’s built to meet the demands of active musicians, while its compact format fits perfectly on any pedalboard.

For the first time, the 68 appears in its raw form – brushed stainless steel. No Far East mass production in sterile mega-factories, but true craftsmanship: from metal bending to final packaging, every step is carried out in small, specialized workshops. Because each pedal passes through many hands along the way, the sensitive surface may occasionally take on a subtle used look – though never the print. Misprints are guaranteed to never pass quality control.

Every pedal is finished by hand using traditional screen printing, always by the same experienced professional. Just as with the gradient finish on the Mullet Drive, the metallic glitter effect on the 68 was initially a real challenge – one that my print specialist mastered with great skill and precision. As a boutique builder, I see it as essential to deliver the highest quality not only in tone, but also in craftsmanship and aesthetics – so that in the end, each piece becomes a true work of art.

Product information "- 68 -"

Technical Specifications


Length	113mm
Width	92mm (96mm incl. jacks)
Height	36mm (54mm incl. footswitch)
Weight	620g
Voltage	9V DC (center-negative)
Current	120mA (9V)
Power supply included	No
Battery compartment	No

CE (EU) Compliant
Designed and assembled in Germany