This product website had an entire article published on new guitar pedals, such as fuzz, killer Wah, Megavibe , The Conqueror and so on and so forth. The Fuzz that was being advertised was the newest re-creation of the brand. According to the legend, Jimi Hendrix had used a red Fuzz Face with white knobs at the Albert Hall in February 1969, at Woodstock in August 1969, at Fillmore East –Band of Gypsies Shows, as well as at Berkley Community Center in May 1970. His red Fuzz was known for its very unique sound, with more sustain and gain than any typical Fuzz.

Anybody who’s interested can hear the sound of it in 'Peace in Mississippi' on the Crash Landing LP. There it was used with an Octavia. Nobody actually knows what happened to Jimi Hendrix’s red Fuzz with white knobs. Legend has it that there were only two of them ever made, which was much less than the usual. The manufacturer spent a lot of time working on a prototype in order to obtain a fuzz with a sound similar to that of Jimi Hendrix’s legendary red fuzz. This new fuzz featured a unique, KR customized vintage circuitry, custom made silicon transistors, fuzz and volume controls, and contour control which brought in more bottom end and higher end, depending on the choice. The article also said that this fuzz was able to clean up the sound when the volume of the guitar was turned down. Therefore, this fuzz was recommended as ideal for those looking for a fuzz with more sustainability, gain and bite. The article even contained a few links of YouTube videos of the Fuzz.

The article also promoted a then soon to come new version of the ‘60s Wah pedal. While many Wahs sound incredibly hard in your face when rocked from bass to treble, the new version had a smoother sound , like the sound of the Wah Jimi Hendrix used on “Up from the skies” and on the live version of Red House from the San Diego Sports Arena in 1969. The article said that the new Killer Wah featured authentic 60's Wah circuitry. It was also said to be equipped with a hand wound halo inductor, which amazingly enough was wound with original ‘60s enameled wire. The article also said that it had two custom made silicon transistors, true bypass and an on/off LED indicator light.

The 'Manic Distortion' was promoted as a new version of the vintage 60's grey Superfuzz. This fuzz called Manic distortion also featured the authentic circuitry of the ‘60s, silicon transistors and octave/fuzz circuit, just like the ones the original Superfuzzes had in the late ‘60s. This fuzz also had true bypass, an on/off LED indicator light, volume and fuzz control and, what’s most interesting, a DCjack for 9v adapter, which was not included in the basic price, but could be ordered separately. The new Megavibe stereo was described as something really special. While the sound of uni-vibes on recordings such as Jimi Hendrix’s were really special, with two vibes on different channels having different speed and intensity, the true stereo Megavibe went a step further. In a single Megavibe, each channel was 180 degrees out of phase sound. It was also known as the ‘80s stereo sound. The new Megavibe was described as featuring two Megavibes in one unit. The guitar went into both Megavibes and each Megavibe had its own separate output and separate speed and intensity controls, which made it perfect for achieving high quality complex sounds.

Last but not least, the article on the website talked about the new Fuzzoid, which had been modeled after the very rare Baldwin Burns Buzz-Around fuzz. It featuref sustain that was able to control the amount of fuzz and the balance. Also, there was volume and tone control, a true bypass and a DC jack for 9v adapter.