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Effects - Bill Lawrence Pickups - Dwarfcraft Devices - Laney - Abasi Concepts

Effects - Bill Lawrence Pickups - Dwarfcraft Devices - Laney - Abasi Concepts

Laney Amplification began in 1967 when Lyndon Laney, whilst playing in a local band, “The Band of Joy“ with John Bonham on drums and Robert Plant on vocals, turned his musical interest into amplifier construction. Initially working in his father’s garage. Lyndon Laney sought to design and build amplifiers with key “tonal” characteristics that were unheard of at the time.

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  1. Dwarfcraft Devices The Great Destroyer Rhythmic Oscillation / Industrial Fuzz Guitar Effects Pedal

    Is it a fuzz pedal? Is it an instrument? Is it a rogue angel bent on audio revenge? Rhythmic oscillation and industrial fuzz in a true bypass package.  Our flagship is still out there blasting away at the forces of evil (AKA boredom.)If you're looking to get freaky, look no further.The Great Destroyer has found it’s way into the hands of
  2. Dwarfcraft Devices ARF - Attack, Release, Filter Guitar Effects Pedal

    ARF stands for Attack, Release, Filter. This is pedal comes filled with good synthy goodness! The Attack/Release envelope's range is determined by the knobs on the face, while the activation of the envelop and the duration of the sustained peak are controlled by a foot switch or CV gate signal. This means much greater control than typical "envelop
  3. Dwarfcraft Devices PitchGrinder Pitch Shifter Guitar Effects Pedal

    Oh, oh, here she comes. She’s a man eater. Actually, she’s a sequenced pitch shifter called Pitch Grinder. Our first foray into the digital realm, the PG smashes your signal down into 8 bits of mayhem, and then tosses them up and down in pitch, in intervals of your choosing. The Pitchgrinder is ready for action! We have eight tunable
  4. Dwarfcraft Devices Silver Rose V2 Fuzz Guitar Effects Pedal

    THE SILVER ROSE! Never has drama sounded so good. Classic rock - YES. 90’s garage rock - YES. Turn up the Super Fuzz side with a medium gain setting, dial in the bias for maximum sustain and let the power chords ring out. Turn up the gain and twist the bias to squeeze that signal down to a compressed electronic wave for single string leads a
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