GFI System pedals are designed and assembled in Indonesia by Henry Widjaja with help from a small team of engineers and techies, including his long-time friend Yonas Darja and Yonas’ brother Jesse.
GFI started out in 2010 designing and building analog pedals and began taking the plunge into the realm of digital design by 2013.
GFI’s goal is to market innovative and exciting products that capture the hearts and imaginations of guitar players and musicians for many years to come.
History (in Henry’s words)
Yonas and I were already toying with the idea of starting a guitar-oriented tech company while we were studying in the U.S. back in 2003. The two of us spent more time talking & obsessing about guitars, effects, and music than we did studying for our exams!
My major was Electrical Engineering with specialization in Signal Processing, and my hobby was tearing pedals apart to learn how they worked – this combination was essential to forming my knowledge base of how sound was created.
However, our idea for an audio company took a back seat after graduation. We went back to Indonesia, worked 9-to-5 jobs and started families of our own. I went to work for an engineering company and then moved on to teach electrical engineering at a university. All along, our little dream never left my mind; I still loved to tinker with pedals & electronics.
While I've enjoyed working in an academic environment, I soon realized that I enjoyed my other activity much more, and so I took the plunge! I quit my job, bought an oscilloscope, a soldering station, a drill press, a big desk, and a whole bunch of parts – and thus GFI System was born.
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SPECULAR REVERB V2$329.00
***OUT OF STOCK - EMAIL US TO GET ON THE WAITING LIST!***
video playlistMike Hermans
- Pristine reverbs in an extremely compact pedal
- Fully programmable: 8 (4 x 2) presets
- Stereo inputs and outputs
- 1 Normal reverb + 6 Atmospheric reverbs (Modulated, Shimmer, Echo, Tremble, Voices, Infinity)
- Reverb trails
- 24-bit signal processing
- Analog dry-thru
- Buffered Bypass Switching for the most transparent sound possible
- Soft-touch, clickless footswitches
"I listened in awe as every tiny micro touch of string speak and picking nuance blossomed out into little fluffy clouds of dissipating beauties." - Fletcher Stewart (Tone Report Weekly)
"It's such an amazing Reverb. Shimmer is the best I've tried. I love the basic reverb. Infinite is awesome. Everything!" - Mike Hermans
"The pedal sounds huuuuuuge - I am blown away and I don’t say this very often!" - Dennis Kayzer
Concept: The Specular Reverb v.2 offers one normal reverb mode plus six atmospheric reverb modes. Each one of the six atmospheric modes (Modulated, Shimmer, Echo, Tremble, Voices, and Infinity) has the same basic character as the normal reverb mode, whilst adding its own unique twist. This is the core concept of the pedal: one great sounding reverb and the ability to add unique atmospheres on the fly.
Presets: You can save up to 8 presets; no more knob-tweaking during live performances.
Stereo I/O: A reverb effect processor sounds significantly better in stereo, period.
Reverb Trails: As the pedal is bypassed, the reverb tail is not abruptly cut off; instead it decays naturally. The reverb trails feature will also work when changing presets, as long as your presets are all in the same reverb mode setting.
Auto Intensity Sweep: When you engage this feature, the parameter controlled by the Intensity knob is slowly swept to the maximum value, held there, and then swept back to the original setting. Used judiciously, this feature can introduce dynamic elements to the soundscape (watch the demo videos to see it in action).
Analog Dry-thru: Dry signal is routed through a 100% analog circuit path; no sterile-sounding digital converters or annoying lag times.
Small form factor: The Specular Reverb measures 12 x 6.5 (cm) or 4.7 x 2.5 (inch); an extremely compact footprint considering the unit’s advanced feature set.
This is the “mother” reverb whose basic character is shared by all modes in this pedal. The design is influenced more by psychoacoustic principles rather than geometric representation (room, hall, chamber, etc.). The overall goal was to have a reverb that sounds great over the whole span of Decay settings - this yields a versatile reverb that can be used to achieve anything from subtle ambience, medium sized room, all the way to very large majestic spaces with seemingly endless reverb tails.
This mode adds modulation to the late reverberation. As the Intensity knob is turned clockwise, both depth and intensity increases; approaching the maximum position will yield a strange yet beautiful swirling resonance.
This mode adds regenerative octave components onto the reverberation. The harmonized decay emulates the presence of multiple string pads accompanying your instrument. Used together with a volume pedal this atmospheric mode can work magic!
This mode is unique compared to the other atmospheres in the sense that it’s not “reverb with echoes added in” but rather, it’s a “reverberated echo.” The effect that is in focus here is the echo, with reverb being the additive component.
This mode adds amplitude modulation (tremolo) to the reverb. Since the tremolo is applied only to the reverb, the dry signal remains strong and clear. The result is a very interesting pulsating ambience that injects rhythms to the standard reverb sound. The speed and depth of the tremolo effect are adjustable via the “Damping” and “Intensity” controls.
This mode adds a pitch-shifted secondary voice on top of the late reverberation. There are three interval choices: Unison (no shift), Perfect Fifth (7 semitones), and Octave (12 semitones). The Intensity knob is partitioned into 3 regions; each region represents one of these three distinct voices.
This mode captures a brief snapshot of the sound being played, and allows it to be held indefinitely and played over (with reverberation). Later on, the sustained sound can be faded out, and a new one can be faded in. The intensity and tonality of the infinitely-sustained section of sound can also be adjusted independently of the reverb; this allows for massive flexibility when sculpting the background ambient track.