Xotic Effects' Robotalk 2 is a pro-grade envelope filter.
Download Example 1 Strumming | |
Download Example 2 Picking | |
The Robotalk 2 envelope filter played through a humbucker equipped guitar in the bridge position (SD pickups). Moves from uneffected signal to Channel A engaged (Sensitivity at 12:30; Decay at 2:00), then to both Channel A and Channel B engaged (Sensitivity at 12:30, Decay at 8:30), and finally to Channel B alone. Recorded with a modded Epiphone Valve Jr. head and a Eminence 12" Red Fang speaker, through a Shure SM57 and ProSonus Audiobox interface into Cubase. No EQ adjustments; minor compression on the track. |
Debuting at this year’s NAMM show, the Robotalk 2 proves that Xotic has been listening to players, adding in features they want and cutting the rest. The Robotalk 2 refines and focuses the scope of the original version, adding another envelope filter channel and dispensing with the random arpeggiator function. Each channel features Sensitivity and Decay knobs located at the top of the box, along with Channel Volume and Resonance mini-knobs situated underneath. A Direct Volume mini-knob is shared by the two channels, and essentially functions as a Mix control (more on this in a moment).
Versatility is the name of the game here. While the Robotalk 2 doesn’t pack in any real surprises, envelope filter fans of all stripes should find something to like. For starters, the two channels are each distinctively voiced, giving players two different jumping-off points; the A Channel is more midrangey and a bit hotter, making it suitable for lead lines and notes higher up on the neck, while the B Channel dials down the midrange and the gain for chord work. If you’re still not digging the sound, four internal dip-switches allow you to lower the envelope frequency—I actually preferred this over the stock settings, as the Robotalk 2 became more round and vocal, and less nasal, but the point is that Xotic was wise enough to let you decide what works for you.
On the topside, the Sensitivity and Resonance controls work as you would expect, but the Decay and Direct Volume controls provide for some extended tone-shaping. The Decay knob in particular has an impressive range to it, allowing you to move from deep textures to sharp, percussive snaps. In fact, some of the coolest sounds in the Robotalk 2 actually came from setting the channels with opposing Decay settings and engaging them both at the same time; you get both percussive funkiness and slower wah-tones simultaneously. And while the true bypass Robotalk 2 resists imprinting itself upon your tone too heavily, the Direct Volume control allows you to tweak your dry/wet signal balance, so you can either go all filter or keep more of your instrument’s attack, so it isn’t washed away altogether.
To be honest, the only real complaints I had with the Robotalk 2 were on the surface level. While the pedal is built like a tank, the paint scheme has the dual distinction of being a bit bland and making the control labels difficult to read from a distance. And it could just be my Western left-to-right bias, but the fact that Channel A appears on the right side and Channel B on the left seems somewhat counter-intuitive. But that’s really personal preference and backseat design—if you could care less about being able to read your control labels, then the Robotalk 2 will serve you just fine.
The Final Mojo
Xotic’s Robotalk 2 will likely be a revelation for any player who has been searching for the perfect envelope filter—it can do subtle, it can do intense, and everything in-between without sacrificing nuance or control. At an MSRP of $280, the Robotalk 2 may look a little expensive in comparison to other popular filters, but if you’re tired of buying and selling pedal after pedal, this could be the one that ends your search.
Buy if...
you're looking for a pro-grade filter pedal that will cover all of your basses.
Skip if...
the envelope filter makes only a brief appearance on your set list.
Rating...
MSRP $280 - Xotic Effects - xotic.us |
The final day is here! Enter Stompboxtober Day 31 for your last chance to win today’s pedal from Keeley and finish the month strong!
Keeley Octa Psi Transfigurating Fuzz Pedal with Polyphonic Pitch Shifting
Meet the OCTA PSI Transfigurating Fuzz – The Ultimate Combination of Pitch-Shifter, Octave Generator, and Tri-Voiced Analog Fuzz! Key features include: Instant Effect Order Switching, Flexible Output Configuration, Momentary or Latching Octave/Pitch, and more! Each pitch shift mode includes an up, down, and dual setting, resulting in 24 different modes.
Does the guitar’s design encourage sonic exploration more than sight reading?
A popular song between 1910 and 1920 would usually sell millions of copies of sheet music annually. The world population was roughly 25 percent of what it is today, so imagine those sales would be four or five times larger in an alternate-reality 2024. My father is 88, but even with his generation, friends and family would routinely gather around a piano and play and sing their way through a stack of songbooks. (This still happens at my dad’s house every time I’m there.)
Back in their day, recordings of music were a way to promote sheet music. Labels released recordings only after sheet-music sales slowed down on a particular song. That means that until recently, a large section of society not only knew how to read music well, but they did it often—not as often as we stare at our phones, but it was a primary part of home entertainment. By today’s standards, written music feels like a dead language. Music is probably the most common language on Earth, yet I bet it has the highest illiteracy rate.
Developed specifically for Tyler Bryant, the Black Magick Reverb TB is the high-power version of Supro's flagship 1x12 combo amplifier.
At the heart of this all-tube amp is a matched pair of military-grade Sovtek 5881 power tubes configured to deliver 35-Watts of pure Class A power. In addition to the upgraded power section, the Black Magick Reverb TB also features a “bright cap” modification on Channel 1, providing extra sparkle and added versatility when blended with the original Black Magick preamp on Channel 2.
The two complementary channels are summed in parallel and fed into a 2-band EQ followed by tube-driven spring reverb and tremolo effects plus a master volume to tame the output as needed. This unique, signature variant of the Black Magick Reverb is dressed in elegant Black Scandia tolex and comes loaded with a custom-built Supro BD12 speaker made by Celestion.
Price: $1,699.
Kevin Shields of My Bloody Valentine is one of the loudest guitarists around. And he puts his volume to work creating mythical tones that have captured so many of our imaginations, including our special shoegaze correspondent, guitarist and pedal-maestro Andy Pitcher, who is our guest today.
My Bloody Valentine has a short discography made up of just a few albums and EPs that span decades. Meticulous as he seems to be, Shields creates texture out of his layers of tracks and loops and fuzz throughout, creating a music that needs to be felt as much as it needs to be heard.
We go to the ultimate source as Billy Corgan leaves us a message about how it felt to hear those sounds in the pre-internet days, when rather than pull up a YouTube clip, your imagination would have to guide you toward a tone.
But not everyone is an MBV fan, so this conversation is part superfan hype and part debate. We can all agree Kevin Shields is a guitarists you should know, but we can’t all agree what to do with that information.