Moog Labyrinth Review: A New Way to Sequence

I like the sound of a classic Moog as a lot as anybody, however I believe its most fascinating present devices are its lineup of desktop semi-modular synths. The Mother-32, DFAM, Subharmonicon, and Spectravox typically embody some conventional Moog DNA however with a extra experimental method. They’re designed to be explored and prodded, not simply performed. The Labyrinth is not any completely different. In some methods it is likely to be probably the most un-Moog synth the corporate has ever made. That’s additionally what makes it so thrilling.

Labyrinth is constructed round an eight-step, two-track generative sequencer, which means you don’t program it manually. As an alternative, you place some information rails up, and the machine does the remaining. You may decide a scale, inform it what number of octaves to cowl, activate and off steps, and resolve the observe size, however the precise be aware choice is completed semi-randomly.

The 2 sequencer tracks run in parallel and, if you happen to set them to completely different lengths (say one the total eight steps and the opposite 5), you’ll be able to create melodies that change as they fall out and in of sync. There may be additionally a “corrupt” knob subsequent to the 2 sequencer tracks which you’ll be able to flip to introduce much more randomness. This makes the Labyrinth a superb happy-accident machine.

Stepping Out

The Labyrinth is definitely a really succesful efficiency instrument, regardless of the audible chaos. As a result of you’ll be able to power the sequencer to stay to a specific scale and sync it to different gear through MIDI or analog clock, you may make it match seamlessly within the confines of a tune. Plus, if you happen to do stumble throughout one thing you want, you’ll be able to maintain down the buffer button to avoid wasting the sequence precisely as is. This then provides you the chance to experiment by shifting bits (steps within the sequencer) round and turning up the corruption, figuring out you’ll be able to come again to that comfortable accident you stumbled upon simply by tapping buffer once more. This may make Labyrinth a useful improvisation instrument.

Maybe probably the most stunning factor about Labyrinth is that it utterly chucks the acquainted Moog oscillator and filter setup. As an alternative of the standard sq. and noticed wave you’d discover on most different Moog devices, the Labyrinth has a single sine oscillator and a single triangle oscillator. This implies the core sound of Labyrinth is rather more mellow and fewer sharp-edged than your typical Moog. Besides that there’s a wave folder and a hoop modulation circuit which may add some admirable roughness. You may even get some metallic clangs if you happen to crank the FM (frequency modulation) knob. In some way the Labyrinth is each softer and extra abrasive than most different Moog synths.

Issues don’t get any extra acquainted whenever you transfer to the filter part. As an alternative of that iconic Moog 24 dB/Octave lowpass filter (typically additionally known as the ladder filter), the Labyrinth has a 2-pole state variable filter that easily blends from lowpass to bandpass. Whereas it’s able to delivering some heat lows, it’s actually at its finest when the resonance is cranked to create percussive thumps or high-pitched plucks.

{Photograph}: Terrence O’Brien

New Sonic Territory

If it wasn’t clear but: If you’d like that classic raw Moog synth sound, don’t get the Labyrinth.

The one situation is that, for all its dabbling in sonic territory that’s unfamiliar to Moog, the Labyrinth can sound somewhat flat by itself, particularly within the larger registers. There are many synths that want somewhat help from some delay or reverb to actually shine, in order that’s hardly a deal-breaker right here. However the uncooked sound from the Labyrinth positively had me grimacing now and again.

When you’re in any respect aware of the world of synthesizers then the phrases generative and modular positively conjure up pictures of Eurorack circumstances bursting with cables sitting sandwiched between succulents in entrance of a rain-streaked window as vaguely shapeless melodies meander via the air. Don’t get me mistaken, the Labyrinth can ship bleeps and bloops with the perfect of ’em, however a part of its enchantment is how far past these limits it could actually attain. It is able to delivering techno kick grooves, snappy snares rolls, sharp bass arpeggios, and apocalyptic tom marches. The one factor it could actually’t actually do is longer pads, since there isn’t a assault management.