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I like the sound of a classic Moog as a lot as anybody, however I feel its most attention-grabbing 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 strategy. They’re designed to be explored and prodded, not simply performed. The Labyrinth isn’t any completely different. In some methods it is perhaps essentially 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, that means you don’t program it manually. As a substitute, you set some information rails up, and the machine does the remainder. You’ll be able to choose a scale, inform it what number of octaves to cowl, activate and off steps, and resolve the observe size, however the precise word choice is completed semi-randomly.
The 2 sequencer tracks run in parallel and, when you set them to completely different lengths (say one the complete 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 flip to introduce much more randomness. This makes the Labyrinth a wonderful happy-accident machine.
{Photograph}: Terrence O’Brien
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 pressure the sequencer to stay to a specific scale and sync it to different gear through MIDI or analog clock, you can also make it match seamlessly within the confines of a music. Plus, when you 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 offers 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 pleased accident you stumbled upon simply by tapping buffer once more. This will make Labyrinth a precious improvisation device.
Maybe essentially the most shocking factor about Labyrinth is that it utterly chucks the acquainted Moog oscillator and filter setup. As a substitute 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 might add some admirable roughness. You’ll be able to even get some metallic clangs when you crank the FM (frequency modulation) knob. Someway the Labyrinth is each softer and extra abrasive than most different Moog synths.
Issues don’t get any extra acquainted once you transfer to the filter part. As a substitute 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 difficulty is that, for all its dabbling in sonic territory that’s unfamiliar to Moog, the Labyrinth can sound a bit flat by itself, particularly within the greater registers. There are many synths that want a bit 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 occasionally.
If you happen to’re in any respect aware of the world of synthesizers then the phrases generative and modular positively conjure up photos 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 unsuitable, the Labyrinth can ship bleeps and bloops with one of the best of ’em, however a part of its attraction is how far past these limits it may attain. It is able to delivering techno kick grooves, snappy snares rolls, sharp bass arpeggios, and apocalyptic tom marches. The one factor it may’t actually do is longer pads, since there isn’t a assault management.
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