I really like the sound of a basic Moog as a lot as anybody, however I feel its most fascinating present devices are its lineup of desktop semi-modular synths. The Mom-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 isn’t any totally different. In some methods it could be 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 place some information rails up, and the machine does the remainder. You may choose a scale, inform it what number of octaves to cowl, activate and off steps, and determine the observe size, however the precise observe choice is finished semi-randomly.
The 2 sequencer tracks run in parallel and, if you happen to set them to totally different lengths (say one the total eight steps and the opposite 5), you may 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 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 may power the sequencer to stay to a specific scale and sync it to different gear by way of MIDI or analog clock, you may make it match seamlessly within the confines of a music. Plus, if you happen to do stumble throughout one thing you want, you may 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, understanding you may come again to that comfortable accident you stumbled upon simply by tapping buffer once more. This could make Labyrinth a precious improvisation software.
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 far 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. One way or the other the Labyrinth is each softer and extra abrasive than most different Moog synths.
Issues don’t get any extra acquainted if 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 need that basic uncooked Moog synth sound, don’t get the Labyrinth.
The one subject 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 undoubtedly had me grimacing occasionally.
When you’re in any respect accustomed to the world of synthesizers then the phrases generative and modular undoubtedly conjure up photos of Eurorack instances bursting with cables sitting sandwiched between succulents in entrance of a rain-streaked window as vaguely shapeless melodies meander by way of the air. Don’t get me incorrect, 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 well attain. It is able to delivering techno kick grooves, snappy snares rolls, sharp bass arpeggios, and apocalyptic tom marches. The one factor it may well’t actually do is longer pads, since there isn’t any assault management.
