Moog Labyrinth

As Si Truss discovers, the US brand’s second semi-modular of the year has the makings of a West Coast-inspired, IDM powerhouse

CONTACT WHO: Moog WEB: moogmusic.comKEY FEATURES 2-oscillator analogue paraphonic synth with parallel wavefolder and low-pass filter with dual VCAs. Parallel 8-step randomisation-focused sequencer. 32-point patchbay with mixer/ attenuator utility

Just a few weeks after its last release, Spectravox, Moog’s latest instrument is another semi-modular addition to the US brand’s range that also includes the Mother-32, DFAM and Subharmonicon. Moog describes Labyrinth as a ‘parallel generative analogue synth’, a set of words that excites my inner Autechre fan, even if it’s not instantly obvious what they might mean combined.

In practice, the first two of those words refer to two distinctive elements of Labyrinth’s design – its unique dual-path synth engine, and its sequencer, which uses randomisation tools in order to create some unpredictable, polymetric patterns.

Let’s set those generative tools aside for a moment. While they’re undoubtedly an important part of its character, even divorced from these sequencing tools, Labyrinth is a fascinating and capable monosynth in its own right. The design here is based around two oscillators. The first is a simple sine wave VCO, while the second is a triangle wave generator labelled as a Mod VCO. The reason for this distinction is that the latter oscillator has an unusually broad operating range, from an audible 1.3kHz at the top end down to slow LFO speeds in its lower ranges. As a result it can function as both a sound and a modulation source.