{"id":11937,"date":"2024-07-19T14:35:48","date_gmt":"2024-07-19T14:35:48","guid":{"rendered":"https:\/\/topat10.com\/?p=11937"},"modified":"2024-07-19T14:35:48","modified_gmt":"2024-07-19T14:35:48","slug":"moog-labyrinth-review-a-new-way-to-sequence","status":"publish","type":"post","link":"https:\/\/topat10.com\/?p=11937","title":{"rendered":"Moog Labyrinth Review: A New Way to Sequence"},"content":{"rendered":"


\n<\/p>\n

\n

I love the<\/span> sound of a classic Moog<\/a> as much as anyone, but I think its most interesting current instruments are its lineup of desktop semi-modular synths. The Mother-32, DFAM, Subharmonicon, and Spectravox<\/a> often include some traditional Moog DNA but with a more experimental approach. They\u2019re designed to be explored and prodded, not just played. The Labyrinth is no different. In some ways it might be the most un-Moog synth the company has ever made. That\u2019s also what makes it so exciting.<\/p>\n

Labyrinth is built around an eight-step, two-track generative sequencer, meaning you don\u2019t program it manually. Instead, you put some guide rails up, and the machine does the rest. You can pick a scale, tell it how many octaves to cover, turn on and off steps, and decide the track length, but the actual note selection is done semi-randomly.<\/p>\n

The two sequencer tracks run in parallel and, if you set them to different lengths (say one the full eight steps and the other five), you can create melodies that change as they fall in and out of sync. There is also a \u201ccorrupt\u201d knob next to the two sequencer tracks which you can turn to introduce even more randomness. This makes the Labyrinth an excellent happy-accident machine.<\/p>\n

<\/p>\n

\n