Moog Music today officially introduced the Labyrinth, the latest in their line of all-in-one semi-modular analog synthesizers.
Like the Mother-32, DFAM, Subharmonicon & Spectravox, the Moog Labyrinth can be used as a standalone synth module, or integrated into larger Eurorack modular systems.
Labyrinth combines a newly designed voltage-controlled wavefolder with a state-variable filter, allowing for both additive and subtractive synthesis. This approach enables users to create rich, evolving textures and dynamic sequences. The dual sequencers, inspired by shift register sequences commonly found in Eurorack systems, offer flexible control over melodic and rhythmic patterns.
“Labyrinth is designed to be an engine of sonic exploration. It allows users to create evolving sequences and rich timbres. It’s like having a compositional companion that navigates through a labyrinth of sound, constantly reconfiguring and surprising you with new sonic landscapes,” says Moog’s Rick Carl, System Architect and Lead Hardware Engineer on Labyrinth.
Here’s what they have to say about it:
“Departing from traditional Moog instruments, Labyrinth introduces a new voice architecture with unique oscillators, a different filter topology, wavefolding, and parallel processing. This innovative design also features unique dual intertwining generative sequencers to help inspire new compositional ideas.
As part of Moog’s semi-modular family, Labyrinth stands out as a unique tool for auditory exploration. Its dual generative sequencers and parallel voice architecture enable the creation of evolving soundscapes and intricate polymetric melodies. More than just an instrument, Labyrinth is an idea machine, offering limitless sonic potential that adapts to both live performances and studio sessions.
In a compact 60HP format, Labyrinth excels both as a standalone synthesizer and an integral part of larger Eurorack setups. Its flexible architecture allows musicians to add color and depth to any musical arrangement, from ambient soundscapes to dynamic rhythmic patterns. The instrument’s patch bay facilitates extensive modulation and connectivity with other modular gear, making it a versatile addition to any setup.”
Features:
- Dual Generative Sequencers: Construct intertwining melodies and rhythms that mutate over time, uncovering new patterns and textures.
- Parallel Voice Architecture: Features a combination of a voltage-controlled wavefolder and a state-variable filter for complex sound shaping.
- Comprehensive Patch Bay: 32 patch points for extensive modulation and routing options.
- Analog and MIDI Sync: Easily sync Labyrinth with other equipment using analog clock or MIDI.
Pricing and Availability:
The Moog Labyrinth is now available for 599 USD.
This looks and sounds really cool.
I’d like to hear some more exploration of this as just a synth, because it seems like it’s got some unique features that other Moog synths don’t have, but G.A.S. is already kicking in!
How long until Uli introduces the ‘Babyrinth’? And will it be international orange?
They’ve still got the Behrivox to announce. But you know it’s coming!
Who cares.
Well said
Why do we have to have someone who brings up Uli on every single synth adjacent thread on the internet.
Because it’s comical how Behringer knocks off everything, and how the fanboys get upset if you actually say that!
And, since Behringer has already made copies of the Mother-32, the DFAM & the Subharmonicon, my previous comment is a valid question.
Seriously, its pretty tired and annoying noise at this point
Because the company has already copied the Minimoog, Grandmother, Taurus, Subharmonicon, Mother-32 and various classic modules.
There’s nothing laudible about a massive Chinese company (with HQ in Dubai) that copies popular products from legitimate manufacturers.
About what Chinese company are you talking about?
B-word’s HQ is in Germany, while their parent company has their HQ in the Philippines.
their angry that behringer synths sells like hot cakes
Where is it made? Anyone know yet?
Exactly the sort of comment that made me buy some “Made in Asheville” units to dump in storage and sell in a decade or so. Concerning quality, it really doesn’t matter where they’re made. But there’s plenty of stupid people out there who are thieves of their own wallet… Who can be used to pay me a few vacations.
People don’t seem to understand that the work that was done in Asheville on these Euro synths was literally screwing the PCB into a case, putting the knobs on, and calibrating the synth, as needed.
No slight intended against the Asheville assemblers, but anybody thinking that the quality is going to go down because this work got moved overseas is really confused.
An interesting bit of gear no doubt
But that had to one of the most ham fisted marketing deployments I’ve ever seen for a synth
After watching that whole video, I have no fing clue what sounds this thing actually makes.
Hi. Maybe give Mylarmelodies video a watch, that should help clear up what it sounds like. https://youtu.be/6R-lrduH2pM?feature=shared
This looks like fun while showcasing that there are still new ways to pack the same 4 or 5 inventions from 50 or more years ago into a new box. We need new methods of synthesis desperately.
There is a gaping hole in the current product offerings, waiting for a person bring some real innovation.
I think we need innovative mueicians a lot more than innovating gear. The latter has made many lazy, because the former is too much of a hassle. Almost everyone is s sound designer these days, because of this dead-end trend.
We have so many new approaches to synthesis that it boggles my mind.
And we’ve got better synths available, cheaper, than ever before, too.
If you don’t think there are great innovative synths getting introduced these days, you’re not paying attention.
FWIW – the Labyrinth looks like the most original monosynth that Moog has done in a decade. Moog’s most innovative synth, though, is probably Animoog.