I’ve been messing around with synthesizers long enough to remember Moog products before Eurorack existed, and I recall how strange it was when Moog transitioned to the Eurorack format. It was similar to moments like when Electro-Harmonix shifted to the 9V DC/tip-negative format that Boss standardized, or when Apple finally moved to USB-C—remarkable, but we all knew it was inevitable. And it made for a better world.
So it’s been about ten years, and throughout this time, Moog has applied the synthesis technology they pioneered fifty years ago in various ways to the Eurorack format and some, like the DFAM, have brought to life new elements and have even become iconic. But none of them have quite broken the mold in the way the Labyrinth does, an instrument that deliberately steers away from Moog’s established design paradigms.
On the surface, it's a familiar Moog format: a semi-modular synthesizer in a 60hp Eurorack-compatible chassis, sharing physical characteristics with earlier instruments like the Mother-32, including a patch bay, mirror-top knobs, and wooden side panels. However, looking deeper, Labyrinth expands on Moog’s traditional architecture.
Moog describes this synth as a “parallel generative analog synthesizer.” At its core is a distinctive generative sequencer, an element that sets it apart and makes it both engaging and inspiring. Generative synthesis has become a buzzword lately, with tons of products entering the space, yet few truly address the question: How can you create something compelling without a traditional sequencer? Something that incorporates randomness without actually sounding random?
Labyrinth solves this puzzle and achieves its generative magic through a dual 8-step sequencer that creates evolving patterns and melodies and each sequence can be allowed to evolve using the Corrupt control, which determines how much a pattern changes with each cycle. While the sequencer is influenced by the user, it doesn't function like a traditional step sequencer; instead, interaction comes via the Bit Flip function, which allows you to toggle active steps—green for on, red for off. You can further interact with the sequencer via the CV Range controls for Seq1 and Seq2 to adjust the pitch range.
Pressing the Run button initiates a melody based on one of fifteen selectable musical scales. As the sequence runs, it evolves in real time. Users can flip bits, change the pattern length, and save a pattern when it lands in a sweet spot. Rhythmically, you can define where each step starts, adjust step length, or chain the two sequencers to create up to 16 steps.
Saving a sequence is as easy as holding down the Buffer button and if you want to return to that saved state mid-jam, you just tap Buffer again. The EG Trig Mix lets you dial in how much of each sequence is present (more on this later), while the patchbay offers full access to individual outputs of the sequences, enabling integration with other modular gear. I had a blast sending sequences to other synths and layering them with the Labyrinth.
The tempo is adjustable via the Tempo knob, which controls the internal clock for both sequencers, and alternatively, Seq1 and Seq2 can each be clocked externally through dedicated Clock 1 and Clock 2 inputs on the patchbay.
At the core of Labyrinth’s sound engine are two oscillators: VCO Frequency and Mod VCO Frequency. This setup nods to the Buchla 208C, where the VCO Frequency acts as the main oscillator covering the full audible range, while the Mod VCO Frequency is primarily intended as an LFO. However, the Mod VCO can also reach into the audible range, making it useful for low-frequency melodies or percussive sounds. Both oscillators can be modulated via EG1 or a sequence and things can get even more interesting when you bring in the Ring Mod output and the MOD-VCO FM AMT control, which unlocks more complex and harmonically rich tones. There's also a variable-tone noise generator. All of these sound sources—both oscillators, the ring mod, and the noise generator—are then summed in the Labyrinth’s mixer.
Next in the signal chain are the VCW (Voltage Controlled Wavefolder) and VCF. You can arrange them in different ways, either placing the VCF before the VCW or vice versa and they can also be run in parallel, with each path independently controlled via knobs or CV. You can then blend the output of each path to shape how much of each signal reaches the final mix.
The VCW is a new addition to Moog nomenclature, and it features two main controls: Fold and Bias. While simple on the surface, these parameters allow for the creation of rich, resonant, and harmonically complex textures. The VCF is a 2-pole state-variable filter that also includes Cutoff and Resonance knobs, and enables smooth crossfading between lowpass and bandpass modes using the Filter Mode control. Of these, VCF Cutoff is the only one that accepts CV input, and you can also modulate the cutoff using EG1 CV or SEQ2. Similarly, the VCW Fold control can be modulated by EG1 CV or SEQ1, offering dynamic, evolving timbres over time.
U Mix is a utility mixer allowing the creation of a submix with use of the patchbay and you're able to send separate audio to the VCW path, or even separate the two oscillators into two separate signal paths for a duophonic instrument.
The only traditional envelope control on the Labyrinth is decay, but there’s another unique feature that adds depth to the envelope section, the EG Trig Mix. This clever and deceptively simple control introduces a creative and complex layer to how the synth handles rhythm. The manual describes EG Trig Mix as a “rhythmic balance control, determining which stream of triggers is sent to the envelope generators.” It goes on to explain that it really shines when you're working with sequences of different rhythms or lengths, and this is indeed true. Functionally, EG Trig Mix blends between the triggers of SEQ1 and SEQ2, adding to the magic randomness of the Labyrinth and blurring the lines between sequencer and synth functions.
One of my favorite ways to use it is to keep EG Trig Mix set to SEQ1 while running a steady arpeggiated pattern or groove, then occasionally shift it toward SEQ2 every few phrases with an evolving pattern. The result is an always-changing line that feels random, yet controlled.
Labyrinth's patch bay is pretty standard fare for Moog and provides a wide array of access points for patching, making it easy to unlock new creative possibilities through experimentation. A couple of ways I’ve found it especially useful is by sending the Mod VCO out to the BIT FLIP CV input to toggle sequencer bits on and off, and routing external audio into the system to blend with the Labyrinth.
This brings me to my favorite way to use the Labyrinth: pairing it with a drone synth, in my case the SOMA Lyra 8. Drone instruments complement the Labyrinth beautifully, with the drones providing rich, resonant pads as a sonic bed, while the Labyrinth shapes rhythmic patterns and beat-driven motifs on top.
Routing the drones directly into the Labyrinth, you can manipulate it via CV across multiple parameters. Adding analog delay and reverb into the mix, and you’ve got everything you need to craft sharp, striking, and immersive soundscapes.
Labyrinth is a refreshing evolution of Moog’s legacy, blending tradition with innovation in their Eurorack-friendly format. Its generative sequencer balances randomness and control, while the unique envelope tools enhance its rhythmic possibilities. With its versatile signal path, wavefolding, and rich patch bay, Labyrinth invites endless sonic exploration, whether you're working within its own system or integrating external sources. When paired with ambient drone synths or modular gear, the Labyrinth shines as both a rhythm generator and a textural sculptor.
Price: $599

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