Moog Music Labyrinth: Duophonic Patching Demystified

Moog introduces Labyrinth as a duophonic synthesizer, highlighting its ability to generate two independent melodic sequences from a single instrument. The video sets the stage by referencing Labyrinth’s dual sequencers, parallel signal paths, and two envelope generators—all essential ingredients for true duophonic operation.

This isn’t just a matter of stacking oscillators; the demo promises a methodical approach to splitting Labyrinth’s architecture into two distinct voices. By leveraging the instrument’s internal routing and patch bay, users are shown how to move beyond simple layering and into the realm of genuine counterpoint, where each voice can be programmed and articulated separately.

The demonstration begins with tuning both the main VCO and the modulation VCO to the same root note, ensuring harmonic cohesion between the two voices. The process involves zeroing out sequencer voltages and using the trigger button to audition both oscillators simultaneously, a practical touch for those who want tight intervals or octave relationships.

Once tuned, the patching gets more granular. The main VCO is routed through the wave folder, while the mod VCO is sent to the utility mixer (U MIX), where it can be blended with noise. This mixed signal is then patched into the filter, effectively creating two separate signal chains: one classic and folded, the other filtered and optionally noisy. The video makes clear that this setup is all about flexibility in timbral sculpting.

A key step in achieving true duophony is decoupling the two envelope generators. The video demonstrates patching sequencer 2’s trigger output to envelope generator 2’s trigger input, so that each sequencer independently controls its own envelope. This separation allows for distinct articulation and dynamics on each voice.

Further, EG1 is patched to control the VCA in the wave folder path, while EG2 governs the VCA in the filter path. This means each voice not only has its own melodic line but also its own amplitude contour, opening up nuanced phrasing and interplay between the two parts. The result is a setup where both voices can be played and shaped independently, yet still blend harmoniously.

The video closes by putting Labyrinth’s dual sequencers through their paces. By raising the CV range and amount on sequencer 2, a moving melodic line is introduced while sequencer 1 holds steady. This creates instant melodic counterpoint, with both lines locked to the same key thanks to shared tuning and quantization.

For those craving rhythmic complexity, the demonstration tweaks the length of sequencer 1 to generate polyrhythms—one sequence cycling against the other. Noise is folded into the second voice for added texture, and the result is a dynamic, evolving interplay that showcases the compositional potential of Labyrinth’s duophonic architecture. It’s a reminder that, in the right hands, two sequencers can sound like a small ensemble.