Moog Music Labyrinth: Sequencers in Conversation

Moog Music introduces Labyrinth as a synthesizer built for those who see sequencing as more than just a linear affair. The video wastes no time in highlighting the dual sequencer architecture, positioning Labyrinth as a tool for interactive music creation rather than mere playback. The focus is on how Sequencer 1 and Sequencer 2 can be made to interact, setting the stage for a patching journey that’s as much about exploration as it is about control.

From the outset, the demo makes it clear that Labyrinth is designed for experimentation. The main VCO is routed through the wave folder and filter, with modulation duties handled by the mod VCO. This setup is not just about classic synth tones—it’s about how modulation and sequencing can be intertwined, hinting at the module’s potential for complex, evolving soundscapes. The approach feels very much in line with Moog’s tradition of encouraging users to think beyond the obvious signal paths.

The heart of Labyrinth’s flexibility lies in its patch bay, and the video gives the U MIX utility mixer a starring role. By routing Sequencer 1’s CV through the UMix 2 input and blending in envelope modulation via UMix 1, the demonstrator shows how control signals can be sculpted and combined before they ever reach the filter. This isn’t just about stacking voltages—it’s about crafting nuanced, dynamic modulation sources that respond to both sequencer and envelope activity.

The UMix circuit’s design allows for unity gain mixing on one input and level-controlled blending on the other, giving users fine control over how much of each signal shapes the destination. The demo underscores how this approach lets you replace or supplement normalled modulations, opening up a world of subtle or drastic timbral shifts. It’s a classic modular trick, but seeing it integrated so seamlessly into Labyrinth’s workflow is a nod to Moog’s attention to real-world patching needs.

One of the video’s standout moments is the demonstration of polymetric sequencing, where Sequencer 2 is set to seven steps while Sequencer 1 runs its own course. This creates a shifting relationship between the two, with Sequencer 2 advancing out of phase and influencing Sequencer 1’s gates in a way that ensures no two loops are quite the same. The result is a sequence that feels alive—constantly evolving as the two sequencers interact.

The patching trick involves using Sequencer 2’s trigger output to flip bits on Sequencer 1, effectively allowing one sequencer to rewrite the other’s gate pattern on each pass. Because each gate flip assigns a random pitch (governed by the current quantizer setting), the melodic content morphs in unexpected ways. The video illustrates this with a simple example—one bit flip at a time—before ramping up the complexity by activating additional bits on Sequencer 2.

As more bits are engaged, the interplay becomes richer, with Sequencer 2 essentially taking the reins and composing on behalf of Sequencer 1. The evolving patterns are not just mathematically interesting; they’re musically compelling, offering a taste of generative composition without the need for external random sources. It’s a clever use of internal logic that rewards those willing to let go of total control.

The CORRUPT control is where Labyrinth’s generative side truly comes to the fore. By increasing the CORRUPT parameter past 50%, Sequencer 2 begins to rewrite its own gates, introducing another layer of unpredictability. Yet, even in this mode, any active gate on Sequencer 2 continues to flip bits on Sequencer 1, ensuring the two remain in a dynamic, evolving relationship.

This approach yields sequences that are genuinely unpredictable, with gate distributions and melodic content shifting in real time. The video makes it clear that, while you can push things into chaotic territory, the results remain musically coherent—perfect for those seeking inspiration or happy accidents in their modular workflow.