Moog — Labyrinth

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Moog Labyrinth User Manual (PDF)

Using Moog Labyrinth for Hyper-Complex, Polyrhythmic Percussion

1. Why Labyrinth?

Moog’s Labyrinth is an experimental semi-modular voice and generative sequencer designed for creative, evolving, and intricate pattern creation. With dual generative sequencers, extensive modulation, parallel/serial signal paths, and a uniquely punchy architecture (including VC wavefolder, VCF, and two analog oscillators), it's particularly suited for dense, rhythmically complex, percussive music.

2. Generating Dense Rhythmic Complexity

a. Dual Generative Sequencers: Polyrhythms & Poly-metric Patterns

• Independence: SEQ1 and SEQ2 each have 8 steps, independent length, and can be clocked separately (via external clocks to CLOCK 1 and CLOCK 2).
• Length & Shift: Set SEQ1 and SEQ2 to different lengths (e.g., 5 and 7 steps) to create polyrhythms and complex time signatures.
• Chains & Offsets: CHAIN SEQ links both sequencers for up to 16 steps. In polyrhythm mode, use write head offsets (see button combos) to further desynchronize sequences.
• External Clocks: Patch separate clock sources—e.g., from a Euclidean rhythm or random burst generator—to push the sequencers into interlocking, unusual grooves.

b. Corrupt—Evolving and Disrupting Patterns

• Use the CORRUPT knob to create morphing patterns: set “just above 12 o’clock” to evolve both voltage and rhythm, adding unpredictability and complexity.
• Save stable states with BUFFER; let sequences mutate, then recall for dramatic “glitch” or tension-release effects.

3. Percussive Sound Design Techniques

a. Parallel Voice Engine—VCW + VCF Signal Paths

• Wavefolder (VCW): Push VCW FOLD and experiment with asymmetry (VCW BIAS) for snappy clicks, metallic pings, or noisy analog transients.
  • Envelope Fast Decay: Route EG1 (fast decay) to VCW FOLD for punchy percussive attack.
  • Sequencer Modulation: Route SEQ1 CV to VCW FOLD for step-by-step brightness/drive modulation, making each hit distinct.
• VCF Path: Push resonance, and automate CUTOFF with SEQ2 or EG1 for dramatic, vowel-like filter percussion or “snare” sweeps.

b. Mixer Drive and Crossfading

• Overdrive the MIXER for saturation above 12 o’clock—adding punch and analog sizzle to every drum hit.
• Use BLEND or automate it (via panel, envelope, or CV) to dynamically crossfade between parallel and serial routing, or switch timbres in real-time for fills and unique accents.

c. Ring Modulation & Noise

• Mix in RINGMOD for metallic clangs or bell percussion.
• Carefully shape NOISE and use the tone control for hi-hats, shakers, or pronounced attack elements.
• Patch trigger out into VCO 1V/OCT for metallic hi-hats, as suggested in the “Spiral Enigma” preset.

4. Using the Utility Mixer (U MIX) and Patchbay for Further Complexity

• Submix oscillators and noise, or merge Labyrinth outputs with external triggers/CVs through the patchbay.
• Use BIT FLIP CV inputs to rhythmically turn individual sequencer steps on/off using external modulation—great for generative stutter or burst effects.
• Route EG2 or external envelopes to VCA CV for “choked” drum hits, dynamic accents, or staccato bursts.

5. Advanced Applications & Eurorack Integration

• Clock Inputs: Run SEQ1 and SEQ2 from different (or related but phase-shifted) clocks in your rack for advanced polymeters. Try Euclidean, triplet, or random clocks.
• MIDI Sync: Use MIDI clock or external drum sequencers to synchronize, then push or pull steps for off-kilter grooves.
• CV Outputs: Use SEQ1/SEQ2 CV out as pitch, modulation, or even cross-modulate percussion parameters in external modules for multi-layered drum machines.
• Envelope Outs: Use EG1 or EG2 outputs to externally trigger other percussive voices or effects in your system—locking multiple modules to Labyrinth’s generative patterns.

6. Patch Examples for Unique, Punchy, Percussive Use

Example 1: Polyrhythmic Metallic Kit

• SEQ1 length: 5. SEQ2 length: 7. Clocks: independent.
• MIXER: Overdrive both VCO and Ringmod.
• VCW FOLD modulated by EG1 (short decay, high modulation).
• BLEND automated by another fast LFO for rapidly shifting voicings.

Example 2: Mutating Glitch Drums

• CORRUPT full, SEQ2 triggers modulate Envelope Decay (EG2 via U MIX).
• Rout noisy signal to VCF→VCW order; modulate BLEND
• Patch BIT FLIP inputs to a burst generator for “random fill” glitch moments.

7. Tips for Extra Percussive Impact

• Patch fast, snappy external envelopes or LFOs to FOLD, VCF, VCAs.
• Experiment with high resonance and filter morphing for liquid-like, vocal drum timbres.
• Use the quantizer to lock sequences to non-standard scales for melodic drums.
• Modulate VCO pitch with per-step voltages for tonal drums and “melodic percussion.”

Reference: Moog Labyrinth Official Manual PDF

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