Moog Labyrinth - initial thoughts

The Moog Labyrinth is a unique parallel generative analog synthesizer and idea machine, blending East Coast (Moog) and West Coast (Buchla-esque) synthesis with two intertwining, evolving 8-step generative sequencers that create polymetric melodies and textures. 

It features decay-only envelopes, a state-variable filter, wavefolding, and parallel signal paths, designed to add unique soundscapes, rhythm, or color to a studio setup, either standalone or within a Eurorack system.  

There are two sequencers, and two sound paths letting you layer sounds.

The wavefolder is a Buchla thing. The filter is very East Coast Moog.

The 2 pole State-Variable Filter is interesting. I think its a new Moog design that blends between low-pass and band-pass, without self-oscillation. 

The sound sources involve two VCOs ... the top produces a sine wave (the main audio).

the lower VCO is mainly for modulation and produces a triangle wave.... its tunes to a lower frequency than the upper oscillator. 

(Its a interesting choice of waveforms ... there are no saw, square or pulse waves on this synth).

This vco  (FM) cross modulation is a common Buchla idea. The 158 for example used a saw-sine waveform

The audio signal passes through a mixer & noise source.

There are level (LVL) controls for each VCO & noise.

The noise has a tone control

There is also a ring-mod level control which controls the loudness

of the ring-modulated product of the two oscillators.

After the mixer, the signal passes to a filter and a wavefolder.

This can be both (parallel) or either.

The Buchla inspired voltage controlled wavefolder (VCW) is a diode-transistor circuit.

It has two parts: VCW Fold & Bias.

VCW sets the amount of wavefolding.

"Normally, when the gain of an input signal exceeds the headroom of a circuit, the tops and bottoms of the waveform are clipped off, causing distortion (such as in the Labyrinth MIXER). A wavefolder, however, folds the sections of the signal exceeding the floor/ceiling back in on the signal itself, creating new harmonics in the process"

(official manual)

The bias applies a DC voltage offset (achieving asymmetrical folding) to the signal entering the wave folder to emphasize even or odd harmonics.

The wavefolder an be modulated by EG1, SEQ1 & BIAS

These are the patches that came with the synth. A great way to start exploring.

These are just quick lo-fi recordings using my phone mic.

Instant techno drums

Myriads of Ivy

Polymetric Parallel voices

Moog modular - Friday night Jam

 A impromptu jam last might. 

My mate Ed and I decided to play with the old Moog.

This hasn't been used in a while so it was good to see most things worked.

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The old VCOs drifted a lot so it was a battle to keep things in tune.

This is the old moog:

Who's the girl (playing that 1960ish Moog Modular)?

Above are some Synthesizer.com sequencers / modules

and other misc 5U modules

Patch notes:

The two 960 sequencers are synced.

The right is the master.

They control various filters, VCAs etc of Moog 

I'm using one sequential switch to add variation to the sequences

Its triggered from the 1st 960 and the Klee 

-------------------------

Two Q960 sequencers can be synchronized or used independently to create complex sequences. They can be patched together to create longer sequences, or one can be used to modulate parameters of the other. 

Here's a more detailed explanation:

1. Synchronization: 

To run two Q960 sequencers at the same speed, the clock output of the first sequencer can be patched into the shift input of the second.

Ie; Use the osc of the 1st sequencer to shift the osc of the second sequencer.

To create a slower tempo on the second sequencer, you can use a clock divider (like the Q962) to reduce the clock speed before patching it into the second sequencer.

2. Creating Longer Sequences:

By patching the step output trigger from the first sequencer into the shift input of the second, you can create sequences that are multiples of the original length. 

For example, chaining two 8-step sequencers in this way can create a 16-step sequence, or even a 24-step sequence by using the three rows of the Q960 

3. Independent Use and Modulation:

One Q960 can be used to transpose the sequence of the other, by patching the first sequencer's step output to the second sequencer's shift input and using its CV output. 

You can also use one sequencer's CV output as a modulation source for another, controlling parameters like filter cutoff or VCA. 

One sequencer can control the gate of another to create rests or shorter phrases within a longer sequence. 

4. Additional Tips:

The Q960 has a reset input, and the reset can be triggered at any point in the sequence, allowing for complex rhythmic patterns. 

The Q962 sequential switch can be used for various purposes, including dividing the clock, muting sounds, and controlling the sequence direction.

Q162 - sequential switch used as a Clock divider module

 The Q962 is a specific type of clock divider, likely a module within a modular synthesizer system.

 It's designed to take an incoming clock signal and produce a series of divided clock signals, meaning the output clock pulses occur at a slower rate than the input. This is useful for creating rhythmic variations and controlling other modules with different timing relationships. 

manual

https://shop.synthesizers.com/cdn/shop/files/q962data.pdf?v=14249181206263548610

Here's how a clock divider like the Q962 might be used:

1. Basic Division:

Connect the incoming clock signal to the input of the Q962.

Each output of the Q962 will provide a clock signal divided by a specific factor (e.g., /2, /4, /8, etc.).

These divided clocks can then be used to trigger other modules, such as sequencers, envelopes, or LFOs, creating different rhythmic patterns. 

2. Creating Rhythmic Complexity:

By using multiple outputs of the clock divider with different division factors, you can create complex rhythmic patterns that evolve over time.

For example, you might use a /2 clock to trigger a kick drum, a /4 clock to trigger a snare, and a /8 clock to trigger a hi-hat, creating a basic drum beat.

You can then experiment with different combinations and offsets to create more intricate rhythms. 

3. Combining with Logic Modules:

Clock dividers can be combined with logic modules (AND, OR, XOR gates) to create even more complex rhythmic variations.

For example, you could use an AND gate to combine the output of a /2 clock and a /3 clock, resulting in a clock pulse that only occurs when both clocks are high, creating a new rhythmic pattern.

4. Timing and Modulation:

Clock dividers can be used to control the timing of other modules, such as LFOs (low-frequency oscillators) or envelopes.

By using a divided clock signal to modulate the rate or amplitude of an LFO, you can create rhythmic variations in the LFO's output.

Similarly, a divided clock can be used to trigger envelope generators, creating percussive sounds with varying attack and decay times. 

5. Performance Techniques:

During live performances, clock dividers can be used to create dynamic changes in the music by switching between different division ratios or combining them in various ways.

This allows for transitions between different rhythmic feels or for creating build-ups and breakdowns in the music. 

Example:

Imagine you have a sequencer that is running at a certain tempo. You can use the Q962 to divide that tempo and then use the divided clocks to trigger other modules. For example: 

/2 (half speed): Could trigger a bassline or a longer melodic phrase.

/4 (quarter speed): Could trigger a percussive element like a tom-tom or a short melodic phrase.

/8 (eighth speed): Could trigger a hi-hat or a subtle rhythmic embellishment.

/16 (sixteenth speed): Could trigger a very fast, subtle rhythmic element.

By combining these different divisions, you can create a complex and evolving rhythmic landscape. You can also use the logic modules to combine the divided clocks in different ways, creating even more intricate patterns. 

In essence, the Q962, and clock dividers in general, are powerful tools for creating rhythmic complexity and dynamic changes in modular synthesizers.

Moog index page

 Moog Index page

• Moog General
  + Clocking the Korg SQ 10 - S triggers
  + Moog CABLE -S-trig to V-trig
  + Modular Clocks - Analog, MIDI , PPQN
  
  
  Moog - Mother 32/ DFAM/ SubHarmonicon
  
  + Moog Mother 32 - Sequencer shortcuts 
  + Moog Mother 32 - sequencer - recording your first  pattern (keyboard mode)
  + Mother 32 - sequencer - editing a pattern - step mode
  + Moog Mother 32 - set up mode - assignable output, midi channel, tempo input settings
  + Moog Mother 32 - sequencer - Step Mode - slides, glides, ratchets, rolls  
  + Mother 32 & DFAM - Live jamming ideas
  + Moog Mother 32 & DFAM Jam # 1  
  + Moog sub harm & DFAM 10 ..... live jam with patch notes
  
  + Moog DFAM - Patch Rhythm bass
  + Moog Subharmonicon - patches A
  + Moog Subharmonicon - Short patch examples 
  
  
  Moog Modular
• + 901 VCO 
• + Moog 921 vs 921a/921b combinations
• + 961 INTERFACE
  + 907 Fixed Filter Bank.
  + 911 - Envelope Generator
•    + My 5U sequencer setup
•    + Moog modular - Friday night Jam
• + Q162 - sequential switch used as a Clock divider module
• + Triggers & the mOOG 961 INTERFACE

ACO (Australian Chamber Orchestra) & Will Gregory Moog Ensemble

On Thursday 18th May I saw the ACO perform with Will Gregory and his Moog Ensemble

at Wollongong Town Hall.

Some pics from the concert.

Ive been to many ACO concerts over the years and Richard Tognetti never fails.

Always exploring new territory.

It was a mix of classical instruments and analog synths.

An interesting collection of synths.

Sadly no Modulars or a Yamaha CS80

Prophet 6 below

Hydrasynth

Minimoog D with a Yamaha WX7 wind controller

(Kenton ProSolo mk3 - MIDI to CV)

The Wind controller added another level of expression.

I think this is a Nord Stage ??

Two Moog Subsequent 37s ?? on the left

The program:

I enjoyed Hans Zimmer's Interstellar & Delia Derbyshire's Blue Veils.

Wendy Carlos/Bach's Switched on was wonderful to hear live.

I've only ever in the past heard old recordings.

The finish was fantastic.: Realisations from a Clockwork Orange.

...

Goldfrapp's Will Gregory and his Moog Ensemble

----------------------------

--------------------

Goldfrapp rig tour with Hazel Mills

------------------

Links

Goldfrapp - https://www.goldfrapp.com Moog Ensemble - https://willgregorymoogensemble.co.uk

ACO - https://www.aco.com.au/

Hz/volts - synths and sequencers

Analog synthesizer manufacturers typically adopt one of several standards:

Hz per volt - used by Yamaha and Korg 

1V per octave - used by Moog, Roland, ARP and Doepfer

1.2V per octave - used by Buchla and EML 

0.32V per octave - used by EMS

0.26V per octave - used on oscillator 3 of the EMS VCS3 

I've been playing a lot recently with my old Korgs.

I keep coming back to them. They are real classics !!!

They use the hertz/volts CV standard, meaning they follow a linear characteristic

where each successive octave requires a doubling of the control voltage.

In practical terms this means that the number of instruments which you can 

successfully integrate with your vintage Korg synths is limited.

Here is a list .. 

I'll update as I go along. 

If I have missed any, please let me know so I can add it to the list.

Arturia

Beatstep - cheap & flexible.

Beatstep Pro

Key step

Keystep Pro

Microfreak - one of the few modern synths whose sequencer can be configured to output Hz/v

Arturia Minibrute 2s

The MiniBrute 2S works. I suspect the rest of the "brutes" also work with old Korgs.

The standard used on most Eurorack modules and on Arturia's Brute series 

of synthesizers is V/Oct (1Volt per octave),

however, it can be changed to Hz/V (Hertz per Volt) using Arturia's MIDI control center.

CVs in the range 0V-1V, 0V-2V, 0V-5V, and 0V-8V.

Five clock standards are supported, including  analog clock, 24ppqn and 48ppqn. 

Of special note, the Brutes, beatsteps, etc  can convert analog clock to MIDI Clock and  then

transmit this over MIDI and USB. 

Thus you can synchronise MIDI equipment to those analogue clocks.

Keystep

The default is 1V/Oct , though this can be changed to Herz/Oct.

(1.2V /Oct is not supported).

Keystep pro

By default, the transmitted pitch voltage is compatible with the 1.0 V per octave standard,

To use a 1.2 V per octave or a Hertz per Volt (Hz/V) standard you can change the corresponding setting in the MIDI Control Center.

Microfreak

By default, the transmitted Pitch voltage is compatible with the 1v per octave standard.

To use the 1.2 V per octave standard, you have to change the corresponding setting in Utility>CV/Gate>Pitch Format or in the MIDI Control Center.

Gate signals can also have different output ranges (S-Trig, V-Trig 5V, V-Trig 10V). These too can be changed in Utility>CV/Gate>Gate Format or in the MIDI Control Center.

Doepfer

A-190-1 MCVS 

This is a MIDI to CV/SYNC Interface in Eurorack

You can set the CV to Hz/V and the trigger to -ve polarity

Expert Sleepers

Disting Mk1/2 (Eurorack)

Disting Mk 3

Disting Mk4

Silent way - software

It runs as a plug-in for your DAW

Elby Electronics

ED102 - Octave-Volts-Hertz

This is a eurorack module

Elektron

A4 - Analog 4

The synth's sequencer has a very flexible CV/gate

config. I use it with Buchla & well as Korg.

The CVs are digitally controlled which makes for high precision.

Endorphin.es

Shuttle control

PITCH 1V/OCT, PITCH 1.2V/OCT AND HZ/V are

the control voltages available

SHUTTLE CONTROL outputs +5V at C4 note 

(the highest voltage SHUTTLE CONTROL can transmit). 

Then 1 octave lower C3 will return +2.5V, C2: 1.25V, C1: 0.625V, C0: 0,313V, C-1: 0.156V and the last one C-2: 0.078125V (with pretty bad resolution however). 

As you may see, the accuracy in the lower octaves is bad and on the edge of SHUTTLE CONTROL's CV resolution possibilities. 

That is why the useful range for controlling such type of synthesizers is roundabout 3 to 4 octaves.

Future Retro

Mobius sequencer

G-storm

This is a eurorack module

Electro KVP Pitch CV + Gate Voltage Processor for MS-20

Harvestman aka Industrial Music Electronics 

English Tear (eurorack)

Hexinverter 

Mutant brain - polyphonic CV/gate 

                        CV output resolution: 12bits (V/oct or V/Hz)

Keith McMillen

QuNexus - keyboard/sequencer

Use the editor to set this to 1 Volt per Octave, 1.2 Volts per Octave (Buchla) , or Hertz per Volt

Kenton

Pro-solo

Pro-2000

Modular Solo

Korg synths & sequencers

One thing to always remember is that although the MS-20 uses Hz/V, the

original Korg designers showed some forethought & added a TOTAL IN 

socket on the patch panel.

This can be used as a V/Oct CV Input (with some careful adjustment of the

frequency modulation MG/T.Ext knob) 

It's not a proper V/Oct CV in (I think its better suited to filter, than pitch) 

but certainly better than nothing.

MS10

MS 20

MS 20 mini

MS 50 

VC 10 (vocoder)

X-911 (guitar synth)

MS-01 - foot controller pedal

MS-02 - CV/trigger interface

MS-03 - signal processor

               (Pitch to Voltage circuit)

MS-04 - pedal (CV modulation)

SQ-10 sequencer

SQ-1 sequencer

SQ- 64

Tracks A,B and C are for melodic/chords tracks and all have GATE/CV and MOD control voltage outputs for modular gear 

CV out can be: Hz/V, 0.26V/oct, 0.32V/oct, 1V/oct, 1.2V/oct  - 

with voltage bias adjustment and 0V reference note adjustment (per track)

Gate out: 10V, 5V, V-Trig, S-Trig

Mod out: 0V-10V,  voltage bias adjustment

Track D - the drum track has 16 possible tracks, via MIDI with 8 drum trigger 

outputs for working with modular gear.

FK - 3 Korg Vol pedal (not really part of the MS range, but still works well with them)

FK - 5 korg pedal

Sigma - KP-30 analog monophonic synthesizer

Cool joysticks & 19 presets

It possesses Hz/V CV & gate 

inputs/outputs

SE-500 Stage Echo

This is a Tape Echo machine.

Its has trigger inputs for feedback and turning the effect on/off.

There is also a CV input for controlling the speed

Torso Electronics

T-1 algorithmic sequencer

Ladik

U-202 V/oct to Hz/V converter (4HP) eurorack

U-201 Hz/V to V/oct converter (4HP)

Metasonix

S1000 Wretch Machine

RK7 VCO (eurorack)

RK4 Bandpass Filter/Osc (eurorack)

RK6 Dual-triode 12dB LPF

R-60 MIDI/CV interface

TM-3 SN80 Tube VCO 

TM-2 filter

TM-1 Waveshaper/Ring Modulator

R54 Vacuum Tube Oscillator & Filter

R-55 Thyratron VCO

TS-23 DUAL THYRATRON VCO

+ Phillip Rees 

Little MCV - Midi to CV converter

These are out of production, but I do see them come up

occasionally second hand on Reverb and Ebay

 Can generate control voltages for the common one-volt-per-octave (logarithmic VCO, as used by Roland and Moog) system and the so-called volts-per-hertz (linear VCO, as used by Korg) system. CV type is selected by a slider.

+ Polyend

 

 Polyend 2 - eurorack MIDI to CV converter

   1-4 Gate (0-5V or 0-10V),

   1-4 Pitch (0-10V, V/Oct, Hz/V, Buchla standard 1.2v/oct).

   A really handy module that allows you to use the sequencer

   of your choice

Pioneer 

Toraiz Squid sequencer

2x CV OUT (V/Oct, Hz/V) 

CV output range: 1V, 2V, 5V, 10V, ±5V (V/Oct) / 8V (Hz/V) 

2 GATE OUT (V-Trigger, S-Trigger) 

GATE output range: 5V, 10V (V-Trigger)

Sequentix 

Cirklon sequencer

Its a MIDI sequencer but the 

CVIO option adds 16 CV and 8 gate outputs.

The CV outputs support V/octave and Hz/V modes plus portamento/glide and micro-tuning options. 

The gate outputs can be configured in 5V v-gate or S-trig modes.

Squarp 

Pyramid sequencer

CV V/oct or CV Hz/V, 

or exotic voltages like 1.2, 0.32 or 0.5 V/oct.

Synthstrom

Deluge - synth/sequencer

The Deluge has been designed to support the widest range of CV / gate standards possible. 

A number of settings are available in the settings menu.

Each CV output may be set, in 0.01V increments, to any value between 0.01V and 2.00V per octave, or to “Hz per volt”. 

TouellSkouarn 

Jedonian 1V/Oct-Hz/V bidirectional Converter (eurorack)

Moog

The original Taurus I

PAIA

4700/2700 modular

Fatman

XOR Electronics

Nerdseq - eurorack tracker sequencer

Yamaha Synths

CS-5

CS-10

CS-15

CS-20 / CS 20M

Cs-30 ... has a built in sequencer.

Cs-40 / CS40M

These old Yamahas are Hz/V but have a different range

than say the Korg MS-10 or 20. 

The CS is scaled I believe at half the voltage of the MS 

(Yamaha's probably 0.25 to 0.5 to 1v and so on instead of Korg's 1V to 2V to 4V)

It's still double each octave ....so they have the same scaling curve) but the range

is different.

In practical terms this means you can sequence it with something like a SQ-1 

but you will probably find it won’t go down to the lower 0.25V?? octave of the CS.  

(I don't think the SQ-1 goes below 1V in Hz/V mode).

It's interesting that Yamaha never made a independent CV/gate sequencer.

It's a shame, as this would have made things a whole

lot easier

So the question is why even bother to add these connections??

I think the answer was to aid with expansion.

ie joining more than one synth.... 

in order to make a multiple-system synthesizer

Zlob

Dual VCO

This is a DIY eurorack VCO

There is a control voltage input, and a switch for selecting exponential or linear cv in.
The exponential setting should be good for Korg & Yamaha keyboards & sequencers 

-------------------------------------------------------------

Final thoughts & conclusions

As I compiled the list I found that there were actually quite a lot of sequencers

that use the Hz/V standard. 

It's a testament to the MS20 in particular. It's legendary status ensured that lots and lots

of manufacturers chose to add a Hz/V option.

(Some even down right copied the synths).

I think it would be great if more manufacturers added a Hz/v option to new synths to add to this legacy.

I'd love to expand my MS system with a new 3 oscillator Korg MS 30 

For the moment (as far as synths that can use this standard go),

I'll have to be satisfied with using old Korg, PAiA & Yamaha synths.

Thermin- part 3 build - completion

This is part 3 of the Thermin build.

The earlier parts are  here:

Part 1

Thermin - Silicon Chip 

Part 2:

 Thermin - Silicon Chip - build pics 2

 

This is the build so far.

Resistors, caps, IC headers, trimmers are in.

There are two types of Diodes:

1n4004 x 4

1n4148 x 2

+ Diodes - Basic Info 

.

The 1n4004 form a bridge rectifier.

 

 The power supply is a 12V AC  job.

These rectify the AC to DC.

 

 It can also be powered with a DC battery.

But don't use a 12DC switchmode power supply

 

 

 

 

 

 

 

 

 

 

 

 

 

These are replacements for the inductors used in the original schematics.

IF oscillator Coil.

Its commonly used in radio receivers.

These coils can be bought to different specs.

Usually colour coded

In this project a black and 3 white are used.

..

The IF coil  is also known as an inter-frequency transformer.

The basic characteristic of every coil is inductance.

Their inductance can be adjusted by stretching or squeezing the coil turns.

 

...

The metal casing contains two coils. 

The first coil on the left is connected to a capacitor forming an oscillator circuit. 

The second coil transfers the signal to the next stage.

Install the voltage regulator.

Its a 7809 delivering 9V to the circuit.

final components... volume pot, power jack, switch, etc

 

 

 .... first tests

 

 

The antenna.Volume plate.

Its made from 1mm gauge aluminium.

...

 

                                                                                          Pitch antenna

connect speaker.

..

Tuning

The T1 reference coil doesn't need much adjustment.