After the Metal Fetishist, Ody Synths is back with something that leans even harder into experimentation. The Laboratory isn’t just an effects box. It’s a dual-channel feedback instrument that can generate its own sound, process external gear, and push everything into unpredictable territory. If you’re into feedback loops, self-oscillation, and textures that evolve on their own, this is clearly aimed at you.
Two channels, lots of interaction
The core setup is two independent channels, each with voltage-controlled gain, delay, and a resonant filter. You can run external audio through it, but you don’t have to—the system can generate stereo feedback on its own. Each filter can switch between low-pass and high-pass, and when you chain both channels together, you effectively get a band-pass response. That alone opens up more precise shaping than you’d expect from something this chaotic. Because there are two channels, you can also get into multi-tap delays and ping-pong echoes. It’s not a clean delay unit—it’s more about character and movement—but that’s kind of the point. At the end of each channel, there’s a clipping stage. Push it, and you get compression and distortion layered on top of everything else. Subtle isn’t really the focus here.
Feedback as the main instrument
What sets the Laboratory apart is its internal routing. There are four feedback paths, and you can send signals through them in different ways to build up repeats, textures, or straight-up noise. This is where things move from “effects processor” into “instrument.” You’re not just processing sound—you’re shaping a system that reacts to itself. It can stay in controlled drone territory or tip over into harsh noise pretty quickly. The stereo aspect is also worth noting. A lot of feedback gear stays mono, but here you’re dealing with two interacting channels, which makes the result feel wider and more alive.
Modulation keeps things moving
To keep everything from sitting still, there’s a built-in modulator that works as either an LFO or an envelope. You can route it across the system to animate parameters and introduce movement. That means tremolo, vibrato, chorus-like effects, filter sweeps, and modulated delays are all on the table. Combined with the feedback paths, it can get pretty complex without needing external modulation sources.
Built with noise in mind
The Laboratory is being developed with akkusativ, which makes sense given their background in experimental pedals. This isn’t trying to be a clean studio tool—it’s designed for people who like pushing gear into unstable zones. You’ll be able to check it out at Superbooth 2026 in Berlin, running May 7–9.
Release is set for 2026, with pricing still to be announced.