Make Noise Strega

For a long time, I was deterred from buying hardware synths by the idea that I could do everything I needed with plugins and still save space in my room. However, when it comes to synths like Strega and Lyra-8, they are not only hardware instruments, but also inspiration machines that provide a completely mystical experience and sound unique. So I decided that Strega would be my first synth and I am glad I did.

It is difficult for me to understand, but I try to treat it as a tool for rituals that you do not fully understand, and then everything falls into place. Having spent only a few weeks with it, I understand that Strega is good when paired with other synthesizers (preferably modular or semi-modular) or with other musical instruments/field recordings. It should be borne in mind that Strega is self-sufficient, but can quickly become boring if used solo.

This was my first semi-modular synth, and I was absolutely blown away by what the Strega offers in such a compact form. It encourages exploration, making it easy to dive in without fear of doing anything “wrong.” You can spend endless hours crafting unique textures, sounds, and drones.

One of its standout features, in my opinion, is the external input, which allows you to connect external recorders, instruments, or microphones and manipulate the sound using its built-in effects. You can also blend the processed audio with the oscillator to create massive soundscapes.

I found that it works seamlessly with my Arturia Keystep 37. Using a CV-equipped keyboard helps bring a more musical side of the Strega, making it easier to create patches that integrate well into productions.

That said, it’s not your typical synthesizer—it has a very distinct character that I probably won’t use all the time. This is something to consider if you’re thinking about getting one.

Overall, it’s an excellent choice for experimental music and sound design. I’m really glad I picked it up.