Pangani Noise Strega monitoring | Engadget
And I mean everything, by the way. The second thing I like about Stega (after the delay) is that it has an audible voice. It can be used not only as a tool, but as an accessory. Delay sounds sweet on guitar or vocals in the same way as synth. Also, it can be amazing. My favorite part is when you hear the noise you get from the Strengthening of Power and External Control should not be too surprising. The preamp area is operated shortly after EMS Synthi, which was also the inspiration for Erica Synths SYNTRX, and I lost a lot of words in choosing this.
In this show Strega is used to design a guitar, my voice and dulcimer without additives:
The preamp can increase the temperature and stability of anything you go through, but it works best with signals that are good to start with. The Atomic Humbuckers on my Fender Toronado are enough to accomplish the distraction. Even without the amp amp and the wiring interface it is ideal for round-trip riffs Guided by the Word and The Who.
Another thing you will notice right away when you look at the Strega are the gold courtyards and the circular circles at the front. This is the design. Even if you can, and should, still use the power cords to create the tone, these pads give you a clear way to change what you have made. Round pads are a source and the stadiums are their destination. Often, the destination is easy to identify as there are lines pointing to what they are using, but the circles are difficult to identify. They have strange pictures that look like they were torn from a magic book.
Basically, though, they all bring some setbacks or distractions. All you have to do is put one finger (or other objects) in the circle, then the other finger in the corner and suddenly you change the filter or time delay. And, since it uses your body as a bridge between the two, its quantity and severity will be different for each individual.
The Bridge Bridges and Gateways is a symbol of the whole Strega’s idea. They ask you to manage, navigate and monitor. They share the technicalities and get to the control chaos.
And “controlled disorder” is the best way to explain what comes from Strega. It’s a fun machine at risk, but it’s easier to replicate what you wrote than that, Moog’s Subharmonicon.
It is clear that Strega was arrested with drones in mind. And it does them good. You can create animated animations that are beautiful or beautiful at night. If your item hits movies or games, you’ll definitely want what Strega has. When you turn the strings of music around in a circular motion the softness of the triangles increases. And the Activation Interference (the letterless letter above) causes cuts, stops and other unexpected speeches.
But, the way Strega feels like a drone machine, it can do a lot. First, it is not a big jump from drones to monophonic sounds. If you connect the gateway from the sequencer or keyboard to the Start and End section of the Agitation section and run it to Installation, then you have an envelope that gives you the opportunity to meet them for a long time and release the time that any good pad is needed. You can find even the smallest and most understandable strings of groups and words that sit in the right place. Now obviously the jackets, ropes and all the parts require polyphony, but you can fool them with a long delay.
All of these in the shortest route come from Strega. EQ and stress were added after Ableton Live:
Things don’t stop there. You can find simple bass and drums. Now, because you he can playing a bass line at Strega doesn’t mean you have to; the types of bass are very good. But I am most attracted to the rigid loops I was able to tackle. They have information about them that reminds me of the kind of noise they make Hainbach makes use of many of its experimental tools.
But I think Strega’s true power is opened up when you combine its internal pronouns with those of an external instrument. For example, you can use a guitar to improve Strega’s play and combine these two words together to hear easy-to-dream songs on a drone that greatly affects your play.
In this demonstration guitar playing is used to run the Strega synth engine before it is integrated to play on top of an oncoming drone:
Things get a lot more fun if you have a tool that contains CV releases, e.g. Microfreak. This is my favorite. The cool, digital sound of Microfreak is well heated by the slowness of the preregax and the slowing of the Strega. And the Strega’s thin oscillator benefits and is enhanced when playing in conjunction with Microfreak. Using a wet wiring harness, the two arms get lost and become new.
Here Microfreak is played via Strega, while directing via CV:
The biggest problem at Strega is its cost. The $ 599 isn’t really cheap, but I’m probably most impressed considering its limited functionality. No MIDI, no keyboard, no sequencer. Out of the box Strega has made some really good sound and beautiful drones, but you don’t play any binding without any additional equipment. An obvious combination would be the creation of a Noise desktop sequencer, $ 399 0-CTRL. They all have the same shape, decoration and experimentation in making music. But do everything with a CV do, for example Arturia’s Keystep Series. If you want something that will increase our MIDI and increase the sonic potential of Strega, $ 499 0-Gombe it would make sense.
While Make Noise tools are not cheap, there is a plea for you not to stick to the environment. You can light up two weapons from a single power switch and the 0-Coast, 0-CTRL and Strega were all designed to complement each other. Plus, they just look great together.