Make no mistake, the Bastl Kalimba is a synthesizer, you just play it like a kalimba. Its tines don’t really make much sound. There is an internal mic that you can blend in for a little acoustic spice, but it’s mostly driven by the synth engine that combines physical modeling and FM. The tines are actually touch and velocity-sensitive triggers. And, while it can sound somewhat like a real kalimba, it’s a lot more sonically versatile and offers features you can only find on a synth.
Beyond the synth sounds that range from pluck to pads, there are also built-in effects covering basic spatial effects like delay and reverb, as well as distortion, bit crushing, and even tape emulation. There’s also a multi-mode high- and low-pass filter, a simple arpeggiator.
More interesting, though, are the looper and touch points that add unique effects. The looper has time-stretching features, can be reversed, and rerecorded through the effects for destructive processing. A series of touchpads on the front enable note glides and alter the timbre using effects that Bastl calls Soil and Wind. Those effects unlock the Kalimba’s accelerometer for further timbral manipulation. There are also two programmable touch points on the top that can be assigned to almost any parameter, from simple pitch bends to the size of the reverb.
Bastl is currently running a Kickstarter campaign for the first batch of Kalimbas. Normally, this is where you get the caveats about crowdfunded products. But Bastl Instruments is a well-established company with a long track record of delivering oddball music gear at scale. The company called it “one of the most challenging” products it has ever created, and it spent more than three years in development, so it’s possible that Bastl is gauging interest before committing to mass production. We’ve reached out to Bastl for comment and will update if we hear back.
Make no mistake, the Bastl Kalimba is a synthesizer, you just play it like a kalimba. Its tines don’t really make much sound. There is an internal mic that you can blend in for a little acoustic spice, but it’s mostly driven by the synth engine that combines physical modeling and FM. The tines are actually touch and velocity-sensitive triggers. And, while it can sound somewhat like a real kalimba, it’s a lot more sonically versatile and offers features you can only find on a synth.
Beyond the synth sounds that range from pluck to pads, there are also built-in effects covering basic spatial effects like delay and reverb, as well as distortion, bit crushing, and even tape emulation. There’s also a multi-mode high- and low-pass filter, a simple arpeggiator.
More interesting, though, are the looper and touch points that add unique effects. The looper has time-stretching features, can be reversed, and rerecorded through the effects for destructive processing. A series of touchpads on the front enable note glides and alter the timbre using effects that Bastl calls Soil and Wind. Those effects unlock the Kalimba’s accelerometer for further timbral manipulation. There are also two programmable touch points on the top that can be assigned to almost any parameter, from simple pitch bends to the size of the reverb.
Bastl is currently running a Kickstarter campaign for the first batch of Kalimbas. Normally, this is where you get the caveats about crowdfunded products. But Bastl Instruments is a well-established company with a long track record of delivering oddball music gear at scale. The company called it “one of the most challenging” products it has ever created, and it spent more than three years in development, so it’s possible that Bastl is gauging interest before committing to mass production. We’ve reached out to Bastl for comment and will update if we hear back.
#Bastl #Kalimba #wild #synth #thinks #thumb #pianoEntertainment,Gadgets,Music,News,Tech">The Bastl Kalimba is a wild synth that thinks it’s a thumb piano
Make no mistake, the Bastl Kalimba is a synthesizer, you just play it like a kalimba. Its tines don’t really make much sound. There is an internal mic that you can blend in for a little acoustic spice, but it’s mostly driven by the synth engine that combines physical modeling and FM. The tines are actually touch and velocity-sensitive triggers. And, while it can sound somewhat like a real kalimba, it’s a lot more sonically versatile and offers features you can only find on a synth.
Beyond the synth sounds that range from pluck to pads, there are also built-in effects covering basic spatial effects like delay and reverb, as well as distortion, bit crushing, and even tape emulation. There’s also a multi-mode high- and low-pass filter, a simple arpeggiator.
More interesting, though, are the looper and touch points that add unique effects. The looper has time-stretching features, can be reversed, and rerecorded through the effects for destructive processing. A series of touchpads on the front enable note glides and alter the timbre using effects that Bastl calls Soil and Wind. Those effects unlock the Kalimba’s accelerometer for further timbral manipulation. There are also two programmable touch points on the top that can be assigned to almost any parameter, from simple pitch bends to the size of the reverb.
Bastl is currently running a Kickstarter campaign for the first batch of Kalimbas. Normally, this is where you get the caveats about crowdfunded products. But Bastl Instruments is a well-established company with a long track record of delivering oddball music gear at scale. The company called it “one of the most challenging” products it has ever created, and it spent more than three years in development, so it’s possible that Bastl is gauging interest before committing to mass production. We’ve reached out to Bastl for comment and will update if we hear back.
Album,Bollywood,Jiostar,JioStar Network,Legal,Music,Music Rights,News,Nykaa,Songs,ZEE">After Nykaa, Zee files Rs 25 crores lawsuit against JioStar; alleges unauthorised music usage
Zee Entertainment Enterprises has initiated legal action against JioStar, the joint venture formed by Reliance Industries and The Walt Disney Company, alleging unauthorised use of its copyrighted music content. The lawsuit, filed in a New Delhi court on April 14, seeks damages of approximately $3 million and calls for an immediate halt to any ongoing infringement.
After Nykaa, Zee files Rs 25 crores lawsuit against JioStar; alleges unauthorised music usage
According to court documents reviewed by Reuters, Zee has claimed that its music catalogue was used at least 50 times across television programmes and streaming content on JioStar’s platforms after licensing agreements expired in 2024 and 2025. The company stated in its filing that “the illegal exploitation thereof amounted to copyright infringement,” and urged the court to restrain further use of its works.
The dispute is part of a broader series of legal disagreements between the two entities following the $8.5 billion merger that brought together Reliance and Disney’s media operations in India. JioStar currently operates a large portfolio of television channels and the streaming platform JioHotstar, which reportedly reaches around 500 million monthly users. Zee, one of India’s long-established media networks, maintains a catalogue of over 19,000 songs across multiple languages.
During a recent hearing, the court directed JioStar to ensure that no further infringement occurs while the case is under consideration and asked the company to comply within 15 days. The next hearing is scheduled for July 23.
JioStar has denied the allegations and rejected Zee’s demand for damages. In earlier correspondence cited in court filings, the company stated that it had taken “extensive steps to remove any infringing content,” including legacy programming. It also argued that residual archival hosting does not constitute unlawful use, a claim that Zee has contested.
The case also comes at a time when both parties are engaged in arbitration proceedings in London over a separate dispute related to a cricket rights agreement, where Reliance is reportedly seeking $1 billion in damages from Zee.
Industry observers note that the lawsuit highlights increasing friction over content ownership and licensing as India’s media and streaming landscape continues to consolidate. The outcome of the case could have wider implications for how intellectual property rights are managed across platforms in the evolving entertainment ecosystem.
When Justin Bieber stepped onto the Grammys stage in February, for his first solo live…
For obvious reasons, I’ve had Moon on the mind all week. So I was trying to figure out what I should recommend this week that would thematically fit. Brian Eno’s Apollo: Atmospheres and Soundtracks is incredible, and if you haven’t listened to it, go do that now. But it also seemed a bit on the nose. Radiohead’s A Moon Shaped Pool also came to mind. But it also felt a bit obvious. Then I remembered Kate NV’s Room for the Moon, a record I had on repeat in 2020.
Russian artist Kate Shilonosova chases ideas across 11 tracks inspired by Russian and Japanese pop from the ‘70s and ‘80s, as well as children’s movies. This obviously leads Room for the Moon to indulge its most whimsical impulses. It’s a fairytale rendered in snappy Talking Heads-esque bass, proggy synths, and reverbed drum machines.
The opener “Not Not Not” is almost goofy, its chaotic melodies constantly dancing around each other in a perpetually disorienting way. It lurches forward asymetrically, grooving like a flat tire. The instrumental “Da Na” follows, drawing on a familiar yet slightly uncanny palette of sounds. The clarinet (?) drifts in and out of dissonance as if drunk. The tuned percussion elements flit around what might be a kenari seed shell shaker or someone running their fingers over the tines of a comb. It’s truly impossible to tell, and both seem as likely as the other.
“Sayonara (Full Moon Version)” is the fantastical daydream counterpart to Oingo Boingo’s nightmare new wave theatrics. The least strange track on the record is probably “Plans,” which fully embraces 80s dance pop aesthetics. But even that song finds room for a minute-long instrumental passage featuring a bleating, almost atonal saxophone solo.
While the sounds are strange, uneasy, and almost queasy at times, the songs are light and fantastical. Despite not understanding the lyrics, which are mostly in Russian, it’s impossible not to get a sense of hope from them. Kate NV’s Room for the Moon is not a somber lunar lullaby, but the pleasant dreams of an innocent mind.
For obvious reasons, I’ve had Moon on the mind all week. So I was trying to figure out what I should recommend this week that would thematically fit. Brian Eno’s Apollo: Atmospheres and Soundtracks is incredible, and if you haven’t listened to it, go do that now. But it also seemed a bit on the nose. Radiohead’s A Moon Shaped Pool also came to mind. But it also felt a bit obvious. Then I remembered Kate NV’s Room for the Moon, a record I had on repeat in 2020.
Russian artist Kate Shilonosova chases ideas across 11 tracks inspired by Russian and Japanese pop from the ‘70s and ‘80s, as well as children’s movies. This obviously leads Room for the Moon to indulge its most whimsical impulses. It’s a fairytale rendered in snappy Talking Heads-esque bass, proggy synths, and reverbed drum machines.
The opener “Not Not Not” is almost goofy, its chaotic melodies constantly dancing around each other in a perpetually disorienting way. It lurches forward asymetrically, grooving like a flat tire. The instrumental “Da Na” follows, drawing on a familiar yet slightly uncanny palette of sounds. The clarinet (?) drifts in and out of dissonance as if drunk. The tuned percussion elements flit around what might be a kenari seed shell shaker or someone running their fingers over the tines of a comb. It’s truly impossible to tell, and both seem as likely as the other.
“Sayonara (Full Moon Version)” is the fantastical daydream counterpart to Oingo Boingo’s nightmare new wave theatrics. The least strange track on the record is probably “Plans,” which fully embraces 80s dance pop aesthetics. But even that song finds room for a minute-long instrumental passage featuring a bleating, almost atonal saxophone solo.
While the sounds are strange, uneasy, and almost queasy at times, the songs are light and fantastical. Despite not understanding the lyrics, which are mostly in Russian, it’s impossible not to get a sense of hope from them. Kate NV’s Room for the Moon is not a somber lunar lullaby, but the pleasant dreams of an innocent mind.
#Room #Moon #thrillingly #weird #experimental #popColumn,Entertainment,Music,Music Review">Room for the Moon is thrillingly weird experimental pop
For obvious reasons, I’ve had Moon on the mind all week. So I was trying to figure out what I should recommend this week that would thematically fit. Brian Eno’s Apollo: Atmospheres and Soundtracks is incredible, and if you haven’t listened to it, go do that now. But it also seemed a bit on the nose. Radiohead’s A Moon Shaped Pool also came to mind. But it also felt a bit obvious. Then I remembered Kate NV’s Room for the Moon, a record I had on repeat in 2020.
Russian artist Kate Shilonosova chases ideas across 11 tracks inspired by Russian and Japanese pop from the ‘70s and ‘80s, as well as children’s movies. This obviously leads Room for the Moon to indulge its most whimsical impulses. It’s a fairytale rendered in snappy Talking Heads-esque bass, proggy synths, and reverbed drum machines.
The opener “Not Not Not” is almost goofy, its chaotic melodies constantly dancing around each other in a perpetually disorienting way. It lurches forward asymetrically, grooving like a flat tire. The instrumental “Da Na” follows, drawing on a familiar yet slightly uncanny palette of sounds. The clarinet (?) drifts in and out of dissonance as if drunk. The tuned percussion elements flit around what might be a kenari seed shell shaker or someone running their fingers over the tines of a comb. It’s truly impossible to tell, and both seem as likely as the other.
“Sayonara (Full Moon Version)” is the fantastical daydream counterpart to Oingo Boingo’s nightmare new wave theatrics. The least strange track on the record is probably “Plans,” which fully embraces 80s dance pop aesthetics. But even that song finds room for a minute-long instrumental passage featuring a bleating, almost atonal saxophone solo.
While the sounds are strange, uneasy, and almost queasy at times, the songs are light and fantastical. Despite not understanding the lyrics, which are mostly in Russian, it’s impossible not to get a sense of hope from them. Kate NV’s Room for the Moon is not a somber lunar lullaby, but the pleasant dreams of an innocent mind.
