“In multi-user scenarios, the border between performers, equipment and audience becomes diffuse,” he says. Taking this further, Ove sees Holonic Source leading to performances become an experience that will break down the barriers between performer and audience, something that has certainly been born out in some of the events in which the system has been demoed. This always makes an impact, but our technology can also be about allowing non-musicians, even audiences, to participate in music making.” We also often use gestures with Holon.ist to control lighting, hazers, wind machines and so on. “Professional musicians and stage performers can use our software to enhance their shows through ‘action-perception coupling’,” Ove says, “where the audience observes physical movements that correspond with sound, which then enhances the experience and makes it more relatable. Videos of the performances soon went viral on Sonic State, CDM, Synthtopia and Sound On Sound, revealing Holon’s ground-breaking physical human/music relationship and demonstrating the huge performance potential. “Traditional instruments can be augmented with sensors – pedals being the most obvious – and amplified instruments can also have different audio effects controlled by the weather, the direction of the sun and movement.”Ī demo of the Holon system made a splash at last year’s Superbooth in Berlin where Ove, Mark and Henri played sounds on a modular synth system, all triggered and modulated by movement with Bluetooth sensors. “Holon.ist can also be used in less dramatic ways,” he adds. We can now offer users a complete solution to create structurally-coupled biomusic performances or adaptive live compositions that transfer seamlessly from street to studio to stage.” “In trying to solve the problem of making electronic music performances more physically expressive,” Ove says, “we found many new possibilities for intuitive musical interactions. ![]() Ove’s original concept was “a synth that was based on physics, but controlled by gestures,” and after forming Holonic Systems with Mark Hakonen-Meddings and Henri David, their first consumer product was Holon which utilizes their mobile platform Holon.ist to trigger sounds with human movement, all via physical sensors. The actual patching process works in the same way as using a physical modular synth, with Reaktor Blocks even able to interface with a physical modular via a control voltage (CV) converter.Holonic Systems was born out of a frustration with live electronic music performances by CEO Ove Holmqvist, who envisaged bringing more visual and interactive aspects to the stage. So, you’ve got a load of Blocks - how do we patch them together into a synth? Reaktor’s default setup only shows the Panel view (the actual user interface of the Blocks), but hitting the Horizontal Split button (at the top left of the screen) divides the screen into two, showing both the Panel view and the underlying Structure, where we can patch our Blocks together. As with a ready-made synth, there are a few essential Blocks that you’ll need to start making sounds - we’d suggest a MIDI note in, one oscillator, a filter, two ADSR envelopes and a VCA (amplifier) as a starting point. At the time of writing, there 42 Blocks offering pretty much everything you’ll need to make an epic modular synth patch, including goodies from other Reaktor synths, such as Monark and Rounds. If you’re using Reaktor in Player mode, hitting the Edit button unlocks the Library, where you’ll find the individual Blocks.
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