WHAT FUTURE FOR REAKTOR?
Between wishes and speculations
Following my previous post , I briefly touched upon the case of REAKTOR. As an audio modular environment and software that stood as a lighthouse for sound design and music production in the early 2000s, this nearly indispensable tool has gradually drifted out of the spotlight. This is especially true today, in a landscape where competition has firmly established itself and where Native Instruments has been left with little choice but to keep it on “life support.”
Burdened by an undeniable technological debt, the software has yet to receive the rebirth so many users are waiting for. In light of the crisis Native Instruments is currently weathering—and since this is the very tool I use to create the instruments you find on this site—I feel it’s important to share my analysis of where it stands today and my hopes for its future.
The Paradox of Success and the Weight of Legacy
It’s tough for a software as complex as Reaktor to live in the shadow of the Kontakt steamroller, or to face something like Massive X—powerful, certainly, but far more “mainstream.” Today, NI is a prisoner of the Komplete promise of longevity: the user must be able to reopen a project from 2010 without breaking a sweat. This vital requirement to preserve thousands of legacy presets—stuck in bitmap graphics from another era—has blocked any aesthetic revolution for a decade.
The core of the problem is that the GUI and the DSP are hard-wired together in the code. Transitioning to vector graphics without breaking everything is a “mission impossible.” And the stakes are huge: we’re talking about saving the furniture—legendary synths like RAZOR, MONARK, PRISM, SPARK, KONTOUR, FORM, ROUNDS, SUPER 8, SKANNER XT… not to mention countless effects, the Factory/User Libraries, BLOCKS, and it’s even a vital matter for my own BLINKSONIC instruments!! 😅
Fate hasn’t been kind to NI: these tools, once at the vanguard of sound, now find themselves trapped by the evolution of screen technology. Add to that the financial black hole of the Apple Silicon transition to make this whole world compatible, and you have a scenario that is very painful.
Critical Note: This is probably one of those rare cases where user loyalty itself becomes a factor in technological stagnation. Reaktor is paying the price for being too far ahead, too early—with an installed base so massive that it prevents any clean break.
By trying to protect its commercial past, NI has paralyzed Reaktor’s evolution, leaving it literally “bit-locked” in a screen resolution from a bygone era. The BLOCKS initiative was an interesting experiment, but far too literal and opportunistic. It mostly served to narrow the vision of what Reaktor could be (and how it could be understood), whereas Reaktor is already modular by essence… anyway, those who know me will understand.
BLOCKS, instead of showcasing Reaktor’s conceptual power, paradoxically locked it into a mimetic Eurorack aesthetic, whereas its true potential was precisely to go beyond the hardware paradigm.
Note: I would add that Reaktor is perhaps too foundational today to remain trapped in a “bundle” logic. As a platform, it would likely have more to gain from dedicated governance than remaining a mere line item in a catalog.
Consequences and Current Perception
As a consequence of all this—and I’m not going to hold back here—far too many users on social media and forums mock Reaktor, labeling it as an “outdated” tool compared to Max/MSP or even Pure Data (notably with Plugdata). While Reaktor still has a strong core of supporters, it is relatively disregarded, even though, among the three historic audio modular giants, it is undoubtedly the most musical and the most accessible.
Another heavyweight argument: if you want to open a Max for Live device in Logic, Cubase, or any DAW other than Ableton Live, you’re out of luck. Reaktor, on the other hand, operates as both a standalone application and a plugin—and that makes all the difference. But hey, that’s just my opinion; a debate for another day. In short, it remains a language, a DSP platform that still packs just as much power and character as ever, despite its “old tank” appearance.
Shifting Paradigms: AI, Musicians, and the Market
We can observe a number of transformations and shifts that point toward the future:
The business of sample-library-based instruments (romplers) is a gold mine running dry. Generative AI can now produce timbres and loops on demand, making traditional sound banks far less competitive in an already saturated market. A large portion of the audience—driven by “hype” and “convenience”—is naturally pivoting toward these solutions. I would add, more specifically, those whose prerogative isn’t necessarily to invent or innovate. However, there remain micro-niches with a genuine interest in more elaborate audio plugin devices… I’ll come back to that.
I also observe a continuity within the growing communities of musicians, performers, and “pro” artist-coders. These users demand deep modular systems. This taste for “geekery” is also a key factor in the relevance of their artistic developments.
Furthermore, I see a rising craze for immersive sonic experiences, specialized sound design content (on Instagram and YouTube), or instruments rooted in very specific electronic niches. I’m also thinking of research into new modes of diffusion and distribution (AR/VR), as well as attempts at interactive albums or release. Still a must watch or try, one of last Aphex Twin release (Blackbox Life Recorder 21F / In A Room7 F760) with an immersive AR experience , included with the artwork package.
We live in fascinating times because, despite appearances, the sharing of the “how”—the way sounds are conceived, the raw transmission of sound design—is attracting enormous attention. Paradoxically, this is true even for the younger generations, if we strip away the a priori assumption that they only want “easy” things (a notion I don’t really buy into).
To return to the “rompler” (one of the star products of the lockdown era), the “enhanced” sample library is still part of the game, even if it offers only a fraction of the magic and is, as mentioned before, heavily challenged by generative AI. The market is flooded, and it’s increasingly looking like a commodity—a sort of medium for diffusing culture or celebrating the sounds of a specific genre, even when not used as a professional tool.
We can welcome this, but it brings certain limits. Once the technical learning curve is overcome, users crave more verticality and depth. Not to mention that more and more studios and artists want to create their own plugins. To fuel all of this, I am convinced that alongside MAX, Pure Data, or the “ideal” JUCE, a new version of Reaktor would absolutely have its place. On this thread, they are here for various invention, and not only in the making of synth plugins.
“Live” as the Last Human Sanctuary Against AI
Faced with an AI capable of generating perfect, calibrated, and instantaneous tracks, the “fixed” record is losing its sacred value. The only ground where AI cannot yet cheat is the unpredictability of the present moment: the Live performance.
This is where Reaktor shifts its status. It is no longer a simple synthesizer, but a performance ecosystem that allows the musician to regain control over the “accident,” the interaction, and the physical embodiment of sound. In a world saturated with generated music, “embodied” performance becomes the only way for humans to exist in a singular way. Reaktor allows you to build your own stage instruments, ensuring that no one else on the planet will sound the same way. I invite you to watch this video by Tim Exile, who speaks about it brilliantly:
The Audio Object: Reinventing the “Record” in the Post-Streaming Era
Streaming has turned music into a dematerialized and underpaid commodity. For musicians to once again sell objects—or at least an experience—we must move beyond the linear MP3/WAV format.
This is where new distribution mediums like the digital “Audio Object” come in (such as what ECLO.RE offers). Imagine selling not just a song, but a “playback algorithm”:
- A track that never sounds the same twice.
- An album that reacts to the time of day or the listener’s mood.
- A modular sound object that the buyer can manipulate.
Reaktor is the perfect matrix for creating these objects. By selling a sealed Reaktor “Ensemble” or a standalone application derived from its engine, the musician is no longer selling a mere file; they are selling a system-work. It’s a way to restore value to owning a record: you aren’t just buying a playback, you are buying a piece of the artist’s instrument, a fragment of their sonic DNA that continues to live in your home. This is, in fact, exactly the path I am currently exploring.
My conclusion is that modular technology is more relevant than ever. A software like Reaktor could see a massive comeback in the face of AI and new digital distribution mediums (audio objects) that challenge traditional streaming.
Note: What Reaktor has been offering for twenty years—the traceability of sound down to its physics—is exactly what today’s generative, immersive, and post-DAW practices are demanding. It is still conceptually ahead of its time (see video below).
What’s Next? Probable Scenarios
The Komplete UI has just revitalized Kontakt 8, which for years had been plagued by the same issues of blurry, unreadable interfaces on modern screens. It would be awesome and logical for Reaktor to benefit from this as well, given the importance of its synth lineup (RAZOR, and so on). At the very least, one can only hope! Would it be enough ?
Echoing what I’ve just reported, based on what I’ve observed and sensed coming, I also have my own share of speculations, dreams, and visions for Reaktor. What could be more fun than imagining oneself at the helm and sketching out the fantasized future of my favorite tool? Here is what would be my roadmap:
Visionary Scenarios (Freestyle and Dreams)
- The “Tabula Rasa” Update: Focusing on CoreCell. By abandoning the idea of full backward compatibility for every piece of legacy content, it would be possible to start on a fresh technological foundation while keeping Reaktor’s historic DSP heart. Theoretically, this core can work in conjunction with a new vectorial “wrapper.” By isolating this algorithmic genius, we could build a modern, rescalable UI using web frameworks (React, Vue, Svelte). We could even keep a “Legacy Mode” for older instruments (FORM, MOLEKULAR, RAZOR…) for those nostalgic for the pixels!
This overhaul would open immense doors: access to external libraries, APIs, scripting, and even—let’s imagine—an AI assistant to help with project patching.
Note: This is where Reaktor would become a language again, not just a plugin: a programmable audio engine independent of any frozen UI.
- With such a major update, expert instrument collections (like Electronic Instruments Vol. 1 & 2) could be included in the package to keep the flame alive. But the real game-changer would be transforming the User Library into a tokenized marketplace. This would be a viable way to monetize modular creation without closing the ecosystem: rewarding creators while staying open.
- And finally, the disruptive move: Compilation (the Max / RNBO model). If Reaktor finally allowed projects to be compiled into standalone plugins (VST3/AU) or hardware code, it would be an earthquake. It would break the monopoly of complex proprietary formats (C++, JUCE). Personally, I would be willing to pay a much higher license fee for such a feature.
- The Big Dream: Dedicated Hardware
NI themselves paved the way by successfully encapsulating MASCHINE into dedicated hardware, Maschine+, which had the bonus capability of hosting certain synths from the Reaktor range. Now, imagine a fully dedicated hardware—in the vein of a Monome Norns—acting as a standalone DSP host and transforming Reaktor into a tangible, physical instrument.
Nothing replaces the object: solid, palpable, with stable algorithms carved into the silicon. It’s a “win-win” scenario in terms of value and stability. It would also allow for a gradual liberation from the Apple and Microsoft paradigm. Why wouldn’t NI attempt a move like this? Monome started and thrives as pure craftsmanship, after all. The Organelle by Critter & Guitari too!
For Reaktor, becoming a physical instrument seems like the logical next step, the ultimate realization of its DNA. The advantages would be colossal, notably for Live use with total portability of instruments created on a computer to the stage, but also for deep Hardware integration, allowing direct control of Eurorack rigs via dedicated CV/GATE outputs.
I even fantasized about sending a mockup to NI to pitch the idea, complete with a technical intro… the rest is confidential… 😅
Conclusion: When Will the Sleeping Giant Wake?
Ultimately, Reaktor is not merely software waiting for an update; it is one of the most serious and comprehensive candidates to carry the future of music production. Whether through its ability to generate interactive audio objects, its total flexibility for live performance in the face of AI-driven uniformity, or its modular depth that satisfies the modern musician-coder’s thirst for “verticality”—it ticks every box of modernity.
It already possesses what so many are desperately trying to build: a soul, a community of passionate experts, and a sonic traceability that goes right down to the physics of the signal. There is a throne to reclaim in the broader musical and cultural landscape (alongside MAX, PD, and the rest), as Tim Exile points out so well in his video—a vision I stand by 100%.
The challenge for Native Instruments is now clear. I’ll say it again: “Reconnect with the LAB spirit.” Reaktor must cross this delicate technological threshold—this vital transition toward a vectorial interface and a potentially exportable engine—to break free from its pixelated chains. If it manages this evolution without betraying its heritage, it will no longer be just a plugin in a bundle. It will reclaim what it has always been at its core: a universal language, an absolute reference, and the most inspiring tool for those who refuse passive consumption.
The future of music won’t just be written by algorithms, but by those who possess the tools to design them. In this new world, Reaktor has everything it takes to rise like a phoenix.
Thanks,
Sylvain.
P.S.: To move from theory to practice, I will be announcing the manifesto for a brand-new release in a few days—developed on Reaktor, of course. It will illustrate, I hope, many of my convictions regarding the future and the power of this tool. So stay tuned !