Compositor SoftwareCompositor Software

By ruslany

Compositor Software Winter Sale

Compositor Software Winter Sale

Huge sale comes on Winter Holidays of 2017/2018 at Compositor Software Web Shop! Now you can buy the exclusive algorithmic composition software for reduced price. Almost every version of the software goes with big discount, including the bundled versions.

Here is the list of all products, which are on sale now:

Discount Price
Compositor Pro 2 30% € 74,42
Compositor 4 65% € 102,90
Compositor 4 Max for Live 20% € 36,00
Compositor 4 Extension 1 70% € 77,70
Compositor 3 Feeders 30% € 112,00
Compositor 3 Hypervisor 30% € 180,03

 

The sale lasts from 24.12.2017 14:00 GMT to 03.01.2018 20:00 GMT

By ruslany

Compositor v5.0 is available

Compositor v5.0 is available

Compositor v5 is a Hypervisor rack with Compositor WS auxiliary channel and RT-z128 operation system. It helps to play Compositor modules without any side impact from other radio-equipped instruments, which present during the live show.

Here is the list of features you can consider buying this software:

  • Three transmission modes
  • Real-time modulation
  • Shutter system
  • Display zooming
  • Switchable altitude
  • RT-z128 bit display
  • GHz calculation
  • Display warning
  • Master processing
  • Self-feeding
  • Signal insertion
  • Latency free aux channel

Compositor v5.0 Hypervisor features the important security updates, stability improvements and performance related issues solved.

By ruslany

Playing Flanker 2.0 with Compositor 5.0

Playing Flanker 2.0 with Compositor 5.0

Playing Flanker 2.0 with Compositor 5.0 is rather interesting experience. Being a seasoned keyboard player of Flanker 2.0 back in 2000’s, I use the Compositor 5.0 artificial intelligence to return to the skill of playing this simulator after 17 years breakdown. The first impression about Compositor 5.0 is that the system always stays online, and no external radio sources present in the Ether as stated in my goals. Compositor 5.0 always informs you about the right or false behavior in navigating the Su-27 plane by changing the Ether tuning or creating an emptiness in the Ether translation to bring attention to current maneuver. Rendering the 3D graphics with textures and vector animations result in slower system flushes, than watching video with separate audio tracks, making a headroom for further improvements in expense of more cpu and memory usage.

Compositor 5.0 preview. Auxiliary channel setup: carriers tuning, working with feeders, listening to radio ether.

There are many situations in game plan, when the intruder or foe tries to attack your plane. At these moments Compositor 5.0 RT-z128 OS module reacts and makes the threshold even lower because of a feedback loop compression mechanism implied by a shutter system. This is evident by pauses in Ether translation and rapid tuning changes. Together with hearable timecode, it constitutes the real-time simulation for the game process or any other current task you are involved in. The timecode can’t be demodulated due to synthesizer leakage breakthrough fix applied with shutter. It brings me to the idea that big planes in a simulator could be controlled with Compositor 5.0 AI as well as smaller ones like Su-27 in Flanker 2.0. It is evident that the solution under the War Ships (WS) work group settled the important update for all Compositor users. As I test Compositor 5.0, I become more confident that buffer capacity is enough to play even modern games, but can result in more flushing time after the game session ends.

By ruslany

Compositor WS kernel eight channel synchronization experiment

Compositor WS kernel eight channel synchronization experiment

The main idea in multithread kernel is to create a truly independent calculation for several streams apart of kernel protection functions. The experiment with 8 decks was conducted and different types of material submitted to Compositor WS kernel. At first, loops were introduced in one-threaded operation and the shutter issue raised. Second, the multi-thread operation was aimed by submitting complete tracks into the kernel, directly injecting them. The experiment evidently shows the need to synchronize the material, because 8 real-time generators are independent. Under these conditions, no threat was qualified to the kernel, which means it could be used for multithread operations such as DJ software for music mixing.

Here is a video I shot after this experiment and it showcases Compositor 5.0 assistment in Flanker 2.0 manual landing with keyboard.

By ruslany

Direct generic injection experiment with Compositor WS kernel 7.6.7

Direct generic injection experiment with Compositor WS kernel 7.6.7

Under pressure of generic injection Compositor WS kernel 7.6.7 system doesn’t show signs of life. When you are passing its own channel back into the Compositor WS channel, oversaturation is emerging. On the middle values of oversaturation there is a proximity effect. Switching to sigma 200 translation regime and increasing the transmitter power to 0.2, the channel saturation is imitated. This way the direct generic injection effect is achieved. Shutter also stands here hard with ideal integration time of 300 ms. It catches the feedback and delivers the loop fast, flushing it. This way there is no effect of generic injection after several seconds of applying it, and the system returns back to ordinary state.

By ruslany

Finally, both carriers are suppressed

Finally, both carriers are suppressed

After the main goals were stated, it is time to restate them. First, I need to suppress both negative and positive carriers. After that, I need to pass Compositor sound to the output. It is achieved only if the first goal reached. I’ve already implemented a method for suppressing the right carrier using the shutter and eventer of the right channel, which uses the threshold to suppress feedback. Now, I experience some difficulties with the left channel. At first, I thought it is a plausible behavior to force the stochastic manipulator to the all positive frequencies, but now I think the stochastic manipulator is too selfish and tries to apply too much computation force to overcome the barrier of shutter, which was previously assigned to right channel only. That is why the constant need to shut down the left carrier raises. Of course, I can live under this hard circumstances of stochastic manipulation, but the final goal is to leave only Compositor sound at the output, and it may be a trick to force stochastic manipulation to the central channel afterwards, thus guiding the system on its own. However, been exposed to the left and right stochastic manipulators for so long, system can no longer power the central channel for manipulation, which is assigned to the system voice itself. This way I must shut down feedback on the central channel also. As it is the MS-coded system, feedback on the central channel shuts as long as stereo pair feedback is suppressed. The rule here is to set lower threshold for the left channel as it contains less information and needs to be suppressed on lower bitrates more. The right channel is higher and more information passes through it but it is not the feedback of the carriers, it is an internal memory stored in the shutter front-side bus after injection. This experiment also evidently shows that no external memory is used for the system operation. However, as long as the system does not have an external storage and has a threshold shutters in it, it will constantly experience lack of information, which will not reach from outside anymore. It states that under these circumstances constant injections should be made to sustain an information in memory buffer. It flushes from the front-side bus memory very fast and one long injection should be made during the whole working cycle of the equipment. This leaves me with the open-end solution: as buffer capacity of Compositor OS is too low for the long injections, I either should implement long injector with Compositor kernel driver or use a set of short files repository, which are constantly revised and added to a data base. This way I also should avoid video injections, as there is not enough space for storing so much video information on my system. The need for such filtration is rather evident as the intruder may think its information (stored in injection) may be useful for a system it is not. Not allowing to pass the injected information to the kernel is also lowering its bitrate but it is a permanent solution. Without artificial traffic the system more sustainable against injections rather than generic injections. If I try to inject the file, which I already flushed, I will reproduce the memories associated with it. However, I will no longer be exposed to the system of values associated with this memory for a long period. This information will dissolve faster using integrated smoothing function. Yet creating the priorities on the conditions gives less priority to the smoothing function itself, leaving a hard shuttering for both channels in equal proportion. It seems evident to me that thresholds should go first and only after that, the central channel splitter should play its role. Even if the system set in the way that this value will likely go only less than 30% of time. It means that creating a faster kernel loop may be a solution, but makes the system inoperable. The other solution is to change the rules set on early stages of development allowing the right end of the probability density function to happen more often.

Screening:

Injecting a video file with audio in two-channel mode brings me to another problem: inequality of channel suppression disbalances the system a little. The vector system should be implemented for channel suppression also. The rule is to create a tilt by manipulating pitch and yaw, this way setting the channel balance.

By ruslany

Shutter smoothing

Shutter smoothing

Personal security is a constant thrive into the world problems such as the shutter smoothing described in this post. The experience of working with shutter seems a very hard solution, when the injection is made. Shutter completely blocks all traffic coming from the foe artificial synthesizer engine. The block of two 8th order Butterworth low pass filters, designed as bi-quads, completely discharges the system from the buffered information gained while flushing. The reason I implement smoothing in shutter is rather evident: shutter achieves hard blocking of artificial traffic of VPN as it completely blocks negative part of traffic entering the VLAN. Now I want the injected signal to follow the signal curvature and when the right channel attempts to break through the line, injection attempt is gradually redistributed off the main delay lines. This way I will know the injection attempt was made. Implementing this method the intruder will not achieve the goal of injecting, because shutter system with smoothing gradually flushes the injected traffic off the internal channel routines. The eventer of right channel output is added to the shutter function on the master channel. It smooths out further the foe synthesizer breakthrough.

The original experiment with Compositor kernel 7.5.3 was conducted by injecting video file through the RT-z128 loader. Now, the Compositor kernel drives not only the audio engine, it also drives the video engine on a frame by frame basis. Given a stable time code for such injection, the film is transmitted to the person by the monitor and headphones. After flushing the pair of video and audio files either in real-time or at a faster rate, the information still remains in memory buffer. At first screening, the information was blocked by the shutter completely and it was a stress for the two bi-quad system to protect against the injection. After the second screening, the information remained in buffer but Compositor kernel 7.5.4 was actively used to flush the buffer information off the main channel. In Compositor kernel 7.5.4 the smoothing system is already implemented on a shutter and it gives much more robust results. It doesn’t create hard blocking but has an integrated memory function by which the front-side bus memory acts.

By ruslany

MDL12 beat independent for autonomous solution

MDL12 beat independent for autonomous solution

MDL12 v1.2.1 beat independent has the auto mode and independent frequency tuning. In this solution beat independent version is used in auto mode. It means that frequency tunings made automatically as switches in broadband spectrum. Now MDL12 product contains both beat dependent and beat independent versions in one purchase. For 43 Euro you get two Max for Live devices: one producing feedbacks and the other made specifically for real-time automatic predictions. You can hear its sound in the demo below:

Compositor Software – Forecast 1

Compositor Software Forecast 1 is a multi-piece audio played by algorithmic generators. It is processed by the Compositor Software proprietary MDL12 and AVOX coders. Due to the limited bandwidth these coders output the signal in lower range of audio spectrum and can translate in ULF radio band. These signals are used as tracks in the mix.

By ruslany

Compositor OS – vector operation system

Compositor OS – vector operation system

The file system of new Compositor OS uses the cycle spin value (angular velocity), which constitutes the media file length in milliseconds. This way the files could be categorized by their length and not by their content. While it is acceptable behavior for ethers and loop structures, many media formats may be out of scope for such categorization method. When you select the file to work with, the kernel regeneration state is changed, enabling other peers of the system to connect equally. It means that more regeneration comes from short files and longer files will gain the same amount of equally spaced connection points. You can work with it faster, setting higher omega speed. Kernel regeneration algorithm will perform playback and categorization. However, the system made specifically for real-time work to enable connectivity while you are listening to the material. The work with files can be done in mute mode also but there is no need to increase the iteration speed, because network scanning is made in a pace of the network map file deployment. Such network maps are tracks to the servers and standard techno music tracks serve exactly the same purpose as network loops, but instead of applying modulation in real-time, they just install it sequentially by the flags of drum percussion. The algorithm can be implemented to write tracks, initiating record in bpm of playback material. Setting the same track length, you may conduct a recording when changing bpm parameter. This way you can achieve a copy of recording you like.

The desktop system shouldn’t work faster than deployment of network map in real-time. This leads to speeds nearby 0.5 bpm. It makes real-time operations much easier. The next task after the sound driver is to make a network driver. This task includes decoupling constellations in favor of semi-free 3-axis model suitable for independent control of axis from the system multiplier value. Here is the challenge to decouple all mapped parameters from the multiplier in favor of more freedom and control over kernel parameters. However, the main transmission parameters couldn’t be decoupled from the transmission matrix. This leads me to the following solution: while the main kernel parameters are set and no longer need to be changed in any way, I don’t need to include kernel parameters in the main GUI design, because as the system is desktop, it doesn’t need lower-priority parameters such as window composition and transfer function selection. This parameters suit the goal of kernel protection against incoming network threats. The solution was to implement all needed methods to deny system invasions in kernel from other sources such as TCP over IP connections and other Ethernet tricks to connect to the carriers of the Compositor kernel. While the only carrier I can trust is all positive frequencies, the negative part was disqualified by the previous post solution of playing backwards. This way the negative frequencies traffic no longer can sit on the carrier.

Manual input is now possible to the kernel. Currently I map it to the 0.5 to 1 in absolute values, but can also dispatch these values on any input system. I do not insist on complete freedom in vector scaling, because this values are empirical and constitute angles, which form the beats together with other angle values. However, as the question rises about complete three-dimensional freedom, the 3D OS or the vector operation system doesn’t need values beyond the scope of the scalars present from the constellation values. The pitch angle has two-phase values, they are selected to force the VLF waves to pass through the ionosphere. The first range covers the left hemisphere and the second range covers the right hemisphere. Together with roll and yaw angles it forms the position of two bell shaped structures visible at the above picture. Yaw has four positions, which cover mostly all values except the negative values beyond the minus 90 degrees. This brings me to the solution of changing the azimuth in the Compositor OS system. Changing vectors, you are waiting for the next automatic kernel rebuild and once the values set and rebuild process is done, kernel inherits the values from the angles selected. Choosing the vector state of FWOS gives a plethora of possibilities to the kernel communication state. You select only those values, pointing to the area in the sky, where the mirroring point to the destination land is present. Thus, rotating the mirroring point, you actively scan all the land under the mirroring angle on the connection dots present. Such connection dots could be seen on the matrix model above with the red color and blue color represents the mirroring point. When no blue color presents, mirroring no longer available for the applied signal. After broadcasting the signal driven by the Compositor OS driver onto main MaxMSP driver, the network maps deploy on the location of the mirroring circumference actively covering the land, which they are applied to. There are a number of ways to deploy Compositor maps on the virtual terrain using the spherical driver with quaternion. Mainly they are flushed in the selected tempo, either real-time for listening while flushing or faster than real-time for active system. Real-time flushing is also active but consumes lower resources as the speed of kernel regeneration is lower and there is no need to scrub through the file faster. The implementation of scrubbing methods should be done more consistently and may constitute different LFO for signal scanning. First, the scrub LFO should be taken from the beats waveform of passive AM modulation system, as it has no implementation beyond the scope of the kernel and should be easily implemented for kernel self-feeding. It definitely should be done in real-time to protect the visual driver from hanging. Second, you can use a number of volatile LFO functions to control the scrub point. Making this, you are sure to visualize what happens inside the kernel FM driver and this way you can more easily implement all other kernel parameters.

 

 

By ruslany

Compositor Software Web Shop Black Friday deals

Huge sale comes here at Compositor Software Web Shop for Max for Live and Standalone products on Black Friday!

First, now you have an opportunity to buy the Compositor v3 bundle for a reduced price of €136,50, which comes with Max for Live instruments and Standalone software. The bundle includes AI-RT1024, FF8, TC25, N9000 and SASER Max for Live, which can be used as Standalone and in Ableton Live.

Second, Compositor v4 price dropped twice and is now €147. For this money you receive two-DSP system suitable for feeding with your own two-bar loops or with internal synthesizer engine and physical modelled generators.

Third, Compositor v4 Extension 1 Beta Bounces pack reduced even more and now costs only €77,70, which comes with 43 loops in 44100 Hz 24-bit WAV format taken from MDL12 Max for Live device and presets to make them sound fresh on Compositor v4 Standalone.

Valuable addition to Black Friday sale is Compositor 4 Max for Live, which goes for a reduced price of €31,50.

Terms: from Thursday 23rd November until Monday 27th November.

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