Compositor SoftwareCompositor Software

Category : Astronomy

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

TC-SUBTRSRRT262144 Architecture

TC-SUBTRSRRT262144 Architecture

TC-SUBTRSRRT262144 architecture is the i11 architecture with a processing power capable of running an operation system at speed of 5-omega in real-time.

Compositor kernel was forced in loop again after submitting the RT-z128 prototype to Compositor 5 rack. It is a hypervisor rack and the main difference from the v3 hypervisor is that it consists of MDL12 and AVOX developments. In Compositor 5 you have an opportunity to inject Compositor v3 into the net by the modem and resynthesizer instead of direct ether injection. It is safer but consumes many resources. After the main tests were conducted, I decided to install the one more layer in Compositor kernel. The discretization process goes twice: at transmission rate and on intermediate frequency. This way the system mutates to a system with intermediate frequency. I made it for the purpose of the preliminary line before entering main transmission rate line. Here is where a new prefix of SUBTR goes from. SUB means transmission rate sub frequency and TR stands for transmission rate. I’ve already tested the new kernel loop for its connectivity and should say that 4-layer structure can give much more pleasant results. It has much longer connection duration, more saturated, and leads to constant communication. However, breaking the loop in 4-layer structure, I operate in a new type of OS. It is no longer an open AI system. It has the qualification channel for all the information, which passes into the main line. The rule here is to filter out offensive traffic and leave only the bypassed part of it. It acts like the waterfall on the rocks: when water hits the stone, it divides the flow into two streams and if there are 12 such stones, for example, I have 24 streams. But, not in this case. I actively compress the data,  and it remains in memory buffer, that’s why systems capacity is larger now.

System flushes results are satisfactory. They are more consistent and enable more packets of information to be send during the initiation of connection. Compositor kernel has freezer functions for operation system faults. The main reason Compositor kernel upgrade performed is to remove the stochastic manipulator from the TR level leaving the SUB level for the stochastic manipulation instead. You have a choice of not performing an action and leave it in a buffer for a subsequent flush. However, I admitted that many actions blocked this way and they are all forced to be done while flushing. This raises the question again: Can I actively block feedback on negative odd channel completely? And while the SUB level is only a temporary solution, the permanent solution for FWOS will be to implement more technics working with feedback besides of shuttering, window composition, transfer function selection and vector dimension changes in real-time. While the kernel loop is interrupted, the idea is to have two states for the OS: system load, for which I should implement two or three iterations of kernel loop to perform flushes for the current machine, and system work state. While being a FWOS, system loses many of its connection points gained in a fast kernel loop state. Being a communication device, it is not acceptable behavior. I need to have an implementation that manages flushes in real-time. Going from vector array to a packet transmission should be performed regularly to flush blocked traffic. For a local machine, blocked traffic can include visiting specific servers, sending out brief messages and a sum of all other activity in Ethernet, which fulfills the normal style of work. However, as the question raised, I need to switch the negative odd channel traffic from one point to another. This also moved me to solution of blocking negative odd feedback completely. Negative odd channel produces only unacceptable traffic by means of three-fold system with opposites, which are plus, minus and central channel. While enabled in Compositor kernel version 7.3.1, which is an OS kernel, the problem of communication between negative and positive states remains up to the point of forcing them to the maximum allowed state for the musical system, such as in RT-z128. This alteration is visualized on the lower i/o vector sizes. When the system halts, only two states remain, such as 0 or 1. Increasing i/o vector size to the minimum working condition of 2048 samples in a bin allows RT-z128 to work with a buffer of 262144 samples, which is the number in the development name. I no longer wish to move to i13 as 1024 samples buffer experiments show no practical use for the scale of it. i11 architecture transmits the odd channel in the acceptable range, making its values sufficient for subsequent scaling.

The challenge for an odd communication is a constant threat to the kernel. And if one threat is qualified and successfully flushed, another threat rises by the fact that it is a negative channel for negative frequencies only. And if they are present in positive spectrum as in Compositor kernel, to remove the negative part of the feedback, the negative frequencies must be implemented in signal chain and the solution maybe is to invert them or play backward the whole negative part not only for SUB channel, but for all odd layers present.

By ruslany

Optical telegraph by means of signal lamp in Compositor WS Kernel

Optical telegraph by means of signal lamp in Compositor WS Kernel

The Compositor WS Kernel implemented the so-called signal lamp with shutter on Master channel using the automatic throttle of stochastic engine. Now it is another implementation of stochastic engine in Compositor Kernel, which is still unbeatable in z128 realization to the moment. It means that central channel is no longer open for direct communications by means of signal transfer, but transmit in portions by a predefined alphabet-flag system named Ionic. For the Compositor users it means that signal communication will no longer leak into the ether. This way, you can use the direct communication with carriers played by physical modeling engine. Hard moderation system is implemented on the master channel of automatic engine and if the carriers transmit the offensive data, the whole transmission channel shuts down. As a single user may thought of it as a downgrade, it is not. It is an upgrade making the whole Compositor communication system more secure like a real War Ship optical telegraph with shutter. It prevents the system running the Compositor of overheating, when a critical channel capacity reached. It also means that we need more servers like Compositor to be registered to different persons for a more distributed communication, if we would like to reach a goal of direct transmission communication. I repeat do not use only one server for communication, it is important. One machine – one server. It could handle 72 channels as defined in three layers of communication separated by 24 for different purposes. 24 channels for real-time communications like voice communications, 24 channels for signal-rate communications like old AM radiolas and 24 channels for transmission-rate for up-to 262 kHz VLF radio services. The main problem of the system before implementation of a master channel shutter was: many nodes of the network wanted a direct connection, that the system really couldn’t handle. In fact, only 24 connections simultaneously is as much as needed for real communication service per subscriber. And one channel of each subscriber gets three services simultaneously: real-time voice data without transmission, signal-rate old tube AM radio for radiola type transmissions and transmission-rate for longer VLF communications, which use the same AM but on the higher transmission frequencies.

Now, when the quantum error is surpassed, the main idea is to test successful transitions from fully exponential state to quantum world. The Compositor v3 is one and the only software, which aims this goal. The beatings on detection of offensive optical shutters are still in place. However, the quantum channels of AI-RT1024 and FF8 are stay unbeatable in ether. From one side, it prevents from successful shutter interception, but, from the other side, achieves constant presence in ether due to quantized derived function. The 7.1.6 patch to a modem of Compositor WS Kernel enables a person or, better to say, user to present in ether. It leads us to a constant solution of a wider presence in both quantum and exponential states.

By ruslany

Compositor 4 is out now!

The preparation of Compositor 4 master version took all spring, summer and also the part of autumn of 2017. The last changes touch the creation of loops library taken from MDL12 non-duplex modem, which you may load in 8 decks of Compositor 4 for simultaneous playback. These profiles give you a unique chance to obtain 42 devices based on wavetables. Changing the tuning of z parameter you are also switching between 7 Compositor RT-zX devices, which may work in automatic mode using the arranger and in manual mode. It gives you a sum of 56 devices for the price of one in standalone version of the software. Using z parameter you can change internal architecture of the software in fraction of a second, which allows to make perfect preset interpolations. In Compositor 4 you are purchasing the universal instrument for loops bouncing, which may be a complete track and as a part of your music set. All decks work synchronous to Compositor 4 internal generators tempo and are indispensable parts of software. You can create a channel matrix of 8×42 and use the carriers of physical modeling in unison to loops playback. The sum of Compositor 4 signal processed using master MS-decoder and stereo image enhancer, which improve spatial characteristics of you phonogram. It is worth mentioning about master bus tube, which warms the signal and enhances it with harmonics. 6 master tube harmonic sets allow to change tube type in master channel cascade using one mouse click. An ability to load your own loops in decks makes this instrument a unique groovebox with unrivaled characteristics. The modulator and main parameters section is also worth a price, because you can change the phonogram tempo from 0.05 bpm to 5760 bpm without a loss in synchronicity of the playback. The Multicolor display allows remembering program tunings using the color and set up in relation to tempo and program multiplier. The large amounts of algorithm combinations, 56 device profiles, two types of internal synthesis and master procesing make Compositor 4 indispensable studio instrument.

You can buy Compositor 4 now for the price of €45 for Max for Live version and €294 for Standalone version of software. Visit our shop to chose feeders for Max for Live version. If you would like to buy the whole package of Compositor Software instruments look into bundle options.

By ruslany

Compositor v3 in Arctic Dub (Sursumcorda Inc.) series

Compositor v3 in Arctic Dub (Sursumcorda Inc.) series

Our friend at Arctic Dub (Sursumcorda Inc.) have used the Compositor v3 – Hypervisor Radio Shack for Archaic Anahata series. These magnificent series include field recordings and discovered sound artifacts. You can hear TC25, FF8 generic kernel loops and RTC8k modified kernel as injection for your ears in his recording Dave Wesley – Archaic Anahata Avenidas 86_7 EPv1 – PREVIEW

By ruslany

Compositor Software virtual servers

The Data Center inside a PC is available thanks to Compositor Software virtual machines. White noise attack registered at 7:25 and successfully rejected by RTC8k holographic radar.

You can watch how Compositor Software technology progressed in the current video. Starting with 4k holographic radar RTC4k Compositor Software system upgraded to RT-z128 becoming 64 times faster within two years. There is also a counter solution Compositor RT-zX, which can unlock all of the current Compositor Software autonomous systems. Hence, its use for the radar system detection. Music wise all that is above RT-z16 sounds like a digital modem with lower z values bringing the analog quality alarm sounds. You can find RTC8k inside Compositor v3 bundle. The unlocker for all z systems will be available inside Compositor RT-zX later this autumn. The ability to switch z values gives not only new sequences inside one instrument but also a possibility to switch platforms within one single mouse click without a need to wait minutes for standalone system loading.

Learn more about RTC8k, which is the part of Compositor v3 Hypervisor Radio Shack software at http://www.compositorsoftware.com/compositor-v3-hypervisor-radio-shack/

By ruslany

Compositor RT-zX for game industry

Compositor gameplay

After building the automatic part of the program code for Compositor RT-z128 application, main goal is to test this standalone as a music application. Such test includes the creation on its base of the virtual hybrid synthesizer Compositor 4 with RT-zX marking, which has the ability to switch layers and also the z parameter in wide boundaries. RT-zX generates melodic patterns in relation to locations in RT-z128 coordinate system. Virtual synthesizer RT-z128 subdivisions on physical modeling, waveshaping and granular synthesis. This gives three types of synthesizers in one: the first one sounds as an organ, second has a harsh wave distortion sound and third is subtractive, analog modelling synthesizer.

The coordinate system tunes in different sequences and sounds. There is an ability to switch sequences using Phase and Constellation (coordinate system vectors) changes. Each of them tweaks the programmed location on which vector is pointed.

On the RT-zX display you can view the direction on this map location, which constitutes the particular sound. In RT-z128 there are internal generators – this is your player signal. Also, program can receive the external radio ether signal – this is the second player signal, which played on analog synthesizer and resynthesized using system RT-zX waveguide. This way the identification of friend or foe on the game map is achieved. When you wish to know the location of player 2, you turn off the physical modeling and waveshaping modules, making an amplitude of this modules in GUI on 0. In RT-zX physical modeling modules marked as Window function 1, 2, 3, and wave deformation as Waveshaping 1, 2, 3. The signal, which you hear when the RT layer is turned on, constitutes the signal of external synthesizer, which is used to mark second player map locations. Next, your task is to sample the map with the use of RT-zX – you find the locations, which constitute the different vector orientations with the use of second player synthesizer sounds. Using the Constellations menu, you change the display of map locations, and this way open the field map. You find the merging map areas using multiplier as an instrument of orientation after setting the right Constellation. You are starting the game with the closed field and sound textures, which constitute RT-z128 soundings replaced for music design in such a way, that each synthesizer pattern constitutes only one melody. What is more you are hearing melodies of your player, which are based on melodies played with internal physical modeling synthesizer of RT-z128, but your opponent hears melodies, which are based on the replacement of external analog modeling synthesizer RT-zX.

By ruslany

SASER SAS24P3L sale! 25% off

Dear friends,

I am glad to announce the SASER SAS24P3L sale! 25% off! Price with discount is 53,21 €. Good opportunity to buy Max for Live or standalone version of software!

SASER SAS24P3L features:

  • One-dial performance
  • Cross platform licenses (Compositor v3 and Max for Live)
  • Stereo-image enhancer
  • MS coding
  • Ableton Live tempo synchronous operation
  • One-window layout visual appearance
  • Scanner with automatic mode
  • 16 types of AM modulation
  • 12 phase-distortion presets
  • Automatic digital mixer
  • Signal level meter with overload indicator and dB values
  • Snapshot of every parameter
  • DSP processors on/off switch to save CPU resources

Auction terms: 21.07.2017 – 28.07.2017.

By ruslany

RT-zX – a new platform from Compositor Software

Compositor Software presents RT-zX© platform – a software product line for algorithmic music. RT-zX© platform devices correspond to sound aesthetics of noise music and ambient drones, that’s why they found their use in experimental and dub sound producer studios. Thanks to their internal modulation and delay line possibilities, they involve a listener into the interesting world of deep soundscapes. RT-zX© platform instruments give producer an opportunity to feel like amateur radio operator or radio telescope engineer. This way, you have not only musical characteristics, which you searched for, but also a joy from the instrument, which is suitable for comfortable studio work.

RT-zX© platform is fully algorithmic and its SASER editors will be marked as RT-zX-e from now on, where X – is an oversampling bus multiplier. Compositor Software made a giant leap into a constantly progressing world of sound emission technology. The impressive pass band rates became available in RT-zX© platform. This way, junior version RT-z4 passes a stream up to 2,9 THz/s, and elder RT-z128 passes up to 6 PHz/s. This makes available the work with high-speed rate audio streams in real time without signal degradations.

Due to RT-zX-e editors you can acoustically model radio ether, high frequency radio objects sound, and use the device as a telegraph for Ableton Max for Live. New versions with buffer size values up to 262144 samples will help to commit needed amount of memory for high-speed work with RT-zX© platform audio applications. The maximum speed of work with these devices is an upper limit of Ableton software, which is 999 BPM. Below you will find the comparison table with RT-zX© platform technology use.

Due to its high performance and stability RT-zX© platform will find its place in Compositor Software music devices and algorithmic composition instruments. Ableton software integration as the Max for Live instruments, allows flexible use of RT-zX-e controls. The platform has audio effects devices, which will be marked as RT-zX-FX used as send FX or direct insert on audio channel. There are several programs in the table in which users of RT-zX© platform can potentially take part. Merging the science and art made possible promoting a new Compositor Software instruments to the wide audience of music market.

By ruslany

CAA – 6: Ruslan Yusipov SASER SAS24P3L recordings on Cyland Audio Archive

Compositor Software presents a project of collaboration with Cyland Audio Archive (CAA), curated by Sergey Komarov (Kurvenschreiber). Now, Cyland organization archive has recordings made with SASER SAS24P3L software in the summer 2016 period. It is an experiment with master wavetable, which adds warmth to the recording and tones to software antenna modules. Recordings are available on the vinyl in 7,5″ PVC Lathe cut format and as digital recordings in popular audio formats on the CAA bandcamp page.

This release consists of five recordings, which named using a special principle of SASER SAS24P3L software work. The roots of the naming come from Ionic numeral system: first letter from Greek alphabet taken from the position of the central channel and number is sum of numerical values from three channels. In conjunction with taken number and letter of the central channel the model of a imitating device is named. Using an interface of SASER SAS24P3L audio engine it is possible to composite different radio stations, translating: SLF and ULF channels of original bus, VLF on secondary bus and VHF on the oversampling bus.

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