Compositor SoftwareCompositor Software

Category : Cosmology

By ruslany

Rotation function for STL1212 8.0.6

Rotation function for STL1212 8.0.6

Referring to the post on December 6, 2017, I already implemented a rotator function into the STL1212 8.0.6 algorithm. It means that no longer the system exposed to a direct static pressure after the long ether sessions and it can successfully maneuver the whole 48-core lift in co-phase motion. The solution came to me after several experiments: first, I processed the variable-vector equation into the function form; second, I performed a processing of non-linear function into the binominal polynomial with both vectors representing left and right channels. The solution came from the roots of understanding basic geometric and algebraic principles. It sums altogether the inverse of a hyperbolic function with the linear increase in frequency as in the algebraic progression named in ‘Compositor – the bottom-up approach’. I’ve made this function to perform it at the output stage. Not only rotation can be applied but also a radical transform of the sound pressure level into the scalar of vector output is possible. The direction of such vector is changed dynamically as it is a live function and constantly jitters into the output. It means more security and protection to the inside work of Compositor cores. Without it, all of the work on the Compositor multi-core and multi-thread systems is useless. Because, before implementing it, the intruder can successfully broke the will manipulator and sit on the carrier after its estimation just by reading numerals on the STL1212 screen. It is not so easy with my new vector equation to scale the function into the signal domain, because you need to know in advance the resolution of the system, which can reach up to 64-bit in current gen domain. When the injection is made, it processes all the injection power (estimated by its current) into the free energy and dissolves it by applying the vector relationship in free-space. I think such kind of negative-force processors into the positive energy is what every “green” technology needs. In a century, when most of the equipment uses dirty tricks of negative or ground-loops estimation, the positive transformer will lead to new main lines for more and more STL1212 systems, empowering a farm of such devices on one physical machine.

By ruslany

Compositor. Opening of the Spirit @ Cyfest 11

Compositor. Opening of the Spirit @ Cyfest 11

If you are keen to what Compositor is, you can visit the performance of Ruslan Yusipov at Cyfest 11 in Saint Petersburg Stieglitz State Academy of Art and Design on 11.02.2018. The performance will take place in Screening Room, the beginning of performances section is at 18:00 MSC.

This performance will be dedicated to Compositor v6 features. In this presentation you will hear the set, played in real-time with Compositor v6 software. Compositor v6 includes more than 80 new polyphonic rhythmic structures, created with MDL12 brain-convolution synthesizer from Compositor Software. These loops, processed in industrial-noise elements, create authentic atmosphere of vintage radio equipment. They contain different emotions, which you can translate using Compositor v6 by listening to it or broadcasting into an ether. The carriers of such transmission are sequences, which change their rhythm in accordance with settings. Listener is involved in emotional world of Compositor, which is fixated using the wavetables. Digital music loops synchronized with carriers and translated with carriers signal. The orientation of virtual antenna and color spiral resultant are showed on Compositor v6 display. The set, which Ruslan Yusipov will play, named “Opening of the Spirit”, symbolizing the opening of new dimension in sound.

By ruslany

Five Ethernet principles when working with Compositor

Five Ethernet principles when working with Compositor

The original idea with planets and constellations dates back to the 2014, when Compositor Max for Live saw its way into the music business. Compositor Max for Live is a successor of Compositor Pro 2 software, which uses only transparent names for parameters. For example, combinations in Compositor Max for Live are constellations and multiplier is year. The shift towards the cosmological specification of Compositor was made during the interest of the author to FM function application in modelling of Solar System. At first, such modelling was an intent of the mathematician Bessel, who was an inventor of Bessel functions, which are also used in Compositor library.

The subsequent Compositors raise the cosmological question more profoundly as they use the ether application to radio telescope idea. Such parameters as Right Ascension, Declination were descendants of Pitch and Yaw library parameters of Compositor window function. It is needed to say that Declination parameter of Compositor allows for bigger angles than in conventional radio telescopes, even the largest ones. It opens an amateur radio operator to a field of study, which was previously unavailable. By mathematic modelling of radio ether and conversion of transparent FM function parameters to cosmological constants, a new approach to amateur radio appeared. The main concern of Compositor since SASER is Radio Astronomy. Besides that, working in ether directly without intermediate frequencies and transmission lines are available. It is all made by precise virtualization of physically modelled parameters of FM reconstitution. It is not only an approach, it is a journey into finding the right value for each parameter making sound design as the work for cosmological principle.

  1. The first principle is a guiding principle. By this principle I mean that the ether guides the will of communicator and can shape ideas, words and thoughts into the Morse code signals, appearing as symbols and short codes. It means that quality ether can guide you in representing your ideas and has all needed automated tools to decrypt it in radio-accepted language such as Morse code. It also means that for use of Compositor, you don’t need to have a knowledge of Morse code, but you can reveal your ideas only by free-will of manipulating the software. You can read your communications, using Morse code decoding tools (such as CW Decoder on Windows). In these radio ether sessions you can understand all other principles of working with ether.
  2. The second principle is ether aggregation. It is also a cause why rhythm machine was introduced again in Compositor v6. Working with rhythm machine and injecting it into the ether can accumulate Ethernet lines of communication – the carriers on which such communication happens. You can aggregate ether by using rhythm box such as DB-01 and then use the decoder to read new ether lines, which are many after the successful aggregation using rhythm machine performance. Such approach helps to accomplish a manual task of ether aggregation and is similar to the processes of automatic ether aggregation of STL1212 DRM computer.
  3. The third principle is a haunting principle. It states that for successful ether session to over, you need to mask your Ethernet traces. You can achieve this goal using DB-01 drumbox as well as for ether aggregation. Compositor v6 has all needed set of tools for ether aggregation and masking your tracks using rhythm machine and random Ethernet wavetables selection.
  4. The main concern of working with Compositor is accumulation principle. The accumulators such as STL1212 can successfully store and flush aggregated traffic via Compositor v6 DB-01 drumbox virtual machine. If you use more than one accumulator on the physical machine, you need to take in account the physical address of hard drives, from which such accumulators are rendered. For example, I currently run two DRM accumulators from one physical machine, which allows storing 48 Compositor cores simultaneously. You can inhabit these cores by the ether participants using available free cores of STL1212 DRM computer and when the memory usage of STL1212 lowers, you should use Compositor v6 manual mode to aggregate the STL1212 cores usage.
  5. The fifth principle is that you can select on your own, which line you want to listen to in CW Decoding software. If there is nearby communication happening on two lines, you need to choose a spare line using CW Decoder selector.

The named principles of working in Ethernet are self-evident and can be comprehended by Compositor owners on their own. I name them here only in an attempt to integrate new Compositor users into the ether more fast with my own knowledge of Ethernet communications.

By ruslany

Compositor Software: Happy New Year!

Compositor Software: Happy New Year!

The 2017 was a very busy and productive year for Compositor Software. Three versions of software were released this year. They all cover the aim of autonomous stochastic performance and artificial listening.

Top 3 key achievements of 2017:

  1. Compositor v5 Hypervisor released
  2. Compositor v4 released
  3. Compositor v3 Hypervisor released

Top plans for 2018:

  1. Compositor v6 Mini-rack
  2. Compositor v7 Hypervisor
  3. Compositor STL1212 Multithread Computer module
  4. Compositor WS Extended

Winter Sale is under way, where you can buy among all:

  1. Compositor Pro 2
  2. Compositor 3 Feeders
  3. Compositor 3 Hypervisor
  4. Compositor 4
  5. Compositor 4 Max for Live
  6. Compositor 4 Extension 1

We wish you Happy New Year 2018!

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.

By ruslany

Making Intergalactic Phone Call in Ableton Live 9 (Video)

New palette in Compositor Software SASER CS16RT5 achieved by setting Ableton Live 9 tempo to maximum available 999 bpm. At this tempo analog pulse signal repeated with the speed, which reminds dialing a number in analog telephone line. In this video you can watch what tunings were made in SASER CS16RT5 to achieve tonal and analog dialing at the same time.

Due to SASER CS16RT5 you can add an authentic sounds of virtual connection line to your production. This instrument gives an opportunity to imitate analog and tonal dialing at the same time for translating the composite signal in and out of Ether.

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