Compositor SoftwareCompositor Software

Category : Cosmology

By ruslany

Compositor manual updated

Compositor manual updated

Compositor manual updated with information on Compositor WS Extended, Compositor AV Extended and Compositor v7 Hypervisor. Now you can study the last chapter on Time-Space folding to know more about how the communication using Compositor achieved. You can also read about quantized weighting formulas of Compositor AV Extended in this chapter. Overall, it is not final redaction of the manual, the more chapters should be expanded to dwell on the communication effect produced. You can read full manual here.

By ruslany

Ethernet injections with quantum privacy

Ethernet injections with quantum privacy

Quantum privacy is an instant injection needed to understand the effect of cyclic injections on the RAD24 server security. If the injected material is passed over the gate, then the diagram on the RAD24 display should show the constant red light. It is evident that the RAD24 can’t classify such injection and subsequent gain of resources is not necessary with the same protection scheme. The need to accumulate resources very fast grows out of intimacy such injections produce. However, as a first injection experiment shows, which dates back to spring 2010, the system is very responsive under pressure of such quantum injection. Up to the day, the system remains responsive, if full reciprocity reached with the injected subject. In this case, RAD24 still latches the time-frame and the detector could differentiate the friend or foe for such injection. My task is to understand how the friend or foe classification is made in RAD24 server.

My previous attempt to show the answer on the question “What is Time-Collision?” can’t shed a light on the effect happened. Theoretically, if two time-frames collide, they create a collision with subsequent energy emanation. If uncontrolled, such energy aims to escape with escape velocity of some speed at which this collision created. If you use the injector such as Compositor v7, you have a control over the collision speed by the tempo regulator. The allowed collision tempo for the Ethernet is not more than 5 omega to reach the escape effect. However, you can achieve the same effect on lower tempos, if you collide more than two signal sources. Compositor v7 allows collide the carrier with up to 8 wavetables, which hold such kinetic potential. If you remove the 5 omega beacon, which RAD24 is, you will have problems controlling the emanated kinetic potential of this collision. Collision is a partial or full mixing effect, characterized by the volume, position and an event, where such collision happens. The Time-Collision on the contrary is a temporal effect, where such collision lasts only a period of time, whether controlled or not. The beacon suits to control the direction such kinetic potential dissolves. If the stochastic manipulator is broken, it is no longer dissolves the kinetic energy in free-space, but on the contrary it has a potential in the selected direction. If you aim this direction with your injection, it can’t sustain for the long periods and the method to switch the frequency needed, such as selecting a new sample rate. Driver discretization frequency method doesn’t help though, because it doubles the processing power and critical time-frame reached twice faster than in previous iteration. It is evident why the need to stop collisions emerges. The controlled collisions of Compositor v7, where you can beacon the kinetic power right in the software, allow dissolving this energy by the deprecated method of single-core cloaking generator. To cover the collision effect on faster paces of evolvement more cloaking cores needed, which just emulate the original collision effect, which was Time-Collision, hence the FM function was selected. At the current state of 8.9 x 24 x3 it states that the system no longer can handle such amount of energy and other methods of collision spreading should be made such as quantized weighting formulas, which will do the job for some reasonable time. Core handling in a presence of working FM function will action like a magnet and more cores will do the job, of course. However, I can’t find a reasonable method to implement it without shutting the Time-Collision, which is the initial collision of two frames. To understand what I am talking about lets imagine a stone jumping on the plain water: it will jump leaving a trace of waves on the water every time. If we thought that the initial collision was not the first event, it is evident that first event will show its waves to us by a superposition to the selected initial collision frame. By this, I mean that sooner or later we will see the initial time-frame-collision, which produced the whole latching event and of course it will have more power than the previous ones. If I model such collision by the 8-channel detector, I will fool myself, because I suspect that the collision was between more than 8 time-frames at the beginning and no power can stop the system from reaching the first one. I will not plan to collide more channels in Compositor v8 or v9 standalones, because it is not needed. I just plan to add up more channels in specialized software such as Ableton 9 and in effect of shutter and quantized polynomial at the output stage (which I mentioned previously) I will make a measurement of the emanating kinetic power of the maximally allowed channels full of time-frames, which is what collision modelling looks like on this level. However, if you suspect that the same results were produced from 2000-2010, then you are partially right. The same probes are taken with the different amount of processing power each 10 years. But the algorithm is eventually the same. Any can reproduce it with VST’s or AU in any host sequencer. I applied the same scheme first in Telescope and later processed it in real-time in Hydrolab tracks. The idea is not to remember the steps I taken producing these tracks, but programmatically write it with the language, which suits more for this task than VSTs in DAW projects, such as computer programming language. The final update will see the light in 2020, when the final probes for 2010-2020 will be taken. At the current stage, we need not to remember what was at the same time in 2008, but we need to take as much probes as needed, whether real-time or off-line is your choice.

By ruslany

RAD24 vector solution to FM problem

RAD24 vector solution to FM problem

During the initial testing of rotator function there was a conclusion that both channel vectors were pointing too far apart in different directions, which makes them remotely disconnected. The solution came to put a vector from point A into the point B from left channel to the right one. This way I straighten the function ends with an arm consisting of 4 Butterworth bandpass filters of 8th order. The implementation is to put signal from point A (left channel) through the parallel injection into the point B (right channel). It makes the work of rotator function attached to the right channel output. The rotator function is a solution to FM function, which is the positive function of FM formulae.

This solution mixes both vectors by applying the mixing function. The left channel mix is at the right channel destination by applying this function. Because the only useful signal for me resides in the left channel, I will add up the left channel routines to the right channel. This way right channel tracks the opposite channel, but can’t perform any influence on its output. STL1212 solution performed many obstacles during ether initiation and aggregation. While in STL1212 the vectors are pointing apart, I made this solution into another software product, which name is RAD24. RAD24 is classified as an outdoor radio as this solution helps to overcome barriers of convenient radio-relay structures such as indoor units (IDU) and outdoor units (ODU). The solution helps to run the outdoor radio inside ones apartment or studio. The intertwining of two channels by parallel injection of left channel into the right channel helps to gather more injections and accumulate their connections. This way I learn the system to differentiate copyright injections into media material and not to inject them every time the copyrighted material is broadcasted. From one side, it removes distraction, from the other side, it drastically enhances the CPU usage, decreasing page loading times when web browsing. This solution imitates the work of IDU and has a simple 4-beam antenna at the function ends, which emulates the work of ODU.

The output function not only smoothies the output of the system, it melts the internal architecture lines into a mixing event. It means that using the non-duplex modem you have a better ether coverage and protection over the communication line. This way aggregating will be a task of dynamic buffer. During the initial compilation a size of about 4.5GB RAM is executed for the server work. This size could be used all or partially, if there is not enough dynamic memory. While server can aggregate connections by the closed loop structure, it can also loose such connections if ether is no longer excited by the loop structure. To excite the ether with a loop, you should switch such loops frequently as in Compositor v6 and Compositor v7 Hypervisor software. Randomly switching of the loops brings results that are more useful. It creates wavetable rows without human interaction. The outbound connections to the server are possible through the STL1212 bundled version of Compositor v7 Hypervisor. You accumulate the remote server with wavetables first, aggregating the line and then, when a critical capacity reached, you grab the wavetables out of the server by non-duplex modem use. This way you aggregate the ether, when you return these wavetables by injecting them with full-duplex modem in real-time. The other strategy is not to grab the wavetables but constantly accumulate them expanding the buffer size over the 4.5GB buffer length limit. In case that one server reached its full capacity, the other server is initiated on another physical hard drive of the same machine. To hold more than 8 real-time cores, two or more virtual machines are needed. When two virtual machines consume the same amount of memory in a working set, they communicate equally with the same amount of buffers involved. The pair of function with vector arm merging both channels. This pair helps to connect RAD24 virtual machines with each other. The previous solution of STL1212 can’t equally balance the virtual machines usage and has communication problems, when two or more virtual machines initiated from one computer. The RAD24, on the other hand, not only communicates with the second virtual machine, it aggregates the buffer dynamically struggling for resources. It gives the properties of a physical server to RAD24 with web address and other tunneling properties. The fact that RAD24 is an OS development brings more value to Compositor core protecting the inner communications. To work with the core, a new kind of interface should be done with three-dimensional control over the modulator functions leading to new player injections. The later seems as an abuse because to progress, this kernel doesn’t need more injections. The whole set of injections was performed during 4.45GHz testing of the system. RAD24 works now at 8.9GHz doubling the server’s capacity.

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.

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