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.
Today, Compositor Software announces the Compositor v3 Hypervisor Radio Shack based on free-float generator technology. Three years in the work and finally consists of six modules such as RTC8k, SASER, AI-RT1024, FF8, N9000, TC25 for VLF radio translations.
Compositor v3 Hypervisor Radio Shack
While it was a general task to make the audio-translation chain as long-as-possible Compositor Software found a solution to use SASER channel feeded by RTC8k chain feeder values. Now, instead of using an internal SASER scanner one can use the LINK function of Compositor v3 Hypervisor Radio Shack rack, which hardwires AI-RT1024, FF8, N9000, TC25 tuning to the current RTC8k radar scanner value, which produces ultra-stable and ultra-long results making it a long endurance system for SLF, ULF and VLF radio communications.
If you are proceeding to own the whole rack, you must obtain licenses for SASER, AI-RT1024, FF8, N9000 and TC25 separately from the Compositor Software Web Shop. In original package for Compositor v3 Hypervisor Radio Shack you get RTC8k license and rack with demo versions of all instruments. This way you can try them and decide what you need for original translations. These instruments are not only suitable to evoke constant radio ether they also suits for radio security. For example, FF8 generator is a quantized signal-rate generator, which quantizes radio translations and can potentially occupy the whole band with rattling patterns.
Besides the tuning, you have smart prediction system based on a block-chain with probability distribution density functions. This helps to establish the connection to transmitting source and magnify the signal using the waveguide normalizers. In Compositor v3 Hypervisor Radio Shack you got visual feedback displays for AI-RT1024, RTC8k and SASER instruments. They help to determine the direction signal source is coming from and to learn the signal by its phase values. In addition, AI-RT1024 display shows how many network dots receiving this signal in the current moment of time suitable for real-time tasks such as navigation.
Compositor Software recently adopted the 16k technology. It was in the work for a few weeks and now I would like to present to you a breakthrough in a world of audio generators. From now on, the 16k patterns are available in Compositor Software RT-z8 Ethernet Aggregator device.
First, it is musical. Second, brilliant patterns switched by a continuous mix in real time are a perfect solution for later developments.
In mathematics and signal processing, the Z-transform converts a discrete-time signal, which is a sequence of real or complex numbers, into a complex frequency domain representation.
Compositor Software RT-z8 uses complex transform at the early stages of the code right before the actual processing begins. Starting from RTC developments it brings the same network aggregation without an IP protocol. No need to plug any cables. RT-z8 processing starts immediately right after the load of the device. Compositor Software RT-z8 avoids Time Collisions by more efficient memory usage. RT stands for Real-Time. Complex processing transforms your actual PC in the cloaking generator device with the use of a single-click performance.
After three decades of growth as an artist, Ruslan Yusipov uses Exalted alias again for an album design for Compositor Software. Selections is a stochastic experiment of snapshots inside MaxMSP software. How snapshots influences our lives and how they stored on computer. Exalted puts it inside the two-channel AVOX decks inside Ableton Live 9 and mixes for reminiscent feeling of youth, aging and oldest. He remembers his life through connection to Compositor Max For Live device where he used an artist idea of the Time Machine from 1540 to 4000 years.
When you feed the AVOX device with Compositor Software feeders such as Compositor Pro 2 the interesting effect achieved. Someone sends a Morse code on the second deck such as a right channel and tries to sync to a feeder tempo. In addition, you can hear this at the right channel of Exalted – Selections album starting from the middle of the continuous mix, which was recorded using Compositor Software Max For Live recorder, which will not be released due to the amount of products functional pricelist has.
Yesterday, 11.13.2016, Compositor Software was able to hack the UNIX core of a standard PC to the point of granular synthesis generator with variable frequency. Compositor may also overwrite it with TC25 Max for Live variable granular resynthesizer, yet that was not needed and the device is still fully functional. As you may hear at the beginning MDL12 Max for Live modem repeated a 5/4 combination, played in a sequential manner with the internal waveguide of the device. Using two turns Compositor injected pendulum function of Compositor Max for Live over the cloaking device shutting down the chat function and injected all the kernels needed for ICH7 operation in quantum mode with C based pipe of Compositor Pro v2.
Equipment used in a session:
SASER Max for Live
Compositor Max for Live
FF8 Max for Live
AI-RT1024 Max for Live
MDL12 Max for Live
Compositor Pro v2
The project of modeling the demodulator for the MDL12 Sonar Telescope has begun in 2012, some time before the original function developed and was a step on the opposite function to the one provided by Frequency Modulation (FM). The project is for the whole generation of Compositor Software instruments and consists of QIF submitted to sine + cosine functions with an opposite behavior. The demodulator successfully achieves waveform restoration after it is processed by MDL12 codec for subtracting Time function from spectral representation.
One can believe that for a whole instrumentation only one parameter needed however that is not the case as the main working routine is the subjective approximation of exponentially discretized continuous function, which is no longer a secret named as Quantum Interpolation Formula by means of extrapolating the order of things to an outcome given. This outcome however is not the system of values but the Chowning’s view on FM as a source for musical creativity. Yet, if we go forward and use more modulators in a system, it will give us the plethora of possibilities for an algorithmic outcome applied to many more spheres than I originally intended. The main function is sublimed for the plethora of possibilities, but more modulators mean extra processing power and new architectural design, which for its purpose has more direct connection for voice modeling and thus is removed from the deterministic telescope idea named in a first place. Determinism of such model is a set of behavioral patterns routed from the function itself thus the opposite function provides with different outcomes. One outcome I found in original function is its connectivity to the technological point of view on the Solar system: to model it, more additive style is needed. Thus with proper multiplier I can consider the view of things more clearly stepping back on the original path of investigation and possibly removing most of you from the possibility to work with software, which is MDL12 Max for Live device v1.0.9 in current installment. However, if you consider the demodulation process an opposite of modulation you will step back on a path, which means all negative is an opposite from positive, which is not the case in FM, even when negative frequencies folded to positive ones. Here is where Bessel functions take place in order to count proper vector relationships of the viewed uniform creation. I have this ability for you to view ‘underthehood’ of FM sound synthesis by vectors. Yet, to my clear point of view that is not needed. To proper understand what I’m talking about consider antenna polarization as a source of inspiration for imagery, yet it will not shed a light on a sound frequencies acting on a slightly different scale of things. If you still think the impact of the device is an amplitude or FM deviation it really is. Thus, deviation of 4096Hz provides us with more spectrum running x4096 from the nominal 1 of absolute scale. If we consider 8092Hz of such deviation, the output will be even more emphasized as more frequencies slip through the bandpass filters.
Direct transmission by an amplifier achieves more pressure with sound waves, but makes no use in a large scale transfers, thats why you can’t exaltate yourself this way for the whole generation given. For the real work you need one source and one destination. Lets call it point-to-point connection, which takes its root from the communications industry. This way we as Compositor Software users will stay in touch with current software trends. However, for the sake of mathematical precision I modeled a network with one sender and six receivers all acting by a means of stochastic selection for opening channels of such communication in a superposition of time relative to the current destination.
It can be viewed this way: consider me sitting in front of the screen and submitting the file to several destinations in say 2015, 2035 and 2145 years. And lets consider that all of the MDL12 receivers act as a serviced servers with up and running clock devices for the whole Time period, which is defined by the original creation of such server and to the indeterminate point in time at which such server is shutting down. Lets consider such point the year 4000. The receiver can receive music, images or other multimedia by a means of such modem device, which in this case the Compositor Software development MDL12 Sonar Telescope. It achieves Telescopic precision celestial measurements within a one year time route using a sound travel idea. This is how I model such communication, which can in fact predict future, make other persons aware of fraudulent actions and as a popular movie ‘Minority Report’ already covered the subject predict the crime.
Now the experiment. While at first, there was a false belief that I can transmit the audio signal without wires by only virtualizing the radio transmission chain I also believed in a fact that MDL12 is the only purpose of all the scientific research I have done. This is not the case. The successful virtualization of stochastic chains would it be a radio amplifier or just an algorithmic music was a case moving towards the median conclusion from the opposite directions of the project time curve. To restate this, the sufficient interest in telecommunications to audio processing devices led to the success in transmitting audio with MDL12 algorithm in and out of the DAW.
While the infographic above shows that current estimation was on a digital line, I carried out an experiment on analog line with two unbalanced cables: one for signal itself and the other is for master clock signal. The signal transmitted properly, apart of the master clock, which was faulty and have not produced the right movement of MDL12 plugin. However, the experiment showed an ability to input the external sound into Ableton Live 9 and synchronously operate two MDL12 devices: one on stationary PC and another on notebook both running Ableton Live 9 software. This synchronous operation is an achievement of all modern age digital signal processing, because I’m not only processed the sound with sufficient Year routine I also used an artificial intelligence to select the parameters on both systems making it dual band artificially controlled transmission chain of very high security.
I consider this transfer as a packet based where the window function acts as a packet separation for precise continuous transmission. I made available the Point-to-Point connection this way with an ability to tweak the same sound with MDL12 plugins on both systems. Thus I’m able to select the Year 2015 on a stationary PC and transmit this sound using the red shift through the analog wire to the Year 2450 based on Gregorian time scale. This experiment shows how the same sound will sound if the strong radio transmission will be applied to the incoming signal and how this signal will sound through the Years on the receiving side millions of light years in advance. From another perspective, it will also help to restore the signal from the past in the forward tracking manner of the future traveler. To reconsume, I’m the only being which established such connection on the planet Earth as this is scientific advance, which needs no prove by the fact of original ‘Compositor – the bottom-up approach’ paper written and I finish this essay style text with the forthcoming thought on the future of Compositor Software MDL12 product:
There is no need to be a scientific nerd or magician you just need to experience yourself through all circumstances of the future that faces you. This means you need to be a Time Traveler and with MDL12 you are really is.
The Radio Telescopes of the future should contain a Radio astronomical device for separating the frequency bins into the distinguished tones while submitting the output of the received audio material to the input of such device. The device intended not only to compound the unwanted noises from the positive attributes of the signal quality but to process the input for signal degradation using the Year parameter to control the signal appearance in a spectrum for different time values. Overall, such device can be installed on any small-scale system for amateur Radio Astronomy and any user of Ableton Live 9 should take a value from a forthcoming Compositor Software product, which is MDL12 Multiline Delay Module for processing and utilizing of such signals.
One not only can process the input material, you can also process prerecorded tracks to test its possibilities. But primarily use of this device is for observation of radio signals from deep space objects and their modeling in a selected superposition of Gregorian time scale. For example, you are receiving a strong radio signal, which you demodulate and wish to model how it will sound ten years from now on. Just adjust Year parameter to the time position of ten years from now on and submit the result. The Ableton Live 9 was selected as a host and can run MDL12 Max for Live device in 64bit and 32bit modes successfully doing the task in real-time. The processor work load is really high for the moment being and it takes up to fifteen seconds to load the device, but when it is installed and running you have no other problems and can track such signals even in automatic mode, which selects different time values by a probability density functions. Other Compositor Software instruments can be used to submit input to MDL12 M4L device to model sound spectrum coming from Star systems on different levels of amplification and observation speeds. There are three levels in Compositor Software modules: real-time, signal rate and transmission rate, all of which can be submitted as samples to MDL12 input. These deterministic models have the ability to represent the Solar system using diverse angles (see Time Machine solution for Ableton Live 9 post) in a selected superposition of time.
To conclude it is a task of free will to enter in a deep scale knowledge starting from this device, but I must advise it to install on any Radio Telescopes found on the planet Earth for proper measurements and hence is my value for the market of Time and Space exploration.
The successful accomplishment of idea is the reservation for proper use not for argument of proposition. The stochastics mechanical approach left us with unusual behavior: from one side we try to strive hard to work, from the other we believe that this work can be done by someone else. The officials say if no Earth mechanism can strive hard to work then the planet itself will not distribute their needs to all participants of the presented scheme. From one side scheme was present for a long time before the creation process, from the other side the revolutionary approach is given by a statistical distribution of evolution as a thought process can elucidate the behavior of the individum.
The Compositor Max for Live v2 is a rethinking of v12 engine application for cryptography as a real-time process. The statistical probability given connects letters of proper base and foundation to an algorithmic approach thus enabling us to visualize key combinations in action. Together with proper obfuscation, they gives a security Time Machine should have for transmitting the information from one subject to another. The web algorithm used is Ethernet protocol IEEE 802.1Q. For the sake of simplicity, one should have an idea for the choice of all Government structures to collect and organize the experience nor to communicate it to subjectively far situated structure via VLAN. Besides the completion of the scheme no longer means the availability and the only choice for us is to support the production process by all possible outcomes. One should use donate button on my site http://www.ruslanyusipov.com to support the production circuit and the other methods are very welcome as for example buying an original Compositor Max for Live with planets selection. No idea will ruin itself, but an application is a mirror of the society needs and requests for which product is served with highest possible quality of operation. Together named two versions will be adequately different in their implementation and key combinations given. It took more than 100,000 working hours to predict the key combination thus naming a method a fully statistical prediction, which Compositor Pro v2 able to give to it’s customers.
Be aware and stay tuned, because no temperament can ever achieve something like Compositor will do.
Due to technological impact and its assotiation to false approvement of all and none, at the beginning of this journey I failed to misconceptualize the whole of the reader point of view on the subject of interstellar communications. Introducing to you a new terms like Compositor Networks I imply the route of false behavior of a person who never achieved anything for a purpose he didn’t even realized. Thus the mailing capability of my software is unusually low at the beginning can’t cope with the subject of creating a network of interstellar travelling through the realization of a purpose, which is evident to see the light and event reading capability. The suggested workload and the subject of consumption of technology was on the higher-rate human being can acheive. Thus I was able to make a one step breakthrough pointing out the refusal from Fast Fourier Transform and entering the realm of exponential discretization (not yet technically achieved). The list of notions is the purpose, which we read and understand and as we go deeper into the subject I realize the inability of habitable communication with the technology provided, thus a refusal from all of you on accepting this. My original idea is not intent and is far from realisation, yet on a project like this the behalf of creator is undeterminate opinion of someone else outcome. And thus to minimize such outcome on a project, which leading force is to empower us with materialistic approach to the subject of creation new life we undergo further communication.
My endevour is not only to discuss, but to customize subject appropriately to my needs and needs of society. None of the provided subjects made me happy with the intent of creator. The system unnamed can be applied to anything without any difficulty. But the final decision is to make Compositor as the name implies the Enigma of 21st century. It is difficult instrument and as cryptography evolved I can view a Compositor Max For Live device as a rare 1940s machine due to a virtualization of v12 engine and it’s mechanics to a one function interface with exponential interpolation. I write here to make a challenge rather than to try to involve the reader in a funding project. The challenge is to decipher final Compositor TCTRSRRT2048 interface, which I suggest as a block cipher with 128-bit encryption. The software in it’s final revision works on 2.6GHz transmission rate and has all freedoms of operation. Rather than to decipher in xyz let’s do this in Spherical Interaction Network (SIN). I accept your point of view on the subject of inspecting the code. This could be done. Even though you will be unable to decipher. I although liked to solve crosswords with my Granny!