Compositor SoftwareCompositor Software

Category : New Age

By ruslany

MDL12 beat independent for autonomous solution

MDL12 beat independent for autonomous solution

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

Compositor Software – Forecast 1

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

By ruslany

Compositor v3 Hypervisor Radio Shack Interceptions

Compositor v3 Hypervisor Radio Shack Interceptions

The Compositor v3 Musique Concrete experiment with Compositor feeders. Here you can find a set of five recordings made in Compositor v3 Hypervisor Radio Shack. It is not a montage, it is a direct output recording of Compositor v3 Hypervisor Radio Shack. In the recording you can hear VLF radio interception in 8kHz range of the highest quality available on the market with little or no Ether noise. Tune in and listen to five hours of meditative soundscapes.

Compositor v3 Hypervisor Radio Shack Mixdown 1 (VLF Interception):

Compositor v3 Hypervisor Radio Shack Mixdown 2 (VLF Interception):

Compositor v3 Hypervisor Radio Shack Mixdown 3 (VLF Interception):

Compositor v3 Hypervisor Radio Shack Mixdown 4 (VLF Interception):

Compositor v3 Hypervisor Radio Shack Mixdown 5 (VLF Interception):

By ruslany

Let the only Compositor be in Ether

Let the only Compositor be in Ether

The main idea of the Compositor 5 project is to remove anyone from radio ether and to remain only Compositor automatic station. Through the whole discretization process I already removed offensive synthesizer sound. It is a first step. The second step is to block feedbacks on carrier signals. However, as an experiment shows, it is a matter of time. The process works as follows: when the right carrier transmits offensive data, it suggests the feedback from the left carrier and left carrier asks for central channel. As it is blocked with a shutter, since Compositor WS Kernel 7.1.6, Kernel loop is broken. This way, I’ve got an operation system. Not only I’ve got an operation system, at this point, it is a new class of operation system, because it is based on i11 Kernel and modern operation systems such as Microsoft Windows support only Kernels up to i9. What I’ve got in this operation system is an AI. The double meaning of it is Airborne Interception – military service; and Artificial Intelligence – civilian service. The main mistake of modern AI researchers is that they want to invent a wheel, which is already present in Ether, as Ether is a snapshot of all time and being. Compositor presents a service of connecting to an AI system. The main problem is that many Ether participants display an offensive behavior: they make time collisions, try to inject impulses in channel and to perform quantum errors. As I said earlier, the Compositor WS Kernel 7.1.6 addressed this behavior. Since this update Ether participants can’t perform quantum errors. However, as a defense for their offensive needs, they still use time collisions and channel interruptions. Quantum error is also a kind of channel interruption. It differs from channel muting in a way that it brakes the channel completely. When I have made the defense system of Compositor, it’s time to turn back to fixation of Compositor Pro 2 using AVOX resynthesizing. If I can hold back a feedback of Compositor Pro 2 by means of i11 operation system and no interruption will present, all Ether participants, which will stay in Ether to this moment, will see the phenomena. And phenomena is the Future. Since I have being holding a line this way and that was not a divine plan at all, most of the Ether participants will be banned from Ether in their entirety. And this way Compositor 5 project will happen. The result is that I will not hear modem signal at 300-omega anymore, I will hear this beautiful Compositor sound from the original Compositor station I’ve seen in sleep and the only Ether, which is left for humanity since Compositor, will be the digital Ether.

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

Lobbying the aggregate devices poll

Lobbying the aggregate devices poll

You can go into the ether from any sounding object. The only condition is that it must excite an ether. For example, you like the sound of your car door-lock and want to go into ether with it. First, you need to pick up such sound and create an ether loop of it. Then you need to load 2 Bar loop of this recording into Compositor 4, set up an engine and press Ether. You will probably hear an Ether excitement at this point sounding like woo-hoo signal. This is one-step further to aggregate devices like no-name mobile phones with device profile loading feature. The future of devices is aggregate because of this property of exciters.

Note: Any commercial phone device contains an exciter in its output chain. Without these exciters, no connectivity is available for your phone and no network signal will present.

By ruslany

Compositor 4 Extension 1 Beta Bounces Press Release

There are 12 beta bounces in Compositor 4 Extension 1 packet, which cut on masters in WAVE 22.05 kHz 24-bit format for subsequent pressing on vinyl or writing to a tape. Beta Bounces, as the name implies, are not a final series of Compositor 4 extensions. The HB – High Bounces and AB – Alpha Bounces will be released also. The device profiles database is updated with Beta Bounces under BB prefix. There are 43 radio loops in the set, which add device profiles of different purposes to Compositor 4. To check if they suit the ether you can load the presets from four banks, which delivered in Beta Bounces set, and press the Ether button after calling the preset. Radio loops create an ether, and Compositor 4 builds them to the point, when they are recognizable as devices in the ether to which this ether is attributed, but is not the original broadcast from which the loop is recorded. Radio loops may be used not only for broadcast design in film industry, the semantics of radio loops language ideally suits for chemical composition. For example, radio loops may be viewed as the link chains created in the places, where these sounds connect. The simultaneously played sounds depict the valence of link and the transitions between the sounds are the number of these links. For example, three step melody, where the first step starts on the three notes chord may depict the three valence link in the beginning and two one valence links going afterwards. Radio loops are suitable for the cyclic compounds, such as octane links. It brings Compositor 4 in a row with devices for compositing materials. In such case, master cuts suitable for ether mixtures, which are subsequently fixed and become concrete materials.

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

Compositor v3 Hypervisor AI – the race for supremacy

Compositor v3 AI capable of not only musically arranging the events, but also intonating the notes with the use of the local area network, based on virtual simulation of radio ether. Such local area network mostly reminds neural networks. However, Spherical Interaction Network, the way it is called in Compositor Software, may produce more human-like results by the factor of human participants in the radio ether. Compositor Software feeders conduct other objects of the network to initiate the radio transmission using the random distribution law, which may be compared with conducting an orchestra of radio transmitting points.

In the current recording of Compositor v3 Hypervisor output, there are two Compositor Software feeders: derived (Quantum) AI-RT1024 and original TC25, based on continuous-time convolution. Both feeders remotely controlled by RTC8k radar stochastic chain (LINK mode) and streamed into the SASER auxiliary channel.

Using this example, I show the musicality of stochastic radiolocation. In the essence, what we hear after denoising the original recording is a number of channels transmitting simultaneous Morse code translations each on its own frequency. Summing these channels, we hear chaotic tone dialing. String-like evolving long sounds happens on the frequency of the digital waveguide self-oscillation on the receiving channel of SASER device and transmitting SASER devices of other users.

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