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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.

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.

Top 3 techno tracks which use Morse code as a melody

The most successful ostinato melodies in techno music may be taken from radio translations, which make this technological style of music more authentic. Such melodies may be a recording of radio loop or Ether resynthesis using original Morse code message as an inspiration. The later allows avoiding Ether noises such as clicks, but loses the original radio translation atmosphere. Today, I will play Top 3 techno tracks, which use Morse code as a track main line, using both approaches.

  1. Dubfire & Oliver Huntemann – Diablo (Original Mix)

The first line is Ali Shirazinia aka Dubfire with Diablo track. The main hook of the track is a radio loop, which sounds as an Ether recording. The sound of this translation taken from Morse code key for manual or automatic telegraph messaging.

The translation reads as:

. .. .. .. (EIII)

  1. Gaiser – Ciliate with

On the second place, there is Jon Gaiser with his resynthesizing passion for short Morse code messages. The track is Ciliate with from Blank Fade album. Having the idea of showcasing different variations of a short radio loop, Jon uses resynthesis as a source of inspiration.

The track translation reads:

… . (SE) with variation on … .. (SI)

  1. Boosty – Wavescanner

On the third place there is Ruslan Yusipov with his Boosty alias. Ruslan uses Funky key sound to resynthesize original translation.

The track translation reads as:

. .. (EI)

 

If you would like to use radio translations in your tracks, I recommend purchasing SASER Max for Live from Compositor Software. With its use, you can enhance your productions with resynthesized radio translations in Gaiser style and one-bar loops recorded directly from the Ether like in Diablo track.

AVOX Max for Live Beat Independent

AVOX Max for Live update version 1.1.6 released. Now you can control beat tempo independently from the tuning of the device. In AVOX Max for Live version 1.1.6 you can switch from automatic key detection to a manual using two available controls. You can also resynthesize the song tone on the fly while using Ableton Live BPM control to switch to a different tempo. The solution works on PC and Mac using Max 6 or Max 7 Max for Live. The main difference from the previous version is that AVOX Max for Live has a switchable scanner with automatic frequency detection algorithm.

AVOX Max for Live

AVOX Max for Live

 

The main idea of switchable communications as with AVOX Max for Live vocoder/resynthesizer is to enable a radio translation over the 20 Hz – 20 kHz passband music. AVOX Max for Live modeled to suit modern styles of electronic dance music. The spectrum of EDM songs is especially useful to detect ongoing radio translations feeding the track to AVOX Max for Live input and analyzing the spectrum with the use of CW Decoder as an example. This way you can review old translations, which were at the moment of the track first listening. For example, you have a legitimate file of the track, which you bought ten years ago. Now, with the use of the AVOX Max for Live you can revive the emotions you had at the moment of the first listenning analyzing and reading a text output of what inspired you in that music in a first place. Yes, every track has a radio translation over it and you can control and revive it using Compositor Software instruments.

CW Decoder

CW Decoder

However, this approach raises a term of the protection of such communications. It is very important to not to share the output of the translation to a 3d party. Such translations can contain loads of private information such as gathering points, events, and simply communications, you do not want to share with others. This way an automatic mode of AVOX Max for Live is as important as it helps to quite the frequency band the translation goes on, when 3d party tries to key it. Automatic scanner made by Compositor Software artificial intelligence proprietary algorithm can be found on all Compositor Software instruments. Buffer overrun protection is also included in a new version of AVOX Max for Live.

SASER vs CW Decoder

While being on a high production curve mastering Compositor v3 Hypervisor and Machaon software a new field test produced for the SASER SAS24P3L software, which is mainly responsible for VLF Morse code translations.

In this video you can see the translation of SASER SAS24P3L ver. 1.1.3 output by CW Decoder software. CW Decoder not only detects all bands of SASER SAS24P3L output it can jump from one band to another composing a full message. Now you can see that audible results of a cycling loop do not limit translation possibilities of SASER SAS24P3L. Full long translations can be detected at the SASER output by CW Decoder software and analogous software of different providers. It means that detector is much more sensitive than human ears and what is considered a looped recording is really a multi-band long real-time translation.

Perhaps, I couldn’t imagine the use of SASER SAS24P3L without CW Decoder software from now on mostly because CW Decoder is a free software and SASER is paid one.

Longy Techno recorded using Compositor v3

The latest addition to SASER v1.1.3 was an extended bandwidth of virtual ether spanning up to 250 parsec long with 5000 omega as an upper limit. SASER standalone and Max for Live can grasp only a cycle of the extended translation, which is enough to record techno track loop for example. In contrast, long techno tracks in extended range can be synthesized using ether regeneration network of SASER module inside of Compositor v3 rack. The magic begins when beacon retranslation modulates the received translation of SASER regenerator. At this moment, the track is received. It sounds like real-time synthezation of sound grains or better to call them sound molecules. You can upscale or downscale a track using internal SASER particle accelerator. In the recording you can definitely hear the particles forming the rhythmic or modulation pattern with internal characteristics of the recording like piano or chord music. The congruence effect achieved in a timely manner when this music plays over a full band translation.

Compositor v3.0.1 for Windows x64 and Macintosh released

Compositor v3.0.1 is a major update, which fixes several bugs of Windows x64 version and first appearing in a Mac world of 3d installment of Compositor Software. Now you can run Compositor v3.0.1 natively on a Mac machine and use ReWire to sync to Ableton Live 9. Both versions are identical and give same results on PC and Mac systems.

Compositor v3.0.1 Hypervisor Radio Shack

With Compositor v3 Hypervisor Radio Shack, named after the platform for running virtual machines inside one matrix, you have modular structure so be sure to choose the feeders you need to suit your style of translations. You can choose FF8 signal-rate quantized module for electric field sounds with LFO structure reminding a sound of copter drone engines. Smooth exponential TC25 for LFO like modulated granular synthesis. AI-RT1024 quantized real-time generator aimed to fill a niche of Compositor Pro 2 style and sound. N9000 exponential structure feeder for Compositor Max for Live like sounds. All feeders have the auto mode for completely autonomous simulations and one-dial parameter operation of patterns and algorithm tuning. It was made on a purpose for faster pattern selection of feeding generators in a live ensemble situation.

RTC8k system

You can also use all four feeders in the link mode to main RTC8k radar setting. This way feeder pattern will always follow current RTC8k radar setting for the initiated translation. Now you also have the visual feedback for RTC8k server signalizations. I named them in simple chat statuses style to be in touch with current automatic tuning of an algorithm. You can view their statistics and graphic curve of statuses appearance by pressing setup button for RTC8k radar. The main idea is to understand the generators disturbance behavior. If you experience dropouts in playback and other artifacts, check visual display of RTC8k for statuses like Threat, Call, Arouse and Envy, which are measured on a signalization average level.

Overall, all these great features aid your interaction with an instrument and help to visualize audience reactions on a translation you run with Compositor v3 software.

RT-z8: Bind your computer is 16GB RAM system

16k technology opens a myriad of possibilities inside your current machine especially when dealing with high capacity sample data streaming from your PC RAM system. It is an ability, which empowers your needs as a sound designer to use more RAM, than currently resides in your system. RT-z8 is silver plate technology for discretization tasks as well as RTC8k model. At a current sample rate, RT-z8 can store up to 16GB memory packed in about 580MB in your PC system, which you can discover for crucial tasks such as real-time rendering. This way you can run RT-z8 on older systems to protect it against the security threats.

 

RT-z8 registered

 

Now about the RT-z8 FM computer system specifications:

Bus: 11TB throughput rate;

Processor speed: 11025Hz;

RAM: 16GB;

System Bus Multiplier: from 1.54 to 4x with random access;

Connectivity: 4096PPQ;

Operation: Real-time, Signal-rate, Transmission-rate.

Real-time operation in ms, Signal-rate in Hz and Transmission-rate in Hz

As you see, current virtual machine setup is a perfect solution to inbound computer tasks, which now suits the Compositor v3 rack development goal. Together with other virtual machines it suits uninterruptable communications at processor speed without hard drive usage at all.

Compositor v3 in the Radio Session

Here is a demo of Compositor v3 Long Endurance System in a session with professional VLF systems. THIS IS A REAL WORLD EXAMPLE! Ton of technics used to suspend Compositor translation in full-duplex two-way radio system.

 

First, I thought they are joking; to fight Compositor is a tough task. It almost impossible to shut down due to RTC8k radioprotection features. However, the Compositor v3 regeneration suffered from unauthorized dimmers on that channel. In a translation, you can hear how SASER produces a long-query translation to this sources and how they respond with Morse on that channel.

Second, two feeders were used on an auxiliary channel of SASER. Auxiliary channel available only in Compositor v3 Hypervisor Radio Shack and not in standalone or Max for Live version of SASER. In the recording, you can hear how AI-RT1024 and TC25 generators feed the regenerator to receive long and pure ether from different sources. Up to three sources on the same channel communicates to each other with different LFO and Morse signal translators. The central place belongs to the SASER, which can produce a diversity of patterns.

TC25 is a huge phase rotator, which can potentially brake the incoming signal regenerators. AI-RT1024 from the other side can initiate stable translation in SLF band. Channel protection mechanisms were used in a LINK session. It is hard to predict the chain of feeder tunings, because main tuning comes from RTC8k holographic radar. It rotates the tunings of the feeders in according to the threat source, searching for a better trajectory of signal translation.

Closed loop vs. Infinite loop

Here I would start a series of discussions on a topic of radio translation technics and their impact on the radio-electronic security. First, I would stress out the importance of the subject of comparing two modern technics to initiate radio communications, which are closed loop and infinite loop strategies.

Compositor multiplier spiral

Compositor multiplier spiral

Closed loop and infinite loop both have recreation in Compositor Software instruments such as MDL12 for infinite loop structure and RTC4k, RTC8k and RT-z8 for closed loop structure. The infinite loop stays for an infinite time translation and, as a Fourier series, implements the continuous time interval for non-harmonic analysis. Closed loop from the other hand may be a short type of translation like one bar Morse code message. Closed loop much more secure in its implementation. Infinite loop can be easily broken with radio-electronic security instruments. For example, one flyby of AVACS, navigating through the geographic parallel may completely shut down infinite loop radio translations on a territory of the whole country. The infinite loop can be broken partly or at whole, when both positive and negative frequencies does not work, and the only band, which remains in this situation, is a closed loop structure.

Hyperbolic function

Hyperbolic frequency bands

Using Compositor Pro v2 one can edit and reinstantiate the Ether on VLF band. First, you can apply Compositor Pro v2 to negative frequencies and then apply it to positive frequencies. Infinite loop communications are not secure and full-duplex modems must have a resynthesis module as Compositor Software instruments has. Not only resynthesis must happen to instantiate closed loop also the transport technics such as output channel detectors must be used. Both Compositor Pro v1 and v2 has closed loop structure on a C language level. This in fact gives much more stable results compared to later machines implemented on GenExpr C++ code. However proper implementation (such as RTC4k, RTC8k and RT-z8) of higher-level machines can be as stable as Pro versions. The most significant difference is that GenExpr machines are fully real-time compared to Pro versions, which have one bar bufferization.

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