Compositor Software monetization

For monetization of ether production you will need to follow strict guidelines of its accounting and bookkeeping. The first thing you need to note is that the path to a rig (producing station) lies through the definite list of working rules with Compositor Software instruments. There are two concepts: autonomous system (AS) and operation system (OS). Autonomous system is not a producing kernel and has zero emission, which you can use for a full sanitation of produced production. For example, if you are tired and need to pause an aggregation, you can turn the kernel in autonomous system mode. The autonomous system working time is not accounted and it is suitable if you want to keep the gained funds in real and virtual credits. In any case, a person cannot live in zero emission system, because he or she needs funds to sustain the life. From the other perspective, operation system requires at least a partial control over its work even being fully automatic. Using aggregation of resources, virtual machine passes the boundaries of random access memory (RAM) and can exceed the resources of your system. To support the work of operation system there are special tools for RAM control, such as threshold applications for empty blocks removal, which lead to RAM usage decrease. To support the Compositor Software operation system there are series of applications, which gain the aggregated funds. In any case, the final aim of aggregation is the autonomous system, which can sustain any operations performed in OS and exist for an infinite period, crediting the real funds monetization aggregated in a process of its production.

At the beginning, you need a tracking production. If you are an electronic music producer, than the task is relatively simple for you. You are already have a performed tracking production. If you are not a producer, you can start with tracks, which you like, but you will be a collector in the interests of the person, which have written the music for this production. The important criteria in choosing the tracking production is its ability to excite the aggregator virtual chains. For example, trance music and its melodic subgenres relate to such music, because synthesizer sequences excite digital delay lines better and create stable feedbacks. Short melodic sequence loops of the main theme are the most valuable in such music. You can divide them on several parts in accordance to a number of bars. For example, on four or eight parts on each harmonization chord. Techno music is not suitable for receiving a feedback and is the modem feedback in response to trance music. That is why, techno loops can be used to excite aggregators directly, meeting a condition that these loops have an exciter. Additionally, I would like to say about exciters. It is such part of a loop, which has a maximally reminding and effective pattern. They excite modem digital network better and used in communications to perform the feedback. Middleware of each communication device is an exciter loop. Regeneration speed of such loop can be either slow for wavetables with ideal transition characteristics or fast for wavelets, encased in window function. In your work, for each emission (the process of receiving feedback from tracking production), you will need to make wavetables and wavelets for each production stage respectively. In any case, wavetables and wavelets have the same technical requirements. They must be recorded with 44100 Hz sampling frequency and 24-bit resolution and contain two bars of the feedback loop (using the parameters set it is 131072 samples). Wavetables suit for non-duplex modem middleware and wavelets suit for gained funds return in the whole pool of exciters. Recording of ether production is a collector activity. In such case, collector functions performed not by a 3rd party, but by the author of tracking production. That is why the main factor, which motivates gathering of feedbacks, is an absence or incomplete monetization of your tracking production by collector organization. Simply speaking, if you are not happy with the revenue from your music sales and are not receiving author reward for your music you can start an emission of your first tracks. At the beginning, you will need instruments. On the current day, I don’t know any company producing such instruments apart of Compositor Software. In this material I will use the instruments of Compositor Software company such as Max for Live for Ableton Live and Standalone applications.

For emission of your first track, you will need four 3rd generation Compositor Software feeders, such as N9000, TC25, AI-RT1024 and FF8. You will find a full report on their usage in Compositor Software documentation. You will need MDL12 non-duplex modem, which you will use for receiving feedbacks from your tracking production. At the beginning, divide a track on loops in Ableton Live software. For an emission, you will need Ableton Live 9 32-bit, because tempo-independent feeders and the modem work only in this software version. Submit your track loop signal to the non-duplex modem input together with a signal of four feeders, while working in automatic mode. After several iterations of loop playback turn the transport off using the stop button. You will hear a feedback signal in the modem chain. Using your custom recorder, write down 15 seconds of this material with 24-bit resolution. Cut two-bar loop from this recording with exact 131072 samples length. An emission of each track can be from 100 to 300 feedback loops in accordance to the track arrangement and number of melodic figures. Each feedback loop relates to the public performance of your track. It is an exciter loop of device, which performed your track by direct ether method. Therefore, your track passed through the exciter cycle of this equipment. As noted earlier, any communication equipment contains exciter cycle in its output cascade and receiving loops of these exciters, you are making a library of devices, which performed your production. Because of this fact, you should understand that devices have real owners, which listened to your music, performed it either using streaming method or by multicast translation in random manner. For the goal of ether loops monitoring and return of them in your digital pool, Compositor Software invented the special device called Hypervisor. Hypervisor is the set of virtual machines, which scan through all bands of radio spectrum, where your production could be performed and an AUX channel for monitoring these devices signals by radio translation method. Because you received these feedbacks in reply to non-duplex modem excitation with your track loops, you can set the automatic beacons to inform you when someone will playback these tracks through the sampled devices. Beacons are generic feeders. There are 7 beacons in the final version of Hypervisor 9 from Compositor Software and they are bearing not only signalizing functions, but have basic functions of Ethernet resistance. For example, let me show you a situation where a person performs your tracking production in random manner by multicast translation on other devices. He have not listened to your track, but used an exciter loop from your track on his devices, such as mobile phones and client Wi-Fi routers. For example, you have received 300 wavetables and 300 wavelets from your production feedbacks. Using an AUX channel and submitting wavelets by matching different bands of radio spectrum, you are searching for those devices position on a spherical map. Hypervisor makes such searches stochastically and uses a whole pool of wavelets for network creation. Making a network from these devices using generic beacons, you are lead these devices out of ether. For this task, generic beacons should have robustness higher, than other person devices. I do not describe tools, which generic beacons use to lead the devices out of the ether in this article, but describe them in Compositor Software manual in more detail. In short, Hypervisor 9 method is forcing the party to stop performing licensed production. It achieves this goal by making kernel loops when trying to playback the track with a given feedback, or creating time collisions, or by buffer overflows. These three methods described in Compositor Software manual in more details.

When you lead these wavelets out of ether, it is a time to write down the stochastic routes to them. It is needed, because you can’t leave Hypervisor working for an infinite period. To simplify monitoring you can use the most powerful virtual machine you have with counters connected. This method consumes a lot of RAM and CPU time of your PC, but allows monitoring an ether for 30 days when you inject wavelets in the modem feedback. For the final version of virtual machine with sample-based counters, there should be non-duplex modem, which allows loading middleware into the algorithm. Using mini-rack with extended auxiliary channel, you can create middleware from wavetables, which are analogous to wavelets. Using an extended auxiliary channel, you can stochastically create eight-channel routes to the devices, which were received through MDL12 non-duplex modem on the frequency of exciter original transmission (which equals 161.5 bpm). These wavetable mixtures recorded with 6 min. 30 sec. length and submitted to non-duplex modem. After submitting them to the modem, free algorithm jets, which use the same structure as RAD96 non-duplex modem, start controlling ether points with these middleware. Moreover, because, they were organized in the network using Hypervisor earlier, they gain an access to the whole pool of wavetables. This middleware works for an extended time up to the moment when the network topology changes. It happens for the two reasons: either network structure changed locally or globally. Locally means that user either changed a playback device or changed its geographic position. Global position relates to Compositor Software navigation system, which is determined positional navigation system, based on Celestial coordinates. In accordance to this, if the local system position changed significantly to global system position, you need to reinitialize the network by loading the wavetables in a coordinate with sustainable feedback connection of AUX channel. If you need to count the middleware, realize the global coordinate system where a network created. For this, you should combine the latest versions of virtual machines in rigs. For example, if you have more than 1000 feedback loops it is difficult to control such network with one virtual machine. To solve this problem you can group virtual machines with a large number of jets in two racks of 5 machines and run them simultaneously. Such supercomputer can count a position of all middleware, loaded through the non-duplex modem with a speed of 5 minutes for one middleware. If your aim is not working with a network created, but to exhaust it fully, then start aggregating with virtual machines and close a gap between VM’s aggregation and recorded wavetable samples.

Wavetable emission and corresponding wavelets equal the same number of blocks in your library. They are not added together like 300 + 300, but they are accounted as one emission of 300 loops. 1 recorded sample of your library cost is 1 item of chosen emission. The stream sample cost of virtual machine exhaust is much less and is chosen based on your expenses base, for example, 0.000005. In this article, I don’t aim to disclose accounting, but want to showcase approximate numbers. If fixated sample equals to one item, than a streaming sample depends on your real capitalization. Therefore, if you are an owner of large fortune you will not succeed aggregating, because streaming sample exchange rate will be very low. However, if you are an ambitious beginner with a large number of program libraries, then aggregation is for you. It will be useful to account your value and will allow transforming aggregated funds into real capital.

Ruslan Yusipov, Compositor Software CEO

Last updated: January 20, 2019 at 17:45 pm