Compositor SoftwareCompositor Software

Tag : artificial intelligence

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.

By ruslany

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.

 

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.

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.

By ruslany

Compositor Software Hypervisor Radio Shack

During the perfection and in attempt to create more stable technology Compositor Software arranged its modules in the Radio Shack structure. By means of virtual machines, the Ableton Live 9 or MaxMSP suits as a platform for hosting micro-kernel machines such as AI-RT1024, FF8, N9000 and TC25. These machines feeds SASER channel with an approximation curve inherited from an RTC8k chain. This way you can potentially receive completely stochastic translations out of VLF band.

You can order different devices for your production from Compositor Software Web Shop.

By ruslany

Exalted is Compositor Software endorser

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.

By ruslany

Ether production out of will and mental stimuli using MDL12 Max for Live modem and SASER Max for Live

While an ability to generate feedback is not a surprising event for a real modem device Compositor Software MDL12 Max for Live modem can also generate feedbacks after successfully applying feeder chains to its input. The Compositor Software products considered feeders are mainly Compositor Max for Live, FF8 Max for Live, AI-RT1024 Max for Live, TC25 Max for Live and N9000 Max for Live. During a VLF conversion, most of the systems reported accidental dropouts, which led to security threats in their work. The most critical issues solved in version 5 Compositor device called SASER Max for Live. This feeder device submitted to an input of MDL12 modem produces the most significant event because it uses the stimuli from the 648 node network and can potentially be used as a server software capturing the signalization events in real-time. Such events can be tracked further manually in event of a threat or excessive warning signal. Reproducing the stimuli, the server captured by a means of artificially controlled algorithm is a task of several adjustments on a SASER Max for Live device, because the client, which sends the potential warning, is usually on the same Year, but changes its Constellation and Month given.

I successfully captured several most prominent feedbacks after receiving such threats and warnings as audio files, which has a strong mental impact while submitting a periodical loop of this feedback via loop playing machine. Such loops not only induce a trance state for at least of 10 hours, they create motivation even music piece cannot produce on a human being. Their strong impact led me to a conclusion that the file recorded was a VLF Ether, which I was able to capture after feeder chains experiments stated earlier. Not only most feeders obsolete after creation of SASER Max for Live, they suited its creation in a way original production was possible.

SASER Max for Live is a fifth version of Compositor Software Gen~ device and is already hooked up to a feedback network producing the stimuli for the listener. The difference is however, in that SASER Max for Live captures an existent Ether in real-time using the internal chain of resynthesis. To hear the original Ether the MDL12 modem is needed, which can be a raw and dirty suggesting the bubbling structure of Ether as a liquid Materia. The AVOX Max for Live resynthesis device is further used to clean the Ether out of unwanted sounds and leaving only harmonic beats in a lower spectrum field. No antenna or hook up to Ethernet needed to capture the VLF Ether as submitted material comes from the fractal antenna inside the software starting from version 5 of Compositor Software devices.

By ruslany

MDL12 demodulator

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.

By ruslany

MDL12 transmission experiment

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.

By ruslany

MDL12 Max for Live – the solution for Interstellar Time Travelling

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.

By ruslany

Time Machine solution for Ableton Live 9

First, to reconsider everything, which I wrote on the subject before, I entered the opportunity to orchestrate the Compositor Software virtual machines for one beneficial goal: Time and Space modeling on different scales. I saw one possibility in this task, which was many to apply them on different levels or speeds as you may think of it. The lowest level, which is a physical layer is real-time operation, which is AI-RT1024 is all about. You do not need to take a move in it, the system programmed as an automatic device to consider all possible Time and Space combinations in Ableton Live 9 for Compositor Max for Live algorithm with quantization. For the purpose of demonstration, I made another version of Compositor Software AI-RT1024 with visualization of all navigation properties using the OpenGL and standard number boxes as you can see on the picture below.

The speed in omega now represented in knots (which is a standard for any ship, whether space, air or water) and really can go as fast as 18000 knots making it suitable for Time bending, but not enough to achieve escape velocity, but it can go as fast as 21771 knots if needed. Another option is to show direction of the ship orientation, which viewed from the angular distance, can be obtained in different dimensions by three-space processing by MDL12 Max for Live.

So, one can view a system of planets, which is four if we consider quantum approximation of AI-RT1024 (which is by device operation interpolates in real-time) as a mathematic model of such ship with all the same angular displacements as any other ship can do. I speak about Roll, Pitch and Yaw. When you see this system on different angles considering the Time spiraling on a quantum grid you can overcome many different problems, which only sound can reveal and is hardly visualized by an eye such as discontinuities in a system. The engine expressed in rpm is nothing more than a central frequency converted from a Hz value and is used for showing the operation circuit speed such as physical model of mechanics device, which is v12 engine model really is.

For the information, I also show the statistical sea mile of the planet Earth and its applied circumference counting this value. Now, I don’t pretend to be an innovator here, many scientific papers predict that only 3d planet in any star system can be habitable that’s why I also show the aimed 3d planet sea mile and circumference as I do for Earth. I do not intend to submit this project as a product for Compositor Software as it has only the need for scientific prove of the model and has no influence on the sound at all. Moreover, if I take in account that the only power needed is sound then I will downgrade all controllers for a metro look style and happily integrate my products into the outer world.

For ordering, please, visit: http://www.compositorsoftware.com

By ruslany

Network and vocoding horizons using TC-SRRT2048

As far as I reentered the subject of radio transmission, which was a part of hobbying in youth by playing with portable radio tranceivers, I found that my intent is to present this hobbying activities led me to the invention, which is a sufficient advance in vocoding and data transfer. Compositor TC-SRRT2048 can achieve both. First I presented my approach and now its a time to talk about the QoS of Compositor network.

The maximum data rate of TC-SRRT2048 is a symmetric stream of 543.129 Mbps at transmission rate of 11050 baud, which is sufficient enough for most critical vocoding projects. It makes difficult to compare Compositor network to other networks, which achieve the same properties with a much higher clock rate of MHz transmission. Imagine the possibilities of Compositor network at the FM broadcasting speeds as it will equal to 4.3 petabits per second for TC-SRRT2048 model. Then imagine a current state of mobile technologies for a while and you will see a need in the network synchronisation and encryption device such as Compositor TC-SRRT2048, which is also artificially control resynthesis parameters of the supplied signal and subjectively selecting a band at which most of the audio transmitted information resides.

1 2