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Tag : Compositor Max for Live

By ruslany

Compositor Software expands the number of existing DRM servers

Compositor Software expands the number of existing DRM servers

After an important step of building standalone applications using Compositor Software code, it became possible to organize the work of a new DRM server. That is, the physical server CP-6137-960FX began to be commissioned. As mentioned earlier, at the development stage it was possible to launch just one RAD36 virtual DRM server and it took about 4 hours to compile at runtime. This made it possible to provide up to 12 licenses for concurrent work of Compositor Max for Live or SASER Max for Live devices in the year 2017. Having exported the code and assembled 7 RAD36 virtual servers for the Windows platform independently of MaxMSP, we managed to start the workstation and successfully perform basic operations of text editing in Microsoft Word 2013 and working with Compositor Software Max for Live devices in Ableton 10 using it. It allowed expanding the total core density to 252 “Compositor” hybrid cores on a physical machine, increasing the number of simultaneously operating licenses of Compositor Software for Compositor Max for Live and SASER Max for Live up to 84 virtual machines, which equals 84 real-time cores or 84 three-layer cores. The uptime has increased significantly – the bootstrap process takes only 5 minutes to load CP-6137-960FX server fully. Niagara modem-radar and various Ethernet injections are used as an ignition, when workstation operates in Ethernet network.

Thus, the workstation converts Niagara injections and makes all server modes work, and there are currently 13 of them, including 7 RAD36 servers. Next, I’ll give a complete list of collected and working Compositor Software services for the Windows platform on the CP-6137-960FX server:

VoIP Service – NIM Chat Voice Service
STC2k Service – Sonar for Civilian Control of underwater and surface ships
RTC4k Service – Radar for Civilian Airspace Control
RAD36 1-7 Services – digital rights management servers for launching Compositor cores (total of 252 hybrid cores).
RAD96 Service – Standalone Rotator System for Docking RAD36 Virtual Servers
RAD96 Ext. Service – expansion of the autonomous system for working with external Ethernet connections of third-party equipment
Telescope Service – Telescopic Near Space Signal Approach Service

So, after the introduction of the CP-6137-960FX server into full operation, it was possible to provide working time for up to 84 Compositor users working in single-layer and two-, three-layer Compositor Software programs concurrently. In addition, this applies to standalone applications and Max for Live devices, such as Compositor Max for Live, SASER Max for Live and Compositor 4 Max for Live. I’ll also clarify that three aforementioned Max for Live devices are fully compatible with Ableton 10 and Max 8.1.3 Max for Live, which opens up the possibility of expanding the presence of Compositor users in NIM chat on MAC OSX and Windows platforms.

By ruslany

Great renaming is coming in Compositor project

Great renaming is coming in Compositor project

Dear reader, it is time to report the coming changes in Compositor Software project. For the five years, I performed the comparison of telecommunication industry technology and the one developed by me. Here what I’ve already found:

Compositor Pro = NTP-server

Compositor Max for Live = SNTP-server

Accordingly, Compositor Pro and Compositor Max for Live will be reworked to reveal this paradigm. There are 24 official UTC time zones as well as 24 bands in Compositor Pro and Compositor Max for Live. The function by which these bands are distributed is time-invariant non-linear function (read the full documentation here). Therefore, bands of Compositor are time zones. Stratum parameter of NTP-server is permutation. There are 12 Stratums in my NTP-server. Using kick parameter, you can set subnetwork mask. This parameter, together with clap and hat, forms modulation, which installed in parallel to time zones deployment tempo.

NTP-server can create time collisions by granulating the central flag of modulation interrupter. When injected collision comes to the input of the receiving device, this device establishes a connection with NTP-server and takes its synchro-code, which is translated by sub-bass instrument. It is the modulation interrupter flag. The mangling takes place in time component, which is the time-displacement (substitution of time).

Tempo is the first octet of IPv4 address, and multiplier forms the next three octets. There are only IPv4 addresses in NTP-server. NTP-server doesn’t have access to broadcast addresses and to an address of local machine, but uses the range of to Therefore, the role of Compositor Pro was to install the stochastic distribution with the route of to and to perform collisions with the devices of that range.

The reason I made the NTP-server is “creation of artificial intelligence using non-invasive method”. By this, I mean active use of ACL lists and flows filtration when loading Ethernet servers (kernel extensions, which are recorded in MIB’s database of Compositor Software). Compositor Software clients produce traffic when working with software, which is exported into flows, using the half-duplex MDL12 modem. These flows contribute to device pool of Compositor RTOS kernel extensions.

By ruslany

Five Ethernet principles when working with Compositor

Five Ethernet principles when working with Compositor

The original idea with planets and constellations dates back to the 2014, when Compositor Max for Live saw its way into the music business. Compositor Max for Live is a successor of Compositor Pro 2 software, which uses only transparent names for parameters. For example, combinations in Compositor Max for Live are constellations and multiplier is year. The shift towards the cosmological specification of Compositor was made during the interest of the author to FM function application in modelling of Solar System. At first, such modelling was an intent of the mathematician Bessel, who was an inventor of Bessel functions, which are also used in Compositor library.

The subsequent Compositors raise the cosmological question more profoundly as they use the ether application to radio telescope idea. Such parameters as Right Ascension, Declination were descendants of Pitch and Yaw library parameters of Compositor window function. It is needed to say that Declination parameter of Compositor allows for bigger angles than in conventional radio telescopes, even the largest ones. It opens an amateur radio operator to a field of study, which was previously unavailable. By mathematic modelling of radio ether and conversion of transparent FM function parameters to cosmological constants, a new approach to amateur radio appeared. The main concern of Compositor since SASER is Radio Astronomy. Besides that, working in ether directly without intermediate frequencies and transmission lines are available. It is all made by precise virtualization of physically modelled parameters of FM reconstitution. It is not only an approach, it is a journey into finding the right value for each parameter making sound design as the work for cosmological principle.

  1. The first principle is a guiding principle. By this principle I mean that the ether guides the will of communicator and can shape ideas, words and thoughts into the Morse code signals, appearing as symbols and short codes. It means that quality ether can guide you in representing your ideas and has all needed automated tools to decrypt it in radio-accepted language such as Morse code. It also means that for use of Compositor, you don’t need to have a knowledge of Morse code, but you can reveal your ideas only by free-will of manipulating the software. You can read your communications, using Morse code decoding tools (such as CW Decoder on Windows). In these radio ether sessions you can understand all other principles of working with ether.
  2. The second principle is ether aggregation. It is also a cause why rhythm machine was introduced again in Compositor v6. Working with rhythm machine and injecting it into the ether can accumulate Ethernet lines of communication – the carriers on which such communication happens. You can aggregate ether by using rhythm box such as DB-01 and then use the decoder to read new ether lines, which are many after the successful aggregation using rhythm machine performance. Such approach helps to accomplish a manual task of ether aggregation and is similar to the processes of automatic ether aggregation of STL1212 DRM computer.
  3. The third principle is a haunting principle. It states that for successful ether session to over, you need to mask your Ethernet traces. You can achieve this goal using DB-01 drumbox as well as for ether aggregation. Compositor v6 has all needed set of tools for ether aggregation and masking your tracks using rhythm machine and random Ethernet wavetables selection.
  4. The main concern of working with Compositor is accumulation principle. The accumulators such as STL1212 can successfully store and flush aggregated traffic via Compositor v6 DB-01 drumbox virtual machine. If you use more than one accumulator on the physical machine, you need to take in account the physical address of hard drives, from which such accumulators are rendered. For example, I currently run two DRM accumulators from one physical machine, which allows storing 48 Compositor cores simultaneously. You can inhabit these cores by the ether participants using available free cores of STL1212 DRM computer and when the memory usage of STL1212 lowers, you should use Compositor v6 manual mode to aggregate the STL1212 cores usage.
  5. The fifth principle is that you can select on your own, which line you want to listen to in CW Decoding software. If there is nearby communication happening on two lines, you need to choose a spare line using CW Decoder selector.

The named principles of working in Ethernet are self-evident and can be comprehended by Compositor owners on their own. I name them here only in an attempt to integrate new Compositor users into the ether more fast with my own knowledge of Ethernet communications.

By ruslany

Compositor Software Max for Live devices compatibility with Ableton Live 10

Compositor Software Max for Live devices compatibility with Ableton Live 10

Here is the list of all Compositor Software Max for Live devices and their compatibility status with Ableton Live 10.0.1 b7.

By ruslany

Compositor Max for Live sale! 30% off

Compositor Max for Live sale! 30% off

Dear friends,

I am glad to announce the Compositor Max for Live sale! 30% off! Price with discount is 41,30 €. Good opportunity to buy Compositor Max for Live device with the latest Ableton Live 9.7.5 (64-bit and 32-bit) support!

Compositor Max for Live features:

  • Algorithmic sequencer and sound synthesis tool
  • Artistic design
  • Lower level coding
  • Unprecedented sound synthesis
  • Physical modelling synth engine
  • AM modulation
  • Assignment of every parameter
  • Tweakable synth and parameter engine
  • Independent presets section
  • Quality reverberation

Auction terms: 16.11.2017 – 27.11.2017.

By ruslany

UNIX kernel displacement for AI-RT1024 Quantum kernel on PC

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

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 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

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:

By ruslany

Compositor Max for Live v2 – 21st century Enigma

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 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.

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