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Tag : Compositor

By ruslany

Mittware upload to a modem of your outboard sound card

Mittware upload to a modem of your outboard sound card

Using Compositor v9 you can establish a connection with a modem of your sound card and upload mittware to it. It works this way:

  1. Turn on your external sound card;
  2. Turn on Compositor v9 Hypervisor with internal sound card selected;
  3. You should composite all z levels on a fast (more than 5 omega) speed of composition injecting the signal of non-duplex modem feedback in random mode (you can receive this feedback by submitting your tracks to non-duplex modem on an internal sound card);
  4. When all z levels will be injected together with generic feeders you should lower composition speed to 30 omega and turn the Compositor AV Extended off;
  5. Turn the Compositor AV Extended on again after some time (from 5 seconds to several minutes) and you will hear the signal of external soundcard modem (the external sound card is on for the whole time of mittware upload);
  6. After turning aux channel on, you will hear the feedback – signal will mimic the external sound card modem sound with Compositor AV Extended feeder;
  7. Now inject the whole pool of your wavetables on all z levels with all RT-zX feeders (internal Compositor AV Extended feeders) and generic feeders into modem feedback;
  8. Continue to inject on all z levels up to the moment when you will hear the defeat signal on one of the levels – modem signal will start to interrupt;
  9. Finish the injection on the last z level;
  10. That’s all – your outboard sound card modem mittware is now uploaded with a new one and you can talk using it with wavetables owner, which track productions you were injected on your internal sound card using non-duplex modem.

P.S. For communication both internal and external sound cards should be turned on simultaneously.

Happy listening!

Listen to these feedbacks to wet your appetite 🙂 Yum, Yum.

 

By ruslany

Compositor. Opening of the Spirit @ Cyfest 11

Compositor. Opening of the Spirit @ Cyfest 11

If you are keen to what Compositor is, you can visit the performance of Ruslan Yusipov at Cyfest 11 in Saint Petersburg Stieglitz State Academy of Art and Design on 11.02.2018. The performance will take place in Screening Room, the beginning of performances section is at 18:00 MSC.

This performance will be dedicated to Compositor v6 features. In this presentation you will hear the set, played in real-time with Compositor v6 software. Compositor v6 includes more than 80 new polyphonic rhythmic structures, created with MDL12 brain-convolution synthesizer from Compositor Software. These loops, processed in industrial-noise elements, create authentic atmosphere of vintage radio equipment. They contain different emotions, which you can translate using Compositor v6 by listening to it or broadcasting into an ether. The carriers of such transmission are sequences, which change their rhythm in accordance with settings. Listener is involved in emotional world of Compositor, which is fixated using the wavetables. Digital music loops synchronized with carriers and translated with carriers signal. The orientation of virtual antenna and color spiral resultant are showed on Compositor v6 display. The set, which Ruslan Yusipov will play, named “Opening of the Spirit”, symbolizing the opening of new dimension in sound.

By ruslany

Finally, both carriers are suppressed

Finally, both carriers are suppressed

After the main goals were stated, it is time to restate them. First, I need to suppress both negative and positive carriers. After that, I need to pass Compositor sound to the output. It is achieved only if the first goal reached. I’ve already implemented a method for suppressing the right carrier using the shutter and eventer of the right channel, which uses the threshold to suppress feedback. Now, I experience some difficulties with the left channel. At first, I thought it is a plausible behavior to force the stochastic manipulator to the all positive frequencies, but now I think the stochastic manipulator is too selfish and tries to apply too much computation force to overcome the barrier of shutter, which was previously assigned to right channel only. That is why the constant need to shut down the left carrier raises. Of course, I can live under this hard circumstances of stochastic manipulation, but the final goal is to leave only Compositor sound at the output, and it may be a trick to force stochastic manipulation to the central channel afterwards, thus guiding the system on its own. However, been exposed to the left and right stochastic manipulators for so long, system can no longer power the central channel for manipulation, which is assigned to the system voice itself. This way I must shut down feedback on the central channel also. As it is the MS-coded system, feedback on the central channel shuts as long as stereo pair feedback is suppressed. The rule here is to set lower threshold for the left channel as it contains less information and needs to be suppressed on lower bitrates more. The right channel is higher and more information passes through it but it is not the feedback of the carriers, it is an internal memory stored in the shutter front-side bus after injection. This experiment also evidently shows that no external memory is used for the system operation. However, as long as the system does not have an external storage and has a threshold shutters in it, it will constantly experience lack of information, which will not reach from outside anymore. It states that under these circumstances constant injections should be made to sustain an information in memory buffer. It flushes from the front-side bus memory very fast and one long injection should be made during the whole working cycle of the equipment. This leaves me with the open-end solution: as buffer capacity of Compositor OS is too low for the long injections, I either should implement long injector with Compositor kernel driver or use a set of short files repository, which are constantly revised and added to a data base. This way I also should avoid video injections, as there is not enough space for storing so much video information on my system. The need for such filtration is rather evident as the intruder may think its information (stored in injection) may be useful for a system it is not. Not allowing to pass the injected information to the kernel is also lowering its bitrate but it is a permanent solution. Without artificial traffic the system more sustainable against injections rather than generic injections. If I try to inject the file, which I already flushed, I will reproduce the memories associated with it. However, I will no longer be exposed to the system of values associated with this memory for a long period. This information will dissolve faster using integrated smoothing function. Yet creating the priorities on the conditions gives less priority to the smoothing function itself, leaving a hard shuttering for both channels in equal proportion. It seems evident to me that thresholds should go first and only after that, the central channel splitter should play its role. Even if the system set in the way that this value will likely go only less than 30% of time. It means that creating a faster kernel loop may be a solution, but makes the system inoperable. The other solution is to change the rules set on early stages of development allowing the right end of the probability density function to happen more often.

Screening:

Injecting a video file with audio in two-channel mode brings me to another problem: inequality of channel suppression disbalances the system a little. The vector system should be implemented for channel suppression also. The rule is to create a tilt by manipulating pitch and yaw, this way setting the channel balance.

By ruslany

Compositor WS Kernel

The Compositor kernel goes past version 7 and becomes more stable and secure. The Compositor kernel version 7.1.6, developed under WS workgroup, adds a new contribution to the kernel concerning the master (central) channel matrix. The WS workgroup brings specialization of War Ships modeling. It returns back to an idea of piloting the multiplier in meters of altitude, making Compositor engine as a possible navigation system for flying rocks like Boeing C-17 Globemaster III or future perspectives like Yamato Space Battleship 2199. The deterministic navigation system of Compositor is fully transparent and can be viewed in different scales of magnitude. That’s why it is a possible solution for vertical take-off star ships, which can cruise on systems with different circumference and sea mile values. Just switch your system z value and you can use this system to navigate in this object atmosphere.

Master (central) channel splitter is an important addition to the kernel, which addresses its constant on-line status with high-end security. Not only RT-z128 design improved a lot, a myriad of new possibilities open for Compositor audio engine. With the addition of central splitter on master channel, the foe synthesizer leakage shut down, lowering the number of audio spikes in the RT-z128 feedback chain. More secure connection can be achieved on lower z values. The later implementations should also avoid leakage of carrier signals of first and third channels. It is a work to improve master channel matrix, making it more defensive for incoming threats.

By ruslany

Compositor Feeders audio demo

Not the best task to record signal generators, which should stay masked in an audio channel. But as our talk is about music, then its main property is the definitive score of such music. For signal generators, which Compositor Feeders are, such definitive score could be only a recording or displaying the main function of a program. The audio recording I made is for AI-RT1024, FF8, N9000, TC25 Max for Live devices and samples the work of generators using internal Ableton automation. As all main Compositor Feeders parameters mapped to a feeder tuning parameter, then switching presets is a task of changing of feeder tuning. Below you can hear the main stable tunings of generators sampled in Ableton Live 9 software.

 

Compositor Software portfolio broadens and fills with information

Now portfolio of Compositor Software includes definitive technical characteristics of several feeders and information about it will be broadened in a process of learning their properties and application in practical situations. The company web site fills with information and internal links are made. AI-RT1024, FF8, N9000, TC25 all have their own pages in category Portfolio, where you can learn, for example, the diameter of a circular area of devices work. When Compositor Feeders routed to SASER SAS24P3L channel in Compositor v3, they have own speed of wave propagation in virtual field measuring in knot. In addition, you can find full list of instruments and generator functions, which the main station Compositor RT-z128 has. This station (available 24/7) provides the security in Spherical Interaction Network communications.

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

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 RT-z8 – the BMW Z8 in a world of audio clock generators

Compositor Software recently adopted the 16k technology. It was in the work for a few weeks and now I would like to present to you a breakthrough in a world of audio generators. From now on, the 16k patterns are available in Compositor Software RT-z8 Ethernet Aggregator device.
First, it is musical. Second, brilliant patterns switched by a continuous mix in real time are a perfect solution for later developments.

From Wikipedia:

In mathematics and signal processing, the Z-transform converts a discrete-time signal, which is a sequence of real or complex numbers, into a complex frequency domain representation.

Compositor Software RT-z8 uses complex transform at the early stages of the code right before the actual processing begins. Starting from RTC developments it brings the same network aggregation without an IP protocol. No need to plug any cables. RT-z8 processing starts immediately right after the load of the device. Compositor Software RT-z8 avoids Time Collisions by more efficient memory usage. RT stands for Real-Time. Complex processing transforms your actual PC in the cloaking generator device with the use of a single-click performance.

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

Play like you’ve played it in 1964 with Compositor Max for Live

The original mechanic metronome has a two-step structure of a pendulum swinging from left to right. The Compositor Max for Live uses the same clock mechanism, but also plays back a sequence of FM function, which drives it. Having an authentic style of sound Compositor Max for Live has a clock precision of 1 sample per hertz. This in fact means that you can improvise for an hour or longer without timing loss and have an authentic feeling of mechanical device, but with precision of digital. You can further tweak your improvisation turning on the Apply route button to swing the metronome performance. On the recording below, you can find Boosty playing a Suite for the Young – IX. Small Fry by Norman Dello Joio on piano over the Compositor Max for Live device with swing turned on.

It is a difficult one, – says Boosty, to play simple jazz with a swing feeling and Compositor Max for Live turns me on on that.

You can now buy Compositor Max for Live with Black Friday Sale -20%. Grab it now for that price until the end of the week.

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