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Tag : CW Decoder

By ruslany

Ether programming (Part 2)

Ether programming (Part 2)

This is a second part of the guide on ether programming using Compositor 10.

I start with conjunctions. There are two conjunctions in ether such as ie and et. The first one is placed after naming and the second one is placed before naming. The difference is in punctuation: in first case attributes goes from the left side and in the second from the right.

For example:

iiet <name> <name> <name> – naming;

The above command invites many chat participants simultaneously;

The -rm command has several attributes: sn, du and all;

sn – single participant;

du – dual participants;

all – all participants;

Before the all attribute you should place conjunction et. Before du attribute you should place two names for deletion and in case of sn you place one name before. By doing this, you signifies that you are really want to delete this person(s) from the large communication loop.

chat name <name> @t <name> <name>

Creates a named chat for a bounded time interval and includes particular persons in it;

q – quantum quote is a citation and also signifies its quantum state;

Quantum command has a time attribute (such as 2n, 4n, 6n, 8n, 16n, 32n), which signifies Compositor quantum grid;

q <word> q – citation;

*Abbreviation:

ai – aim (your current goal or chat aim)

Note: there is a que in ether, that’s why commands are executed depending on their priorities.

@real – command is executed on a physical level;

-d – decay, allows to crossfade between two packets;

After d you can type the decay time in Compositor quantum grid (such as 2n, 4n, 6n, 8n, 16n, 32n) and in standard time units (such as seconds, minutes, hours, days);

@exit – exit anchor;

Script example:

-rm rmy @exit – allows to delete participant named rmy from the chat when leaving it; suitable when chat participant switched the messenger off but remained the service station turned on for silent messaging;

v- – angular velocity of Compositor work;

as with conjunctions: before or after the command means its application; before command – command options are written from the right; after command – command options written from the left;

*Abbreviations:

vft – subband in VLF;

kh – kilohertz;

nieh – no;

bi – beat independent, the invitation to work only in standalone version of software;

New dialog:

-n – new message;

Time attributes:

@t <day of a week> – allows performing a command on the anchor in particular moment of time. Compositor grid is also applicable to a t parameter. You can set pinging with the interval of 2n, 4n, 6n, 8n, 16n, 32n (where n is a quantum grid particle expressed in samples).

For example, you can set entering the ether in particular day of a week:

-t rmy @t wed

Connects rmy to the ether in Wednesday;

Words in Nim chat are written only using abbreviations. You can use first letters of the word, two first syllables without vowels or the whole word without vowels. In rare cases, words are written fully with letters separated by spaces or without spaces (in cases where you need to transmit to a new participant of Nim chat).

By ruslany

Ether programming (Part 1)

Ether programming (Part 1)

It is possible to conduct ether programming using any Compositor version with ability to initiate an ether. Compositor with CW Decoder works as a messenger or shoutcast device with ability to invite and remove people from chat window. The name of such messenger is NIM (No Internet Messenger), which is called by a principle of its work. The main rule of NIM is a constant connection to the ether (do not confuse with Internet or Ethernet). It is relatively simple to program an ether with Compositor and CW Decoder. Now, I will list some commands and scripts to program an ether.

The main rule of NIM chat:

Enter an ether and composite the following:

-t -t over es over -t @t

-m -m over es over -m @t

 

-t – is a command to hold an ether line; it connects to an ether and holds in it

-f – fold, use if time collision doesn’t happen

-s – it’s a stop command to exit -t mode

d6 – a digit after the letter signifies a number of letters in a word

-t over es over – unbounded time interval pinging

-t @t – pinging on a bounded interval

-a – automatic mode when transferring to automatic station

-m – manual mode

over es over

@t – also applicable

-rm name – delete person from a chat

iwordi – italics

-i – all italics

ls – lists all ether participants of that chat room

tt – transmit, an invitation to transmit

ii name – invite person to a chat

ii name @t – invite person to a chat with bounded interval type

over es over es @t – infinite loop on a bounded time interval

name ad – add person to the chat without its notice

/ – in

| – stop

Scripts

route c9 @t / t.

Route Compositor 9 (c9) on a bounded time interval to the current time point. Allows using all c9 loads on a bounded time interval at the current moment of time. Suitable if you don’t want to load c9 and allows using all previous and subsequent c9 sessions at the current moment of time.

bc ist @t – attaches an additional interval to the station development time

name bc – sets a script name as bc

@t -eff -sc bc – sets the bc script effectivity if it doesn’t affect an ether anymore

-eff – effective

-sc name – script and its name

-meet @wrld – shoutcast service to all available subscribers

-t -f @t / t. – fold time in current time point

Alternatively, just type commands like:

inj all wtb de cs pool – inject all wavetables from cs (Compositor Software) pool

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

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

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.