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Tag : Ethernet

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 OS – vector operation system

Compositor OS – vector operation system

The file system of new Compositor OS uses the cycle spin value (angular velocity), which constitutes the media file length in milliseconds. This way the files could be categorized by their length and not by their content. While it is acceptable behavior for ethers and loop structures, many media formats may be out of scope for such categorization method. When you select the file to work with, the kernel regeneration state is changed, enabling other peers of the system to connect equally. It means that more regeneration comes from short files and longer files will gain the same amount of equally spaced connection points. You can work with it faster, setting higher omega speed. Kernel regeneration algorithm will perform playback and categorization. However, the system made specifically for real-time work to enable connectivity while you are listening to the material. The work with files can be done in mute mode also but there is no need to increase the iteration speed, because network scanning is made in a pace of the network map file deployment. Such network maps are tracks to the servers and standard techno music tracks serve exactly the same purpose as network loops, but instead of applying modulation in real-time, they just install it sequentially by the flags of drum percussion. The algorithm can be implemented to write tracks, initiating record in bpm of playback material. Setting the same track length, you may conduct a recording when changing bpm parameter. This way you can achieve a copy of recording you like.

The desktop system shouldn’t work faster than deployment of network map in real-time. This leads to speeds nearby 0.5 bpm. It makes real-time operations much easier. The next task after the sound driver is to make a network driver. This task includes decoupling constellations in favor of semi-free 3-axis model suitable for independent control of axis from the system multiplier value. Here is the challenge to decouple all mapped parameters from the multiplier in favor of more freedom and control over kernel parameters. However, the main transmission parameters couldn’t be decoupled from the transmission matrix. This leads me to the following solution: while the main kernel parameters are set and no longer need to be changed in any way, I don’t need to include kernel parameters in the main GUI design, because as the system is desktop, it doesn’t need lower-priority parameters such as window composition and transfer function selection. This parameters suit the goal of kernel protection against incoming network threats. The solution was to implement all needed methods to deny system invasions in kernel from other sources such as TCP over IP connections and other Ethernet tricks to connect to the carriers of the Compositor kernel. While the only carrier I can trust is all positive frequencies, the negative part was disqualified by the previous post solution of playing backwards. This way the negative frequencies traffic no longer can sit on the carrier.

Manual input is now possible to the kernel. Currently I map it to the 0.5 to 1 in absolute values, but can also dispatch these values on any input system. I do not insist on complete freedom in vector scaling, because this values are empirical and constitute angles, which form the beats together with other angle values. However, as the question rises about complete three-dimensional freedom, the 3D OS or the vector operation system doesn’t need values beyond the scope of the scalars present from the constellation values. The pitch angle has two-phase values, they are selected to force the VLF waves to pass through the ionosphere. The first range covers the left hemisphere and the second range covers the right hemisphere. Together with roll and yaw angles it forms the position of two bell shaped structures visible at the above picture. Yaw has four positions, which cover mostly all values except the negative values beyond the minus 90 degrees. This brings me to the solution of changing the azimuth in the Compositor OS system. Changing vectors, you are waiting for the next automatic kernel rebuild and once the values set and rebuild process is done, kernel inherits the values from the angles selected. Choosing the vector state of FWOS gives a plethora of possibilities to the kernel communication state. You select only those values, pointing to the area in the sky, where the mirroring point to the destination land is present. Thus, rotating the mirroring point, you actively scan all the land under the mirroring angle on the connection dots present. Such connection dots could be seen on the matrix model above with the red color and blue color represents the mirroring point. When no blue color presents, mirroring no longer available for the applied signal. After broadcasting the signal driven by the Compositor OS driver onto main MaxMSP driver, the network maps deploy on the location of the mirroring circumference actively covering the land, which they are applied to. There are a number of ways to deploy Compositor maps on the virtual terrain using the spherical driver with quaternion. Mainly they are flushed in the selected tempo, either real-time for listening while flushing or faster than real-time for active system. Real-time flushing is also active but consumes lower resources as the speed of kernel regeneration is lower and there is no need to scrub through the file faster. The implementation of scrubbing methods should be done more consistently and may constitute different LFO for signal scanning. First, the scrub LFO should be taken from the beats waveform of passive AM modulation system, as it has no implementation beyond the scope of the kernel and should be easily implemented for kernel self-feeding. It definitely should be done in real-time to protect the visual driver from hanging. Second, you can use a number of volatile LFO functions to control the scrub point. Making this, you are sure to visualize what happens inside the kernel FM driver and this way you can more easily implement all other kernel parameters.



By ruslany

Lobbying the aggregate devices poll

Lobbying the aggregate devices poll

You can go into the ether from any sounding object. The only condition is that it must excite an ether. For example, you like the sound of your car door-lock and want to go into ether with it. First, you need to pick up such sound and create an ether loop of it. Then you need to load 2 Bar loop of this recording into Compositor 4, set up an engine and press Ether. You will probably hear an Ether excitement at this point sounding like woo-hoo signal. This is one-step further to aggregate devices like no-name mobile phones with device profile loading feature. The future of devices is aggregate because of this property of exciters.

Note: Any commercial phone device contains an exciter in its output chain. Without these exciters, no connectivity is available for your phone and no network signal will present.

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 v3.0.1 for Windows x64 and Macintosh released

Compositor v3.0.1 is a major update, which fixes several bugs of Windows x64 version and first appearing in a Mac world of 3d installment of Compositor Software. Now you can run Compositor v3.0.1 natively on a Mac machine and use ReWire to sync to Ableton Live 9. Both versions are identical and give same results on PC and Mac systems.

With Compositor v3 Hypervisor Radio Shack, named after the platform for running virtual machines inside one matrix, you have modular structure so be sure to choose the feeders you need to suit your style of translations. You can choose FF8 signal-rate quantized module for electric field sounds with LFO structure reminding a sound of copter drone engines. Smooth exponential TC25 for LFO like modulated granular synthesis. AI-RT1024 quantized real-time generator aimed to fill a niche of Compositor Pro 2 style and sound. N9000 exponential structure feeder for Compositor Max for Live like sounds. All feeders have the auto mode for completely autonomous simulations and one-dial parameter operation of patterns and algorithm tuning. It was made on a purpose for faster pattern selection of feeding generators in a live ensemble situation.

You can also use all four feeders in the link mode to main RTC8k radar setting. This way feeder pattern will always follow current RTC8k radar setting for the initiated translation. Now you also have the visual feedback for RTC8k server signalizations. I named them in simple chat statuses style to be in touch with current automatic tuning of an algorithm. You can view their statistics and graphic curve of statuses appearance by pressing setup button for RTC8k radar. The main idea is to understand the generators disturbance behavior. If you experience dropouts in playback and other artifacts, check visual display of RTC8k for statuses like Threat, Call, Arouse and Envy, which are measured on a signalization average level.

Overall, all these great features aid your interaction with an instrument and help to visualize audience reactions on a translation you run with Compositor v3 software.

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

RTC4k – Mk. 25 Airborne Interception system

Airborne Interception system Mk. 25 by Compositor Software available at The system classification is a virtual holographic radar. The virtualization platform acts in S-band operation frequencies and can successfully detect air-to-air, air-to-ground targets without any electromagnetic wave emission coming from antenna operation. RTC4k AI system uses v12 engine virtualization with successful discretization of all 24 windows without open-circuity. An evident feature of RTC4k radar is silence for enemy radar detectors. No emission – no operation, however, it is not a case with RTC4k whereas detection occurs in Ethernet by successfully entering VLAN of aerial vehicle or UAV operation.

RTC4k system uses 64-bit waveguide detectors, which is sufficient to track a change of amplitude a butterfly can produce entering the field of operation. The spherical coordinate system holographic representation can achieve plan positioning with more than one million objects. RTC4k scanner successfully detects radio spectrum emission with 24-PSK and FDM, TDM technics. System application is near-field monitoring for close combat or early detection on large-scale distances.

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.