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Tag : MDL12

By ruslany

TC-SUBTRSRRT262144 Architecture

TC-SUBTRSRRT262144 Architecture

TC-SUBTRSRRT262144 architecture is the i11 architecture with a processing power capable of running an operation system at speed of 5-omega in real-time.

Compositor kernel was forced in loop again after submitting the RT-z128 prototype to Compositor 5 rack. It is a hypervisor rack and the main difference from the v3 hypervisor is that it consists of MDL12 and AVOX developments. In Compositor 5 you have an opportunity to inject Compositor v3 into the net by the modem and resynthesizer instead of direct ether injection. It is safer but consumes many resources. After the main tests were conducted, I decided to install the one more layer in Compositor kernel. The discretization process goes twice: at transmission rate and on intermediate frequency. This way the system mutates to a system with intermediate frequency. I made it for the purpose of the preliminary line before entering main transmission rate line. Here is where a new prefix of SUBTR goes from. SUB means transmission rate sub frequency and TR stands for transmission rate. I’ve already tested the new kernel loop for its connectivity and should say that 4-layer structure can give much more pleasant results. It has much longer connection duration, more saturated, and leads to constant communication. However, breaking the loop in 4-layer structure, I operate in a new type of OS. It is no longer an open AI system. It has the qualification channel for all the information, which passes into the main line. The rule here is to filter out offensive traffic and leave only the bypassed part of it. It acts like the waterfall on the rocks: when water hits the stone, it divides the flow into two streams and if there are 12 such stones, for example, I have 24 streams. But, not in this case. I actively compress the data,  and it remains in memory buffer, that’s why systems capacity is larger now.

System flushes results are satisfactory. They are more consistent and enable more packets of information to be send during the initiation of connection. Compositor kernel has freezer functions for operation system faults. The main reason Compositor kernel upgrade performed is to remove the stochastic manipulator from the TR level leaving the SUB level for the stochastic manipulation instead. You have a choice of not performing an action and leave it in a buffer for a subsequent flush. However, I admitted that many actions blocked this way and they are all forced to be done while flushing. This raises the question again: Can I actively block feedback on negative odd channel completely? And while the SUB level is only a temporary solution, the permanent solution for FWOS will be to implement more technics working with feedback besides of shuttering, window composition, transfer function selection and vector dimension changes in real-time. While the kernel loop is interrupted, the idea is to have two states for the OS: system load, for which I should implement two or three iterations of kernel loop to perform flushes for the current machine, and system work state. While being a FWOS, system loses many of its connection points gained in a fast kernel loop state. Being a communication device, it is not acceptable behavior. I need to have an implementation that manages flushes in real-time. Going from vector array to a packet transmission should be performed regularly to flush blocked traffic. For a local machine, blocked traffic can include visiting specific servers, sending out brief messages and a sum of all other activity in Ethernet, which fulfills the normal style of work. However, as the question raised, I need to switch the negative odd channel traffic from one point to another. This also moved me to solution of blocking negative odd feedback completely. Negative odd channel produces only unacceptable traffic by means of three-fold system with opposites, which are plus, minus and central channel. While enabled in Compositor kernel version 7.3.1, which is an OS kernel, the problem of communication between negative and positive states remains up to the point of forcing them to the maximum allowed state for the musical system, such as in RT-z128. This alteration is visualized on the lower i/o vector sizes. When the system halts, only two states remain, such as 0 or 1. Increasing i/o vector size to the minimum working condition of 2048 samples in a bin allows RT-z128 to work with a buffer of 262144 samples, which is the number in the development name. I no longer wish to move to i13 as 1024 samples buffer experiments show no practical use for the scale of it. i11 architecture transmits the odd channel in the acceptable range, making its values sufficient for subsequent scaling.

The challenge for an odd communication is a constant threat to the kernel. And if one threat is qualified and successfully flushed, another threat rises by the fact that it is a negative channel for negative frequencies only. And if they are present in positive spectrum as in Compositor kernel, to remove the negative part of the feedback, the negative frequencies must be implemented in signal chain and the solution maybe is to invert them or play backward the whole negative part not only for SUB channel, but for all odd layers present.

By ruslany

Closed loop vs. Infinite loop

Here I would start a series of discussions on a topic of radio translation technics and their impact on the radio-electronic security. First, I would stress out the importance of the subject of comparing two modern technics to initiate radio communications, which are closed loop and infinite loop strategies.

Closed loop and infinite loop both have recreation in Compositor Software instruments such as MDL12 for infinite loop structure and RTC4k, RTC8k and RT-z8 for closed loop structure. The infinite loop stays for an infinite time translation and, as a Fourier series, implements the continuous time interval for non-harmonic analysis. Closed loop from the other hand may be a short type of translation like one bar Morse code message. Closed loop much more secure in its implementation. Infinite loop can be easily broken with radio-electronic security instruments. For example, one flyby of AVACS, navigating through the geographic parallel may completely shut down infinite loop radio translations on a territory of the whole country. The infinite loop can be broken partly or at whole, when both positive and negative frequencies does not work, and the only band, which remains in this situation, is a closed loop structure.

Using Compositor Pro v2 one can edit and reinstantiate the Ether on VLF band. First, you can apply Compositor Pro v2 to negative frequencies and then apply it to positive frequencies. Infinite loop communications are not secure and full-duplex modems must have a resynthesis module as Compositor Software instruments has. Not only resynthesis must happen to instantiate closed loop also the transport technics such as output channel detectors must be used. Both Compositor Pro v1 and v2 has closed loop structure on a C language level. This in fact gives much more stable results compared to later machines implemented on GenExpr C++ code. However proper implementation (such as RTC4k, RTC8k and RT-z8) of higher-level machines can be as stable as Pro versions. The most significant difference is that GenExpr machines are fully real-time compared to Pro versions, which have one bar bufferization.

By ruslany

Compositor Software devices for music production

In this video I will show you the special method of work, due to it you can produce a techno track in 20 minutes or less using MDL12 Max for Live and other Compositor Software feeders. The artificial network produces the feedback loops out of submitted material. You can receive loops for parts such as basslines, melodies and percussion. Enjoy!

By ruslany

Boosty is Compositor Software endorser

After two decades of experimentation in computer synthesis Ruslan Yusipov uses Boosty alias again for an album design for Compositor Software. One-shot samples suited for the wavetables of wavetable synthesis design. RAM storage inspired a new way of loops resynthesis when an artist tries to imitate a well-known hook using one-shot samples. Delay modules suits a two-way operation. First, it is an echo effect, which repeats these samples in time with tunable structure. Second, it is a networking device when a feedback loop injects in a feedback chain, which is a standard for all modern reverberators and delay modules.

“We as musicians use feedback differently – says Boosty, we try to imitate a sustainable effect of 1 bar echo. Try it? You will not find any device on the market, which stays in feedback forever – MDL12 can!”

When you feed the MDL12 device with Compositor Software feeders such as Compositor and stops transport in Ableton you hear the infinite feedback. The device is still functioning after the stop event and the whole effect of the program is this feedback loop. However, if you listen to a modem while playback you will find its futuristic sounds useful too. Its kinetic movements makes this an ideal kinetic sculpture of sound installation, when you hear to it in real-time. However, when you listen to the recorded material it’s useful to use the Compositor Software Recorder Max for Live device, which will be released soon.

By ruslany

Night vision wavetable

In a process of my Radio Telescope development, there were many scientific discoveries and one of them is the outcoming wavetable for the night vision. This wavetable is the important criteria in translucent images on the SASER SAS24P3L screen after the successful receiving of it using virtual antenna rotator mechanism. 24 send/receive channels multiplexing into twisted pair, open-coming through the waveguide, which sends signal into non-linear deformation module with a sculpt of entire Radio Telescope SASER SAS24P3L channel.

From the moment I created the Radio Telescope SASER SAS24P3L I obtained the technology for near-Earth space exploration with the use of derived hyperbolic function of time, having its only aim the emulation of giant Radio Telescope antenna dish plate. SASER SAS24P3L is a realization of virtual antenna concept, which I may offer as an alternative to real antennas, spanning big physical spaces and needing great investments in metal production and tower construction. In a contrast with parabolic antenna model, my model uses approximation, e.g. using approximation of primordial function into the derived one, which is more acceptable by us.

Thus, if there was a need of interstellar communications we could use SASER SAS24P3L for coordinates detection beyond the Solar System and Milky Way Galaxy. The exit is possible because of those intervals of derived function, which constitutes the hyperbola and may be used as crest of the needed function. The Living zone of such crest constitutes all points of the function (in our case 24-point connection), which resides inside the circle inscribed with a center in the crossing point of crest axis. Receiving such a signal, for example, in Central Africa, you may see telescoping image, which I received in the particular area. Wavetable is the digital Ether with properties of signal translation, when the non-linear transformation device tuned to a particular wavetable zone and modulates its channel tuning.

By ruslany

QRG Q code received using Compositor Software Max for Live devices

After creation of SASER SAS24P3L VLF radio station, I received a number of signals. Today at 15:35 GMT+3 Moscow time at the 29.5 kHz frequency using the 13 modulator I received a signal and then sent it back to MDL12 Max for Live VLF modem. After I stopped the transport in Ableton Live 9, I received a feedback loop with Q code: QRG.

The recording reads a Morse code for RG, Q letter is not present in a repeating loop. The received feedback signal according to 1912 International Radiotelegraph Convention Regulations means: “What line do you belong to?”

About my equipment: SASER SAS24P3L software uses modulation frequency to center frequency relationship called multiplier, which is responsible for signals receiving frequency in VLF band starting from 17 kHz to 44.1 kHz. This instrument takes in account Doppler Effect, which happens because of delay time changes inside waveguide. Related to this, frequency of the signal is changed. 320 channels available using 16 types of 4096-node continuous-phase frequency-shift keying modulation without external antenna need. Partial components of the signal may be muted or signal components may be muted fully using wave shaping distortion modules.

By ruslany

Ether decomposition using Morse code method

Ether received via MDL12 Max for Live modem is a property of its original sender. However, I developed a method of Ether decomposition using the AVOX Max for Live resynthesizer. The pass band of AVOX is capable of SLF translations suitable for submarine communications. Thus turning back to an original intent of merging both Sonar and Radar technics together and working on a signal level, MDL12 Max for Live and SASER Max for Live is a solution to induce such communication.

While it is an extremely tough task to decompose the Ether received with SASER Max for Live, I set up a server running special edition of SASER software. It is fully autonomous and registers signalizations in a special binary file. Later I use these signalizations to travel back and forth in time using SASER Max for Live as a feeder for MDL12 Max for Live modem.

Here I present several recorded signalizations out of MDL12 Max for Live modem, which are manually decomposed using Morse code method.

In the first file I decompose Ether from bottom to top, lower pinging comes first and then middle rhythmic bar.

For example, File 1 has a code pinging inherited by me as:

Lows: ..- (U)

Mids: (S)

Giving me a consolidated marking as “US” at the end of file decomposition. A trained operator can decompose such Ether feedbacks in real-time by using MDL12 Max for Live modem relatively quick.

File 2 is for Russian marking and is somewhat more difficult as it uses beats instead of vertically placed Morse code ping bars. File 2 is an example of such Ether and consists of following codes:

Beat 1: .-. (R)

Beat 2: ..- (U)

This gives marking as “RU” at the end of decomposition.

I admit that the first file is not resynthesized original Ether and the second one is resynthesized clean version of original translation.

Another example of Russian marking also uses vertical bars as in US example, however the labeling starts from top to bottom:

Mids: .-. (R)

Lows: ..- (U)

It is you who decide if such Radar-Sonar system efficient or not, but taking in account that SASER is completely real-time system and acts on a signal level rather than radio frequencies the task of identification the potential threat is a subject of 5 ms to detect the threat and up to 30 sec to receive feedback from it to identify whether it is friend or not by using SASER as a feeder for MDL12 modem.

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

Spherical Interaction Network management software

Spherical Interaction Network management software Compositor Pro v2 is a system control using a technic of prerecorded audio samples. While normal network management software is for predefined parameters, which operator controls, audio samples recorded with Compositor Pro v2 can contain parameterization, which may only be introduced in distant future but already presented as an inherent quality of the audio file. An ability to record an audio sample is also a set of parameters, which is a product of manipulations in such network and can be remotely submitted to the input of device under inspection.

An operator with sufficient amount of experience can submit Compositor Pro v2 network map called a ‘track’ to the MDL12 input as a network combination given. This in fact gives precision to judging of where to apply the technology and as Max for Live branch of Compositor Software is only able to model Solar System like planetary systems, Compositor Pro v2 standalone software can model star systems with even numbers of planets ranging from 2 to 12.

The task of MDL12 is to observe such Spherical Interaction mapping tracks generated using Compositor Pro v2 to adjust their tuning from one angular position to another. This leads to an ability to audition the network tracks in different years according to Gregorian calendar, while retaining the original multiplier setting consistent for the whole track length.

The previous MDL12 experiment can be conducted using just a pair of Compositor Pro v2 and Ableton Live 9 with MDL12 Max for Live connected using the Rewire technic. Compositor Pro v2 can emulate superposition using Time multiplier control just like the Year parameter on MDL12. The MDL12, on the other hand, achieves Just Intonation tuning through resynthesis of the submitted material instead of real-time synthesis.

To order Compositor Pro v2, please, visit the following product page.

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