New palette in Compositor Software SASER CS16RT5 achieved by setting Ableton Live 9 tempo to maximum available 999 bpm. At this tempo analog pulse signal repeated with the speed, which reminds dialing a number in analog telephone line. In this video you can watch what tunings were made in SASER CS16RT5 to achieve tonal and analog dialing at the same time.
Due to SASER CS16RT5 you can add an authentic sounds of virtual connection line to your production. This instrument gives an opportunity to imitate analog and tonal dialing at the same time for translating the composite signal in and out of Ether.
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.
AVOX Max for Live
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.
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.
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.
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.
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.
What we have or better to say what we will consume next? It is our notorious thinking about the futuristic approach and the delimiting border, which emphasizes the need to convert every persons opinion in one big story probably without the end or do we have an end of some sort. Compositor system regulates the Year 4000 as the end of our well being as a humanity. Though the apocalyptic thinking on a randomly chosen topic. Consumers nowadays populate the idea that every sphere of modern development must be free from hard work or better to say it is an illusion that without hard work you will not get any result. My opinion that to behave well one need a sphere of implementation other than a sphere of original intent. So futurism is our intent, right? We need to consume something to produce futuristic intent. Our original goal is the consumption of something new every time we want it. My behaviour is maybe well developed in a sense that to consume something new I may use new reciprocity from Compositor software and it is more likely I will use Lite version for this intent because of modulations. Modulations arised from the question: can we subtract a rhythmic foundation of modern dance music into something valuable in future? What is a danceable rhythm? It is a differences in phase by a right 90 degree angle. It is better to say the relationship which builds this rhythm is the foundation of every dance track. So we got a precession as I said earlier it may be a precession of a planet in the Constellation system, which belongs to this modulation. But the question is how I got this modulation is still unclear to most of us. The modulation in its intent is a product of beatings of three frequencies, which run clap, hat and kick triggering mechanisms. They give this precession as well as beats on summing the three frequencies. Beats used to modulate multiplier (the Year parameter). It is made with an intent to produce the path for each subsequent Year to the Constellation, which was selected originally on a year 2000 by forming an equilateral triangle between planets which are an original multipliers of this three frequencies forming a rhythmic foundation. So Kick is Earth, clap is Mars and hat is Saturn by the frequency of rotation about their own axis. You may think it is a joke, but if you see speeds it will be roughly 1x for Earth and Mars and 2x for Saturn, which is equal to modern rhythm with an off-beat rhythmic structure. Later you will understand that this frequencies are most important part but for now I will say that if we substitute planets for a rhythm in a 3d model of our Solar system and look for resulting destination it will give us a Constellation, which represents one of sixteen modulators. Now you will not think on a fast scale, right? You may listen to a Compositor output and definitely hear the pattern of planetary motion. It is a large scale and I prefer slow angular frequency speeds for the purpose of estimation this Universe properties. We now enter an autumn, do not forget this. Soon there will be Christmas and New Year holidays. This is a time to rethink our space conception. And this fundamental research was produced by me in 2014 laying back the foundation in 2013. Now I one step closer, but will no longer give credits for my future work. It is a time table and only it can produce decisions of what to do next. My intent is mobile application (to have Constellations on the run), but I don’t see the target audience, because futurism is something we see and definition of auditory experiences is relying mostly on style and its implementation in foreseen future. So in my experience, if you listen to sounds only knowing what I already said about underlying synthesis routines may turn you ponder into the process of the metaphisical creation of the universe not the fast implementation of technology by itself. But the more I watch television and social networks the more fast implementation of needed things comes to my mind ruining the whole experience, which sounds on its own can give the listener of the idea. And the question of melanchy can also obscure the light of your mind when listening to something as original as an algorithm of the Universe work. It is a clock-like mechanism I will not get into the details later you will see its use. My only original intent is to design this algorithm as suitable for many more applications among which navigation, unmanned aerial vehicles, artificial intelligence and neural networks. For example, Compositor Pro is better suitable for the first two tasks, while an updated digital counter mechanism of Lite version is better for communication networks like those found in our nervous system and thus can be a heartbeating source for all artificial intelligence advances. It is here and now. Where to go its your decision. The more I listen to the algorithm the more I understand the value of basilar membrane as an instrument of measure and the more I disregard any experience, which leads not to understanding the right angle of our compulsory movements creating a beat pattern suitable for moving hands, legs as in application of physical movement. This comes from danceable algorithms and thus the movements may be too mechanical to reproduce original human movement, but with the use of combinations, which I applied to Constellations we can make many patterns of behavioral communication needed for further development of robotics as a whole. We see what we need to understand and its our need to organize the reality in some further chunks of perceptual motion. My implemetation tells that I made a choice, which is original. Since ancient Greeks, Egyptians measuring with sound, I measure with algorithm the seen Universe. The Constellations may be updated to a proper catalog based on a named method, but the principle is much better understood if we give the loyal attribution to its creator. Modern scientific approaches set aside the subject of attribution by linking to scientific works of each other. I disagree on this method of developing something completely new and unordinal. Yet I found a dozen of links in an original Compositor – the bottom-up approach paper. Without the discussion there will be no need for an instument, right? And its easy to understand that a phenomenon produced if it is Cosmologically prooved and so important can’t stay aside of our perception. Here is where I see a psychological intent of my work and its subsidiaries. The importance of perception of natural algorithm for sound synthesis of planetary like motions. We will discuss it later but the need is only my intent to overcome a barrier of conventionally thinking plethora of scientist, whcih imply the only solution is a quantum theory for time travelling. Faith is no more and beliefs are here to overcome the original paradigm. And beyond all who else will think that sample slicer in Compositor Pro is acting like a quantum interpolator of exponential function derived from FM? We are too consumers to think about that. But without this notion the whole subject will not be complete so I decided to interchange the quantum interpolation of Compositor Pro on right angle phase chunks modulations of Year parameter achieving the exact same goal: quantizing the function. But this time its whole output is modulated. This may raise a question if all is properly done what is the positive regression on a mankind by the work of this algorithm. It may be state variable interspecies communication and what I do mean by this is far beyond transgression in its original terms. It is a highest level of privacy as original and as provocative that noone will ever encounter your thinking is too close without producing any popular phenomenas such as brainwaves or a methodological MRT. I think that in proper implementation of Year and Constellation states we will face a solution to thinking as a process of mask interchange. If we aply masks to our thinking speaking with an original speculator on a problem we can think of a recepient for this communication removing our personal conceptions and beliefs thus enabling more smooth communication by the means what he (or she) needs is what you give. And if we mentally produce such Year, Month and Constellation period to a thinking process we can benefit, of course, from the whole experiential progress so life will be smooth and fast. This is what a future needs from us and this is what I’m enabling you to experience with Compositor. The algorithm is window implemented so many spheres of modern development already entered a game of this knowledge. My origianl intent is discussing a simple and primitive method of representing FM spectrum as a phase-ends of its counterparts and out of this the whole bucket of forms produced. The only idea I see for this implementation beyond our thinking is just a media apllication, which fulfill the consumption niche. Yet it is beneficial for an algorithm to be removed from this purpose hence the aim of this blog is to prevent you from thinking of Compositor as a media tool for your pleasures rather than really working instrument, the algorithm of which can later be implemented as a chip for helping people with mental deseases to proper change their thinking patterns in a response to the situation. This is a main psychological point of transgression and the use of basilar impressions which Compositor gives. But even if we take a speed of 2 omega and faster, this implementation will also manifest a use in speed thinking. An example of this can be the use of Compositor for counting purpose and problem-solving. Entering the field of discussion makes us reliable for a solution: each side-band of FM spectrum is the only chain which transfers the signal to an outer world from a main thinking routine. Using the coupled form such as bell-shape we can estimate the different time scales and transfer function variables for this task to happen. Additional elements driven by a pseudo-random mechanism can generate a scientifically separate and phylosophically evident society of Cyborgs. They will act by the will of an algorithm and randomly not chaotically but by a probability density function selecting their needs. I saw one possible solution for this problem, which is a planet of Cyborgs. This can happen and it is an easy task using Compositor software. What we need is to implement the networking inside the sphere and the algorithm will deliver the signal travelling to the precession-like core, which is also a heart of this creature. The theme of networking is rather difficult and well established nowadays for us to develop such creature for the needs of modern society you may think. But we will not enter their world and they can live as our sudsidiaries for the purpose of scientific knowledge they can produce. We humanity can be seen in exactly the same way for creatures who care about us in a first place like a magnificent God, who deliberately thinking as we are and put his reasoning in a way to control the mechanism I later named the Compositor. Compositor can be and should be a space station to control all living creatures problems and source for this inspiration comes from the understanding of its principles. The speed is needed to recreate the movement, right? We have a war of opposits thinking from bad to good to bad and so on. This is an alteration and modern methodologies have this as an implification of mood. I must agree that mood is the only developmental point of view on alteration and we do not act like Cyborgs in a sense that we can have better mood for a longer period and vice versa. Yet Cyborg will be definitely a creature which balancing in the middle. The networking provides the speed and it is important to understand that creatures who can think that fast on a reliable time scale doesn’t imply any mechanism of sub-concious so their ever lasting experience is fully conscious. That’s why no sleep implementation for them as an exsistantional field of behavior. And again different transfer functions produce different psychological portraits so we may think of them as a solution to well developed creature with a networking thinking. I’m not a professor in a human society and the only chance to implement my technology is all by itself but let me introduce it for you as a New Mind foundation and together we will cope with many problems which we will face later with perspectives so prominent and basic in its functionality. And also to implement the technology we will need time and patience so let us move in unfamiliar direction of future and shape it as we see it in our sleeps. The mere fact that we exist there is the phylosophical motivator and an optimistic point of view on sociological problem of our existence.
Field or humorous notion. Field of consumers nowadays consume to consume to consumerate the ideas. I made an effort to realize the powdering emotion on humorous page, which among all represents the consolidation of events in my head. The powdering emotion is the only one, which left listening to March year the 2989 at 1.396 omega. Powdering not only me but the pound sign of my variables. My variables are mine: I’m greedy. The variable – is it the only law here? The Sun, Moon and Earth are nowhere? Try to kill the process in its origin and wait for exhibition of emotionalists. Haha, humorous notion. Between past and present, beyond functionality, among professionals or novice Compositor will make you feel like an expert in the field of doing the most notable work for the reason no one will ever understand. Why? What is transgression? I wake up with the idea that drugs and medicine will be postponed some time later for a reason consumer market will loose its benefit of emotionally evoking a potential or just making another frame of mind. We are tired just of placebo effect, we need the only solution to humanity which is the timekeeping. I don’t mean novice systems of time management but to keep our time with us and live like noone else in the world will ever live. I’m happy listening to Compositor output alone, but if we represent a structure more or less significant could we arise with a question of be or not to be in our own destination. We would love to know if destination is the only variable we can face. But hey I’m looking through nowhere into darkness and just changing a pitch or better say nothing. Pitch is nonsense.. We trying to estimate it but too often I hear in front of me the voices of unfamiliar youth which tells that someone can predict what you are doing or what someone else can do. I agree that is the point. We all can make ourselves. But for me to be on my own is something usual or something original from the point of darkness of unwithdom which some religious views can encounter in their beliefs. I do not know if we are the destination, but someone else can humorously say it is not your deal. I believe in something that stands out of our original point of view on some preset opinion which we will include in a library of notions. My idea is that to be humorous is the destination of many of us is nothing about to be evil or dark in your judgement. My present idea is to discuss the effect of understanding the variables coming through the oscillation process, which encounters physical modeling of some sort. It may be or may not be the original thought but the present state of sciences gives a gap of understanding of the whole approach I came with Compositor. It may be better to discuss a book at the evening that to say I’m now listening to the year 2989 month of March and to be able to track the path to Cepheus constellation. Yet it may be the best task for us to understand this notion as a belief that humanity in its origin is able to see the truth in evident things, such as for example Sun and Moon seen in the sky. I will not scramble the idea of notorious analysis that began with Compositor – the bottom-up approach I just say that this analysis was for some reason overseen and noone could ever differentiate it with some dark unwisdom, which we agree to see in something new and to discuss this it is needed time and effort we cant consume. It is better to say no one is enthusiast here and to lay down everything in the field of artistic exploration, but I agree it is not the case with Compositor. It came out of experience for experience and nothing else can shed a light other than trying the Constellations and their effect on modulating main sound synthesis routine. Not an evening task you may think or better to say it’s task where someone must write down his efforts. Let me start from this blog post to shed a light on my explorations with Compositor and its Constellation routines. I agree to note the topic of price someone pays to understand something new. It is ridiculous! I agree and disagree completely with the topic of pricing as a whole so my policy is that if you want to put some mark on what you are doing you should pay a penny and use it for your need. But not with Compositor – you pay and you enter the world of notorious sound synthesis analysis, which I started as a subsidiary work for my techno moments of life. First experiment comes first.
I started with an experiment on phase and modal analysis of circumstances which enter in the field of Cosmology slightly.. and every time I will encounter the word Cosmology I will say slightly.. Yet it is indeed my Cosmology in a sense that I’ve seen and learned it not from a book but from my father or brother or even Einstein at my house during a sleep. This is a notorious knowledge I was able to open in the field of programming and give you as a result in a very compact and laborous form. Like a Mendeleev table which comes from sleep my knowledge comes from this experience also, but to be honest there are thousand places there and we are able to visit them all and learn something new for humanity. So to start I agree that the knowledge is out of experience: impirical term someone can confirm and can be thought of as my exploration in sound. I select some patterns which I like most: they are regurally the patterns of behaviour, which found in some spieces but are covered with an unlimited veils and we are not able to comprehend right now so someone could react and confirm this is of use in artificial intelligence. I found the phazziness pleasant to my ears, but I understand that physical process, which encounters the origination of this form is pretty cumbersome or selfish in its reproduction of harmonics. So when I hear deep sound with delayed transitions I may hear it as well as you on a time scale different from your vision or point of perception. Permutations may be an estimation of someone waiting for something but this phazzy transitions is as evident as the deed and the roots which it produces. Let me see closely what sounds are invloved in creating this phasor like sounds at the beginning of a sequence. They start from Saturn and goes down to Eris that is for sure. Cepheus 1 modulates the Year route bringing us to the place with some gyroscopic precession, which can be seen in Compositor Pro version. I agree to analyze this on request, but it may be or may not be the object in named Constellation with extraterrestial life on it. I saw so many objects of this kind in nightsky during flyby’s in the sleep so my opinion is that this sky notions must be consumed to hear some more information about them. The transgression is one word defined as the latter progression of the individuum into the mental state of future experiences. I see this must shed a light on how I see this endavour and completely organize my work among the purpose of its uncertainty and criticism which may arise. I tried taking closer planets to the Sun in all planets selector and this have not gave such results as taking Saturn for example. The figure is melody like with additional elements and it is all what discovered function produces. I make main channel sound more sophsticated with longer tails in the output and this gives me the notion, that every manifestation of ideas should be presented in regular intervals so for now that is all.