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Tag : Morse code

By ruslany

VLF voice communications

VLF voice communications

To communicate in VLF network it is enough to use the Compositor v8 injector, but to connect to other networks it is needed to create the service of communication with them, sending generic RT-zX processes in to the transmission channel as in Compositor v9 Hypervisor. I established the connection of two Compositor v8, which was hardly possible with 6th and 7th versions of Compositor program. Moreover, such connection was before the 7th version but it contained another VLF ethers, which made the determination of the transmitting station itself and creation of the protected communication channel not possible. For the experiment I executed the Compositor v8 a16 on the stationary computer and played the voice track (recorded with Dictaphone) in injector channel. I executed Compositor v8 b3 with modulation combinations on the notebook without the opportunity to inject the wavetables in the transmission channel. Using identical device settings, I received a loop in the notebook feedback chain, which definitely coincided with voice text timbre recorded with Dictaphone. Then I executed Compositor v8 a16 with ability to inject wavetables on notebook. I composited the same wavetable combination as on stationary computer and injected them in to the channel without voice track. This way, I established a definite non-repeating signal reproduced as random noise bursts with narrative text structure. This text coincided with signal performed on stationary computer transmission channel, but had another rhythm and pause appearance. I understand that for VLF communication it is enough to transmit the ostinato code pattern on the defined frequency and I credit the Compositor v8 communication experiment as successful.

My main goal is to prove the appearance of broadband communication lines in VLF. If it is possible to receive the broadband signal cycle in transmission channel, then you can try to reconstitute it by injecting the stochastic carrier using RT-z128 and RT-z64 channel modules. Then, following this logics, there will be the complete voice track with the receive quality of original translation in the feedback chain. This should be proved, establishing a connection of two Compositor v9 Hypervisor programs and their virtualization modules. If it happens, the arrangement of wavetables into the transmission channel lines will be proved.

Let’s look at the created VLF transmission lines as grains, where a separate transmission line segments coincide with wavetables, encased in window function envelope. The connection service in VLF network is a pendulum process, created by RT-zX generic modules. Then the spiral structure of transmission points distribution in all z networks coincides with pyramidal structure. When you use the linear stochastic distribution of wavetables, the mixing of transmission channels happens creating new nets. RT-zX services give access to different zones of VLF and ULF ether. Wavetables supply pendulum processes of RT-zX modules with grain components when transmitting them simultaneously in the channel. They saturate an ether of this pendulum processes with new translations. You should look into this process as a service of connection with pyramidal structure and wavetables are grains of transmission channels or pyramid transmitting points.

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

Top 3 techno tracks which use Morse code as a melody

The most successful ostinato melodies in techno music may be taken from radio translations, which make this technological style of music more authentic. Such melodies may be a recording of radio loop or Ether resynthesis using original Morse code message as an inspiration. The later allows avoiding Ether noises such as clicks, but loses the original radio translation atmosphere. Today, I will play Top 3 techno tracks, which use Morse code as a track main line, using both approaches.

  1. Dubfire & Oliver Huntemann – Diablo (Original Mix)

The first line is Ali Shirazinia aka Dubfire with Diablo track. The main hook of the track is a radio loop, which sounds as an Ether recording. The sound of this translation taken from Morse code key for manual or automatic telegraph messaging.

The translation reads as:

. .. .. .. (EIII)

  1. Gaiser – Ciliate with

On the second place, there is Jon Gaiser with his resynthesizing passion for short Morse code messages. The track is Ciliate with from Blank Fade album. Having the idea of showcasing different variations of a short radio loop, Jon uses resynthesis as a source of inspiration.

The track translation reads:

… . (SE) with variation on … .. (SI)

  1. Boosty – Wavescanner

On the third place there is Ruslan Yusipov with his Boosty alias. Ruslan uses Funky key sound to resynthesize original translation.

The track translation reads as:

. .. (EI)

 

If you would like to use radio translations in your tracks, I recommend purchasing SASER Max for Live from Compositor Software. With its use, you can enhance your productions with resynthesized radio translations in Gaiser style and one-bar loops recorded directly from the Ether like in Diablo track.