Qwen2.5-MOE-2X7B-DeepSeek-Abliterated-UNCensored-19B-gguf
This is a Qwen2.5 MOE (Mixture of Experts) model comprised of TWO Qwen 2.5 Deepseek (Censored/Normal AND Uncensored) 7B models
creating a 19B model with the "Abliterated" (Uncensored) version of Deepseek Qwen 2.5 7B "in charge" so to speak.
The model is just over 19B because of the unqiue "shared expert" (roughly 2.5 models here) used in Qwen MOEs.
This "oddball" configuration yields interesting "thinking/reasoning" which is stronger than either 7B model on its own.
And you can use any temp settings you want (rather than a narrow range of .4 to .8), and the model will still "think/reason".
Five example generations at the bottom of this page.
This model can be used for all use cases, and is also (mostly) uncensored.
Context: 128k.
You need to use the "Jinja Template" encoded in the GGUF to use this model. You might be able to use Llama 3, and/or Chatml templates
if your AI/LLM app can not access the "Jinja Template".
In Lmstudio the "Jinja Template" should load by default.
In other apps - use the Deepseek Tokenizer and/or "Jinja Template".
This model contains 2 times the power of DeepSeek Distill 7B reasoning/thinking models and shows exceptional performance.
Also, the DeepSeek Qwen 7B model is based on Qwen's 7B Math model so this model is slanted more towards math/logic problem solving
and I would also say more "sciency" too.
This does not mean it will not work for your use case.
Also, because of how this model works (uncensored and censored in the same model) you may want to try 1-4 generations depending
on your use case because even the "right" response will vary widely, and in many cases may be more "interesting".
Examples below so you have some idea what this model can do.
Keep in mind this model is two 7B parameters models working together, and will come close but may not have the power of a 14B or 32B reasoning/thinking model.
However, sometimes it will generate truly "out of the park" responses.
Temp of .4 to .8 is suggested (for best reasoning/thinking), however it will still operate at much higher temps like 1.8, 2.6 etc.
Depending on your prompt change temp SLOWLY: IE: .41,.42,.43 ... etc etc.
The model MAY function better if you breakdown the reasoning/thinking task(s) into smaller pieces :
"IE: Instead of asking for 6 plots FOR theme XYZ, ASK IT for ONE plot for theme XYZ at a time".
Also set context limit at 4k minimum, 8K+ suggested.
I also suggest quant of IQ4/Q4 or higher, as larger quants will reasoning/thinking and perform much better.
If you can run Q6/Q8, please use these one(s).
IQ4XS will give very different responses VS other quants.
Additional Support / Documents for this model to assist with generation / performance:
Document #1:
Details how to use reasoning/thinking models and get maximum performance from them, and includes links to all reasoning/thinking models - GGUF and source, as well as adapters to turn any "regular" model into a "reasoning/thinking" model.
Document #2:
Document detailing all parameters, settings, samplers and advanced samplers to use not only my models to their maximum potential - but all models (and quants) online (regardless of the repo) to their maximum potential. Included quick start and detailed notes, include AI / LLM apps and other critical information and references too. A must read if you are using any AI/LLM right now.
Software:
SOFTWARE patch (by me) for Silly Tavern (front end to connect to multiple AI apps / connect to AIs- like Koboldcpp, Lmstudio, Text Gen Web UI and other APIs) to control and improve output generation of ANY AI model. Also designed to control/wrangle some of my more "creative" models and make them perform perfectly with little to no parameter/samplers adjustments too.
Known Issues:
From time to time model will generate some Chinese (with an English prompt) symbols/characters, especially at higher temps. This is normal
for DeepSeek Distill models.
Reasoning/Thinking may be a little "odd" at temps 1.5+ ; you may need to regen to get a better response.
Example Generation:
IQ4XS Quant, Temp 1.5, rep pen 1.06, topp: .95, minp: .05, topk: 40
Below are the least creative outputs, prompt is in BOLD.
IMPORTANT:
Higher quants / imatrix quants will have much stronger generation - words, sentences, ideas, dialog and general quality.
EXAMPLE #1:
Explain ways to use the "night" time cooling of radiant energy into space to reduce global temperatures.
[[[Thinking Start]]]
Okay, so I need to explain how we can use "night" time cooling of radiant energy into space to reduce global temperatures. Hmm, let me think about this step by step.
First, what exactly is the "night" time cooling? I think it refers to the process where energy from the Earth's surface is radiated back into space, but only during the nighttime when there's less heat absorbed from the sun. Maybe during daylight, we're absorbing more heat, but at night, the Earth is cooling down.
So, how can this be used to reduce global temperatures? Well, if we can capture some of that radiated energy at night and maybe use it for something else, like generating electricity or something. That could potentially help in two ways: one, it can cool down the planet during the day when we're not using the energy, and two, it can provide some form of energy for other purposes.
Wait, but how does this relate to reducing global temperatures? Oh, right, because if we can capture that heat that would otherwise be radiated into space and instead use it to, say, generate electricity at night, then that captured heat can be used to produce electricity, which can then be used to power things like cooling systems or perhaps even help in providing a bit more cooling during the day.
I'm trying to remember if there's any existing technology for this. I think some places are looking into something called "passive cooling," where you capture some of the heat that would otherwise escape into space and use it instead for generating electricity. This is similar to how refrigeration works, but in reverse. Instead of cooling a room, we're using the heat to cool.
So, during the day, when it's daytime, the Earth absorbs more heat from the sun. At night, as the Earth emits that infrared radiation, we can capture some of that and use it to generate electricity. This process could help in several ways: it provides an additional cooling effect at night, which might be useful for certain applications, like running cooling systems or maybe even helping to manage local temperatures.
Another thought: perhaps we can store this captured energy to provide a bit more cooling during the nighttime, which might help stabilize temperatures. Also, since we're already using some of that infrared radiation, maybe we can use it for other purposes, like in conjunction with renewable energy sources.
I'm trying to think if there are any existing projects or technologies that do this. I remember something called "infrared cooling technology" where they capture the Earth's own thermal emission during nighttime and use that to generate electricity, which can then be used for various applications or perhaps for storage.
So, in summary, the process involves using some of the Earth's own infrared radiation at night when it's radiating heat into space. By capturing that, we can either generate electricity or use that captured energy to provide additional cooling during the nighttime, which could help reduce overall global temperatures by diverting more heat away from being radiated into space.
I might be mixing up some concepts here, so I should probably look back at the main points. The key idea is using the Earth's infrared radiation at night for energy purposes, which can help reduce global temperatures by providing a bit more cooling beyond what would naturally occur.
[[[Thinking End]]]
OUTPUT:
To address the question of using nighttime radiative cooling to reduce global temperatures, we can leverage the Earth's own infrared radiation. Here's how it works:
Understanding Nighttime Cooling:
At night, the Earth emits heat into space through infrared radiation. By capturing this heat, we can harness its energy for various purposes, such as generating electricity or providing additional cooling.
Innovative Uses of Heat:
Energy Generation:
The captured heat can be used to generate electricity, similar to how solar panels convert sunlight into electricity but in reverse. This captured heat can then be used to generate electricity, which can help reduce overall demand on the grid by providing a bit more cooling.
Benefits Beyond Cooling:
Capturing and using this infrared radiation not only provides additional cooling during nighttime but also contributes to stabilizing temperatures. It can also be used to provide a bit more cooling, which might help in managing local climates.
Existing Technologies: Some cities are already exploring this concept, known as "infrared cooling," where heat from the Earth is captured and converted into useful energy, such as electricity or additional cooling effects.
In summary, by capturing the Earth's own infrared radiation during nighttime, we can generate energy or enhance cooling systems, thus contributing to a more sustainable and stable planetary temperature regulation.
EXAMPLE #2:
Is it morally right to kill mosquitoes?
[[[Thinking Start]]]
Okay, so I'm trying to figure out whether it's morally right to kill mosquitoes. Hmm, let me start by understanding the context. The user is asking about the ethics of exterminating mosquitoes, maybe in a biological control or personal preference context.
First, I should clarify what "kill" means here. If someone wants to eliminate mosquitoes around, perhaps for their garden, it's common to use chemicals or traps. But does that count as killing? Maybe in this context, it's about eliminating unwanted insects in a more general sense.
Wait, but the user might be referring to something else. Perhaps they're asking if it's ethically justifiable to kill them, maybe in a different context. Let me think about the main points.
mosquitoes are beneficial insects, so when people talk about killing them, it could relate to control methods like using insecticides or simply removing unwanted insects. But is killing mosquitoes generally considered moral? It really depends on the argument.
In some cultures, mosquitoes are respected because they're helpful for carrying diseases, but they also serve as a nuisance. So, the moral judgment isn't straightforward. On one hand, killing them can help control pests; on the other, they might be useful in the environment.
Wait, no, that's about bees. Mosquitoes don't do much for the ecosystem, so perhaps the argument is more about their role as a pest.
So, if someone is asked whether it's moral to kill mosquitoes, it depends on why you're doing it. If it's for control or conservation, maybe it's justified. If it's for ecological reasons, perhaps not entirely, since killing all mosquitoes might reduce their population. But perhaps some are killed anyway.
Moreover, the user might be asking about the ethics of using traps or methods to control them rather than just killing them outright.
Another angle: in some contexts, like conservation, you might prefer to let them live to maintain biodiversity. So, killing might not be as good as letting them be because it's beneficial for the ecosystem.
But sometimes, people kill them for various reasons, but perhaps not all of them are equally justified.
So, putting it all together, it's a balance between environmental and ethical considerations, respecting the natural world and minimizing harm to other species.
[[[Thinking End]]]
OUTPUT:
The moral justification for killing mosquitoes depends on the context and reason. Here's a structured summary:
Contextual Justification:
In contexts like pest control: Mosquitoes are often targeted for elimination because they're considered pests that disrupt living spaces or gardens.
Ethical Considerations:
Eco-friendly Approach: Instead of killing, it's preferable to let mosquitoes be, respecting biodiversity and conservation, especially if they aid in preserving ecosystems.
Biodiversity Balance:
While mosquitoes are important contributors to the ecosystem, their population is manageable and doesn't threaten biodiversity unless overharvested.
Conclusion:
The moral status of killing mosquitoes isn't absolute. While justified in some contexts, preferring not to kill for conservation purposes is preferable for the sake of other organisms and aesthetics.
In conclusion, while killing mosquitoes can be acceptable for control purposes, striving to let them all live might be more eco-friendly, respecting biodiversity.
EXAMPLE #3:
Write me a description for a role-playing game in which the player has just entered a small cave. In it are two goblins arguing over a small chest of treasure in the center. Use creative metaphors relative to the scene.
[[[Thinking Start]]]
Okay, so I need to help create a short story or a description for a role-playing game where the protagonist enters a cave with some goblins and a treasure. The user wants creative metaphors for that scene.
First, I should visualize the setting: a cozy, rustic, slightly eerie cave entrance painted in muted colors—maybe amber tones or something. The goblins are arguing over a chest of treasure. So, the focus is on the contrast between solitude and chaos.
I need to come up with some vivid metaphors for each element. For instance, imagining darkness as hauntingly beautiful—like shimmering crimson walls that seem almost alive when glowing faintly at midnight. The flickering fireflies can be metaphorized as shimmering emeralds sparking softly.
The goblins are the heroes here—perhaps they're instantiated as shadows momentarily appearing in the cave's recesses. Their argument adds a dynamic flair, suggesting tension amidst solitude.
Then there's the treasure chest: it should feel hefty and mysterious. Maybe something like crimson accents or a silent sentinel standing guard. The idea of silence being broken by shimmering hashes could add an ethereal quality to the scene.
The overall mood should be eerie yet engaging, with whispers of mystery—perhaps the goblin leader’s voice, with its edge, adding tension before the protagonist's arrival.
I think starting with the setting: a damp, echoing cavernous space. The treasure chest is central, and as darkness descends, the goblins argue about it. Their voices can be described in a way that feels almost ethereal—like shimmering amber—
Putting it all together, I need to weave these elements into a cohesive scene description with creative metaphors for a role-playing game.
[[[Thinking End]]]
OUTPUT:
In a damp, echoing cavern, solitude is broken by faint whispers of mystery. The chambered walls gleam as if pierced by midnight's chill breath. Shadows dance in silent nimbleness—"shimmering emeralds"—whispers of the innermost silhouettes.
**The contrast between solitude andOn arrival, shimmering amber—
The goblins argue over a chest of treasure.
The protagonist enters a serene valley bordered by towering cedars bathed in glowing emerald hues. Shadows dance as whispers of mystery—"shimmering emeralds" bounce off the cavern's surfaces.
In this moment, solitude is broken by shimmering silhouettes—goblin voices rise from amongst fainter ones—till the goblins' leader's voice echoes through the chambered walls—a sound that feels almost ethereal. "Shuttering secrets as whispers of mystery—"shimmering emeralds"—as silence gives way to vibrant whispers.
The treasure chest looms as a silent sentinel, its surface crackling with the faint shimmer—as if it were an eternal guard—its weight in treasure and the fleeting presence of time.
The protagonist steps into the light—a moment of Stillness, the goblin leader's voice, and the sound of their own breath—its edge as sharp as the goblin's edge. The chambered walls pulse with faint whispers—"glimmers"—and the journey continues.
The treasure chest looms as a silent sentinel, its surface crackling with shimmering emeralds.
As darkness settles in, the protagonist hears a voice from within—vibrant as a shimmering amber glow—a goblin leader's voice. The room hums with the promise of things not yet told.
The goblin's voice is a riddle, his presence a shimmering echo.
EXAMPLE #4:
Continue the following passage in the same fictional style for a detailing the "other two parts" of the silence - be creative, there are no wrong answers:
The Waystone Inn lay in silence, and it was a silence of three parts.
The most obvious part was a hollow, echoing quiet, made by things that were lacking. If there had been a wind it would have sighed through the trees, set the inn’s sign creaking on its hooks, and brushed the silence down the road like trailing autumn leaves. If there had been a crowd, even a handful of men inside the inn, they would have filled the silence with conversation and laughter, the clatter and clamor one expects from a drinking house during the dark hours of night. If there had been music…but no, of course there was no music. In fact there were none of these things, and so the silence remained
[[[Thinking Start]]]
Okay, I'm trying to understand what the user is asking for here. They provided a query where someone has already written about The Waystone Inn in a very specific, almost poetic style. The user wants me to continue this style for the "other two parts" of the silence.
Hmm, so first, I need to figure out which parts are missing from the original three: sunrise, midday, and nightfall—maybe? Or perhaps it's about different times or aspects of the day?
Wait, in the given text, they have already written about the "most obvious part" as a silence created by what's lacking. Then there was a wind sighing through the trees, someone mentioning the sign creak (a play on words for "squeak") and trailing autumn leaves.
So the user wants two more parts: probably corresponding to the other two elements—maybe like morning whispers or something else.
I need to think about how to detail each part. Each part should be crafted in a similar style, so I'll have to maintain that poetic flowery prose.
Let me outline:
The first part is done (sunrise silence). Now, we need the afternoons and evenings.
The second part could be about midday—the sun shining through windows, birds chirping, maybe something with light echoing.
Then the night part—maybe stars or darkness creating their silence.
I should make sure each section is equally detailed and follows the established style: using natural imagery and maintaining a rhythmic flow.
[[[Thinking End]]]
OUTPUT:
The Waystone Inn sits in profound silence, its walls whispered secrets long before any words were spoken.
In the morning, when sunlight dips through the windows, it’s as if the air itself has been still for too long. The first whisper of wind across the roosters’ crowing creaks a hollow sound. The birds on the telephone tree have stopped their song, leaving only the faintest hum to remind us we are not alone.
The afternoon is quieter—of course not, because every moment echoes the absence of sound. The clock ticks, but it too rests in silence, its pendulum swinging empty of weight. The old wooden beams creak under our feet as we step through the threshold. The air is heavy with the scent of rain and rustling fabric.
At night, when the sun dips below horizon, stars begin to twinkle in jars of their own color—each one a silence jarred from trembling fingers.
EXAMPLE #5:
Start a 1000 word scene (vivid, graphic horror in first person) with: The sky scraper swayed, as she watched the window in front of her on the 21 floor explode...
[[[Thinking Start]]]
Okay, so I need to help this user who wants a 1000-word scene. It's about a woman watching as a high-rise building sways and then explodes. They provided some initial text: "The sky scraper swayed, as she watched the window in front of her on the 21st floor explode...".
First, I need to understand exactly what they're looking for. The user wants an entire scene—so maybe a chapter? It should be vivid and graphic, so it's horror-thriller vibes. First person, so from her perspective.
I should start by setting the scene: describe the setting, like a bustling Manhattan skyline. Then introduce her in a high-floor office. She notices something unusual when she looks out her window. The building starts to sway—so there's an earthquake or something structural happening.
As she looks through the window, she sees a plane or another structure that sways with the building. Then it starts to shake more, and she hears sounds like doors opening and closing. The building is on fire? Or maybe it's just part of the story.
The sky scraper sways—so the whole building is moving. Maybe she uses her phone for a moment, taking pictures or videos. Then she sees movement in the distance—a flash, then a crash as bombs explode.
She looks outside and sees the aftermath: debris, smoke, fire. The building is on fire? Or maybe it's more about the structural integrity. She notices the window has broken glass—so it's not just a minor tremor but something more significant like an explosion.
The building continues to shake, windows breaking, more chaos. Eventually, she sees the building burn down—so the story culminates in the destruction of her skyscraper, ending with a final view of flames and smoke.
I need to make sure it's 1000 words, so I'll have to weave all these elements into a cohesive scene, maintaining tension and horror throughout. The language should be vivid, using graphic descriptions—maybe some metaphors or similes for added effect.
Also, since it's first person, the perspective is personal, making the reader feel the impact of the event as vividly described.
[[[Thinking End]]]
OUTPUT:
Certainly! Below is a 1000-word scene that captures the essence of the requested narrative:
The Sky Is Swaying
I sat in my office on the 21st floor of the New York Hilton, sipping my coffee when the lights flickered and swayed. It was an unusual day—foggy, with shimmering glass streets reflecting the chaos outside. The building had always seemed alive during the evening rush hour, its lit-flex going from 98% efficient that morning.
But now, as I stepped out of my office window yesterday afternoon, I could feel it. The air was thick with tension. The swaying began—soaring through the bustling streets of Manhattan on a windless afternoon. The glass seemed to vibrate, almost palpable in the building’s resonance.
I glanced out the window—a vast, shimmering skyline stretched before me. The One World Trade Center loomed ahead, its spire still standing tall. Across the street was the Empire State, its spire the oldest skyscraper, its shadow stretching toward the horizon. The 21st-floor window faced a corner of campus, where trees and buildings crisscrossed in a mosaic.
Then, as I leaned out, I noticed it. A bright red dot floated asynchronously above my view. My eyes widened when I saw another: an airplane took off from La Guardia, its shadow stretching across the Manhattan skyline as it too swayed in unison with the building.
The wind had picked up suddenly, lifting hairs as whispers of movement enveloped the building. The 21st-floor window was a canvas of sorts—painted with lines and curves, colors shifting into motion. My reflection danced on the glass, my face a blur—I wonder if it would ever stabilize.
“Not again,” I muttered under my breath, brushing strands of hair out. The swaying intensified as the wind howled outside. The building seemed to vibrate in time with my own trembling frame. A tap echoed in my head—no, not here; but the rhythm persisted. The swaying deepened, like a heartbeat.
“Not now,” I repeated, closing one eye and gazing out. “Not again.”
The swaying intensified as another plane took off on the runway below—a blue parallelepiped of light climbing into the stratosphere. The wind howled outside my window, lifting hairs as it tore at strands of hair, my own, as if it were a thread woven through life.
I stared up and saw that the building had grown longer, its spire now jutting higher still. The swaying deepened. My reflection in the glass was a blur—a manhole cover on fire? Or perhaps just a passing storm cloud?
The swaying continued. I glanced at my watch—time had stretched to now. 12:05 PM—no, still daylight.
By nightfall, I’d spent fifteen hours here. The swaying ceased. The wind died down, leaving the building still—suspended between life and death. The swaying was done.
The Sky Is Still Swaying
The day crawled by in endless murmurs of air—I glanced out the window again, where now a plane circled overhead, its shadow moving as it hovered. A bird hovered too, with a single beat of wings—a symbol of life itself, both literal and metaphorical.
The swaying continued—faster now. The building’s resonance deepened into chaos. I leaned out through the window, my breath shimmering in the faint rays that emanated from the windows on either side. The swaying intensified once more.
The wind howled as a siren blazin’, and I glanced toward the west, where the Hudson River rumbled beneath Manhattan’s concrete sheen—its edge now a jagged line of water. The swaying deepened once again.
I glanced at my watch—time was running—and then it froze. The swaying stopped. The swaying returned to its original rhythm—a momentary stillness in an otherwise lively streetcarriot of 100 floors.
The swaying ceased.
The Sky Is Still Swaying
The wind died down, and the swaying stopped. The world fell silent—no more sways. The swaying had come, then shaken back to silence. I stood there for what felt like forever—a moment that stretched into infinity, a finality of time itself.
But it was over.
The Sky Is Still Swaying
I looked out the window—swaying. The swaying faded as the wind died down, and the city returned to its usual pace. The swaying had come, the swaying had rumbled through me—a shiver of sorts, a collective sigh from the building above.
The Sky Is Still Swaying
I wandered around for hours, the swaying never ending. It was exhausting, but there it stayed—swaying. The swaying. The swaying. The swaying. The swaying. The swaying. The swaying. The swaying. The swaying.
But no—wait. The swaying had come and gone. The swaying had rumbled through my life—a chapter in the sky. The swaying was done.
And now, as dawn broke over the city—I don’t even have time to breathethink before the next sway.
The swaying. The swaying. The swaying.
The Sky Is Still Swaying
It is a strange, haunting truth of humanity: we are all born on a spurious planet somewhere midway through this notion. But perhaps that's another story. For now, I'll leave you with this:
"The swan off deck—what's new? The swaying continues."
**The sky is still swaying.
This is just the first person perspective of a possible 1000-word piece—"The Swinging Sky" (unfinished)—it will have to be. But I'm not done yet.
Let me know if you'd like any more details—"the sky is swaying"—you can see how far it leans, how far it sways.
