Two days of SFXEngine programming. The software uses the same audio engine as Prometheus, and the same GUI too, sharing that with Argus. Both are sparkly new by comparison. I've not touched SFXEngine in two (busy) years, so it's needed a lot of work to bring it up to date.
First job was to updated the GUI, allowing variable length windows for larger screens, and better support for storing and recalling custom window positions. Then some new skin colours, and all of the latest functions for modulator and sample processing, including ability to save, for the first time, and loading/saving in optional float format.
Second, some new plugins, and a unique audio effect for this tool of distorted filtered noise with an envelope (a mainstay of sound effect generation), and finally fixes and upgrades to the rendering chain. Here is an image of v1.20 of SFXEngine in operation:
My latest sound job on effects for a future game, Pursuit of Power 2, was a first test and I've been working on those in tandem with the software upgrades. One sound called for hooves, and I made use of some hollow wood, part of a new batch of recordings for the first time in a few years.
I was also the release of the 2022 version of The Modern Game on Friday.
This is the end of a wave of creative work from the start of the year, which has slowed a little, partly due to the live Fall in Green work, which takes a lot of time and rehearsal, the new book, preparation for the Art Fair, and the Salome music. I must get these projects complete so that I can do more of the important job of creating. The year is flying past and I've not painted a thing, nor can see any time available to do so... this is a tragedy! Oh for more time, more resources.
Next immediate jobs: To complete the computer book, complete the Salome music, and frame two works for The Stockport Open.
