![]() The menu provides quick access to the manual and currently the only setting which allows you to switch between an older version of the Flanger/Chorus node to preserve presets designed before the v1.2 update. I find it to be visually clear, intuitive and space-efficient.Īt the top it shows the current preset, A/B and A copy to B functionality (very useful for any iterative design process) and buttons to load and save presets from you own collection and the bundle included with the software. ![]() ![]() Personally, I think the time and effort paid off as the GUI is my favorite thing about Dehumaniser II. ![]() In interviews, Orfeas and his team have spoken of how much time they spent designing the interface and it shows. Now several years, a company formed and a few commercial releases later, Dehumaniser has been rebuilt from the ground up in C++ as a plugin (formally stand-alone software), and it looks a little different… A few years ago now, I myself was at college in a MaxMSP class when I saw someone on LinkedIn post about the first publicly (and freely) available version of Dehumaniser which was itself built in MaxMSP. The Dehumaniser line is the brainchild of Orfeas Boteas and originally started as a University project. Also, students can get a 50% discount on Dehumaniser II. ![]() There is a free demo of Dehumaniser II so you have no excuse not to try it out yourself and see if it’s right for you. Original ideas, new workflows and cool sounds are all well and good, but if it extends an already complex and tool-saturated workflow, I couldn’t see it being widely adopted.Įnter Dehumaniser II, a plug-in featuring a modular DSP environment designed principally for creature and vocal design that through a well designed interface, generous toolset and controls, mostly succeeds in generating interesting sounds while saving you time (the pros would seem to agree as it’s already been used in numerous films and video games including The Avengers: Age of Ultron, The Jungle Book, Doom, Evolve and Far Cry 4). The degree to which it succeeds in doing all that however (and whether it justifies its considerable price tag which is £449 at the time of writing) depends on the input you are able to provide it with and also your level of tolerance for some niggling inconsistencies and errors in its execution. I remember remarking to an audio plug-in developer at GDC earlier this year that for a plugin to be widely adopted amongst working professionals (especially those in the film post-production community) I felt that before anything else, it had to save the user time. ![]()
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