Izotope Alloy 2 Downloadcleverboat

If you like Izotope's Ozone mastering processor so much you want to use it at the mix, their new Alloy is the plug‑in for you. SOS readers will be very familiar with Izotope's Ozone 4 plug‑in, which is undoubtedly one of the best DIY mastering processors on the market. IZotope Alloy 2 Review. IZotope brings the Alloy 2, the successor of the first version of Alloy from 2010, one of the most popular all-in one effect plugin developed by this company.Alloy 2 combines one parametric EQ, two dynamic modules, one de-esser, harmonic exciter, transient designer and one limiter. Far more than just a traditional channel strip, Alloy 2 is a modern twist on classic mixing. The basics have been re-imagined with forward-thinking features and time-saving flexibility. Innovative sound sculpting tools are ripe with potential for delivering your distinctive sound. IZotope Alloy 2.04 add to watchlist send us an update. Buy now No longer available for purchase. 17 screenshots: runs on: Windows 10 32/64 bit Windows 8 32/64 bit Windows 7 32/64 bit file size. IZotope Software & Plug-Ins iZotope Software & Plug-Ins. Automated Alloy 2 settings saved in Pro Tools 10 not loading correctly within Pro Tools 11.

Cambridge, MA (August 14, 2012) – iZotope, Inc., a leading innovator in digital audio signal processing, has released the next generation of Alloy, a forward-thinking mixing suite that combines six essential tools in one self-contained and completely configurable plug-in.

A modern twist on classic mixing, Alloy 2 takes the traditional channel strip and brings it into the future with powerful sound-shaping tools, exceptional sound quality, and a streamlined workflow. Thoughtfully designed for mixing purposes across the music, audio, post and broadcast industries, Alloy 2 is perfect for engineers, musicians, and producers looking to sculpt their sound while addressing common mix issues.

'Whatever the track, Alloy 2 provides a wealth of tools that give you both corrective and expressive control over your audio while mixing. We went out of our way to create a tool that not only raises the bar sonically, but also enables engineers to achieve a desired sound simply and efficiently with a more seamless workflow,' says Brett Bunting, Alloy Product Manager. 'Those who have never used Alloy before will be amazed by the number of mixing solutions contained within a single plug-in, while users of Alloy 1 will be struck by how much we've managed to add and enhance while still improving usability.'

Key Features

  • Get six powerful tools in one integrated plug-in: Equalizer, Dynamics, Exciter, De-Esser, Transient Shaper and Limiter.
  • Achieve exceptional sound quality, balancing vintage emulation with digital precision.
  • Hear results immediately with zero latency performance, whether tracking in real-time or in the midst of a mix session.
  • Visualize mixing decisions with rich meter displays to guide the way.
  • Start fast, then go deep with over 250 presets and a tweaker’s paradise of advanced controls.

What’s New for Alloy 2?

Fans of Alloy 1 will benefit from Alloy’s sonic enhancements, highlights of which include a redesigned Exciter module, a revamped multiband Transient Shaper, a host of new EQ filters, including Treble and Bass Baxandall filters, and more. Alloy 2 users will also click less to achieve more thanks to both a fully overhauled user interface, enlarged to make more controls accessible, and a new Overview panel that dynamically adjusts to show only the most relevant settings of the modules in play.

With low CPU usage and zero latency operation, Alloy 2 can be used again and again across a wide range of tracks and buses, making it a perfect mixing complement to iZotope’s flagship mastering suites, Ozone 5 and Ozone 5 Advanced. To this end, Alloy 2 also features an internal Meter Tap, which provides immediate visual feedback from Alloy 2’s tracks and buses in the Ozone 5 Advanced Meter Bridge.

Pricing and Availability

For first time customers, Alloy will be available for $149 until September 6, 2012 after which, Alloy 2’s suggested retail price will be $199 / 159 EUR.

iZotope customers who purchased Alloy 1 on or after June 27, 2012 will receive a free upgrade to Alloy 2 upon release.

A special upgrade price of $79 will be available for all Alloy 1 customers who purchased before June 27, 2012.

For more information on Alloy 2, visit www.izotope.com/en/products/mixing-mastering/alloy/.

Processing Plug-in For Mac & PC

Izotope have improved the formula of their 'do everything' mixing plug-in. Is this new Alloy platinum sterling, or pinchbeck?

A nice feature of the new Alloy 2 interface is the Overview page, which displays the most important controls and visualisations for all the active modules.

Izotope's best known product is probably their Ozone mastering suite, a sort of super-plug-in which combines all the processing and effects you could possibly need on your master bus. Alloy uses much of the same technology, but is adapted instead for use with individual instruments at the mixing stage. The original version, which was reviewed by John Walden in SOS April 2010 (/sos/apr10/articles/alloy.htm), has now been superseded by a thoroughly overhauled version 2. This adds native support for Avid's AAX plug-in format, and now works in both 32- and 64-bit hosts without any bit-bridging.

The basic concept is unchanged: Alloy comprises seven processing modules, which can be placed in any order, almost like plug-ins within a plug-in. Most of the individual processors are very versatile, notably the two Dynamics modules, which can perform multi-band compression, gating and upward compression as well as conventional gain reduction, and which can be placed in parallel for some interesting effects. The EQ and Exciter modules would likewise put many dedicated plug-ins to shame, and the Transient Shaper, De-esser and Limiter are no slouches either.

Powers Of Two

Izotope

A new preset manager helps to navigate the 200+ presets.

Fab filter pro q 2 vst downloadgooglerenew. Version 2 adds no new modules, but improves those that were already there, as well as adding a number of global enhancements. The interface is larger and more friendly, and now sports a useful Overview Panel which shows the most important controls and visualisations for all modules simultaneously. There are more than 200 new presets for the plug-in as a whole, and it's now possible to save and load presets for individual modules too.

Of the individual modules, it's the EQ that has seen the most new development. As well as the ability to zoom into the already very clear real-time FFT display, new filter and shelving modes have been added. You can now choose Baxendall filters or 'Vintage' Pultec-style low and high shelving EQs, as well as the intriguing 'resonant shelf' option. The only plug-in I've seen before that offers resonant shelving EQ is Waves' H-EQ, and it opens up some interesting possibilities, especially at the low end where you want to combine boost and attenuation within a fairly narrow frequency range.

The Dynamics sections also now feature a high- and low-pass filter which can be applied either just to the side-chain or to the incoming audio. Unusually, this too can be made resonant, which could have some interesting applications, though I'm not quite sure what they are. External side-chaining within compatible hosts is a nice addition, too, as not too many plug-ins offer side-chained multi-band compression. You also get the option to use one band's signal as a side-chain source for the other bands, which might provide a neat way of getting the kick drum to pump everything else.

As well as visual improvements, there are said to be behind-the-scenes changes to the algorithms of the Exciter and Transient Shaper sections; having used version 1 of Alloy, I can't tell you how apparent these changes are, but what I can say is that the multi-band Exciter is a definite highlight of Alloy. The input signal can be divided into one, two or three frequency bands, and a neat X-Y plot then allows you to apply different degrees and types of harmonic distortion to each. I was not quite so taken with the Transient Shaper; although the multi-band option (as pioneered by Waves' Trans-X) is nice, there's no control over the duration of what is considered an Attack or Sustain, only over the level.

The De-esser appears largely unchanged in version 2, while the only significant improvement to the Limiter is the ability to run it unlinked on stereo material. This can be useful where the left and right signals are very different in content, and you don't want peaks in one channel to cause gain reduction in the other.

Getting To Grips

Izotope Downloads

Among the new EQ algorithms are resonant high and low shelving equalisers, which open up some interesting possibilities.

As I've just mentioned, I was coming to Alloy as a new user, so I don't know how much difference the redesigned interface has made in terms of usability, but I found it refreshingly simple to use for such a powerful tool, and my impression is that anyone who has a passing acquaintance with what a compressor or EQ does should pick it up fairly quickly. The controls are clearly laid out, and metering and visual feedback are excellent — I particularly like the scrolling waveform views that show you when gain-reduction is being applied.

In general, I think the question of whether Alloy 2 is for you depends on how much you buy into the 'one plug-in for everything' philosophy. On the plus side, this means no mucking about opening and closing endless plug-in windows, it means you only have to learn one GUI, and you perhaps have fewer gain-staging issues as your signal is passed from one processor to the next. On the down side, I wonder whether it brings the temptation to use more processing than a source really needs; I certainly think that would happen if you relied mainly on the presets, which tend to be pretty heavy-handed. To my mind, things like exciters, limiters and transient shapers are specialist problem-solvers rather than everyday effects, and in a plug-in like Alloy it takes some self-discipline to avoid overuse of these tools. If you already have other good plug-ins, of course, you might simply prefer the pick-and-mix approach: for instance, although Alloy's bundled de-esser and transient shaper are perfectly usable, they probably wouldn't be my first choices.

When used with care, though, I can't fault the results that Alloy 2 delivers. The two crucial processors for most purposes are the EQ and Dynamics, and both are extremely versatile in terms of functionality and sound. Whether you need transparent level control and surgical precision, or something fluffy and vintage, you'll find it here. The Exciter is, likewise, probably the most flexible I've ever encountered, and the other modules all work very well too. The redesigned interface packs a lot of information and controls in without ever feeling intimidating or cramped, and I'm sure that Alloy 2 will win lots of friends among those looking for an affordable, powerful and friendly set of mixing tools.

Alternatives

The obvious rival for Alloy is IK Multimedia's T-Racks, though this is perhaps pitched more as a mastering than a mixing tool.

Pros

  • Nicely thought-out interface is clear and easy to use, with good visual feedback.
  • The individual processors are extremely versatile, both in terms of sound and features.
  • Many worthwhile improvements including the ability to save individual module settings as presets.

Cons

  • The 'one plug-in to do everything' approach might not chime with everyone.
  • Many of the presets are a bit over the top.

Summary

If the idea of a single processing plug-in to do everything appeals to you, version 2 of Izotope's Alloy improves what was already one of the most comprehensive toolkits on the market.

Izotope Alloy 2 Download

information

£139; upgrade from v1 £59.95. Prices include VAT.

Time + Space +44 (0)1837 55200.

$199; upgrade from v1 $79.

Test Spec

  • Scan PC with 3.4GHz quad-core Intel Core i7 CPU and 8GB RAM, running Windows 7 Home Premium 64-bit SP1.
  • Tested with Steinberg Cubase 6.