Buy iZotope VST Plugins, iZotope Instruments and Effects, Download Online, iZotope Free Demo Plugins from Pluginboutique.com. Alloy 2 by iZotope is a Virtual Effect Audio Plugin. It functions as a VST Plugin, an Audio Units Plugin, a VST 3 Plugin, an RTAS Plugin and an AAX Plugin.

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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The original version, which was reviewed by John Walden in SOS April 2010 (/sos/apr10/articles/alloy.htm), has now been superseded by a thoroughly overhauled version 2.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

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

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

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.

information

Time + Space +44 (0)1837 55200.

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.

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Alloy 2 gives you futuristic tools, fast results and most importantly, fantastic sound. Bring character and life to every element of your mix with Alloy 2. 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. And best of all, Alloy 2 allows you to focus on mixing without distraction, neatly packaging the mixing essentials in a self-contained and completely configurable plug-in that puts everything you need at your fingertips.
Features

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Equalizer

Whether you’re taming unwanted frequencies or emphasizing your favorites, Alloy’s powerful 8-band EQ combines exceptional sonic quality with precise control. Choose from a broad range of classic and surgical filter types to sculpt your sound, then refine your settings easily within a spacious and intuitive interface. And for extra guidance, Alloy’s large spectrum overlay provides the best visual feedback of any EQ available.

Recreate a classic sound reminiscent of the renowned Pultec EQ with new Vintage Low and High Shelf filters.
Easily boost or cut bass and treble with freely adjustable Baxandall filters.
Aggressively eliminate unwanted frequencies with resonance-free Brickwall and Flat Pass filters.
Explore additional filter options like asymmetrical Vintage Bell, Resonant Shelf, Sharp and Resonant Pass filters, and more.
Save time with new workflow boosts, like zooming by time and/or frequency in the EQ graph.

Transient Shaper
Accentuate the attack of a mix element or blend it back into the mix with Alloy’s simple yet mighty Transient Shaper. Perfect for upping the smash factor on drums and other percussive sounds, the Transient Shaper can also fine-tune the character of hammered or plucked instruments. For unmatched flexibility on more complex material, like drum loops and buses, enable Multiband mode: you can then independently shape mix elements that coexist within a broader frequency range.

Make a kick drum less boomy, or add more snap to a snare.
With Alloy on a drum bus in Multiband mode, easily shape the kick drum, snare and cymbals independently.
Subtly tweak or correct a variety of other instruments, like the pick sound of a guitar or the attack/release characteristics of a piano.
Experiment with extreme attack and sustain settings for unique creative effects.
Benefit from insightful visual cues to learn how your sound can be shaped, including the Transient Detection Indicator and a Gain Trace view.

Exciter
Bring brilliance, warmth, and crunch to your mix with Alloy’s fully-redesigned harmonic Exciter. Equally primed to go bold or go subtle, the revamped Exciter can add harmonic flavor to a wide variety of material, including vocals, strings, guitars, drums and more. Emulate the subtle warmth of tube preamps, the aggressive grit of tape, the screech of a distortion, and anywhere in between.

Adjust an intuitive X/Y control to blend between different harmonic profiles, such as Tube, Tape, Retro and Warm saturation.
Switch to Multiband mode to apply color to different frequency ranges independently, including different saturation types on each band (e.g. Tube on low, Tape on high).
Sculpt specific frequencies coming out of the module, like any high-end harshness, with the new Post Filter.
Narrow or widen different frequency bands with an integrated stereo Width control.
See how frequencies are being affected by the Exciter with a distinctive Saturation meter.

Dynamics
Whether you’re smoothing out vocals and bass or slamming your drum bus hard, the Dynamics module helps balance your mix, combining the best characteristics of analog and digital compressors. To make things twice as nice, Alloy includes two independent Dynamics modules, available for creative use anywhere in your signal chain. With advanced sidechaining, multiband processing, and parallel configuration options, the Dynamics module is sure to be among the most versatile mixing tools in your arsenal.

Enable Vintage mode for smoother, more forgiving compression, or Digital mode for a cleaner, more surgical style.
Run both Dynamics modules in parallel to boost impact while retaining dynamic subtleties.
Trigger Dynamics processing from other elements of your mix with advanced sidechaining capabilities, or crosschain between different frequency bands.
Use the new Detection filter to determine exactly which frequencies trigger Dynamics processing.
When in Multiband mode, easily set every Dynamics control for each frequency band in one convenient All Bands view.
Dig deeper into additional Dynamics options like Hard or Soft Knee compression, RMS or Peak level detection, and Auto-gain compensation.

De-Esser
Squash those pesky “S” sounds and other harsh hissing common to vocals and instruments. Alloy’s De-Esser lets you zero in on sibilant frequencies with a simple-to-use spectrum analyzer. It’s perfect for transparently reining in vocals, cymbals and other high frequency problem spots.

Set target frequencies quickly with an easy-to-use spectrum analyzer and Solo control.
Use it in Multiband mode to hone in and cut back on sibilant frequencies exclusively.
Use it in Broadband mode as a unique alternative to standard dynamics processing, reducing gain on the entire audio signal when certain frequencies are detected.
Adjust the extent of attenuation with Attack and Release controls.
Experiment with the De-Esser on cymbals, distorted guitars, percussive elements, or problematic audio at any frequency.

Limiter
Make your mix sound as full as possible with Alloy’s Limiter module. Operating as a zero latency loudness maximizer, the Limiter increases loudness on your tracks and buses while controlling peak levels, ensuring that your audio doesn’t clip or distort when tracking or mixing. If you prefer, use it instead to keep a lid on your levels with as simple and efficient brickwall limiter.

Perform more forgiving, smooth limiting in the Limiter’s Soft mode.
Keep peaks under zero at all times in the more aggressive Hard mode.
For material with a wide stereo image, limit the left and right channels independently with the stereo unlinking option.
Ensure your tracks and buses stay in sync with the other tracks in your mix, even in hosts without effective latency compensation, in Zero Latency mode.
Get more overall loudness by optimizing the symmetry of vocal and instrument waveforms.

Presets
Alloy 2 comes with over 250 presets, all designed to suit a broad range of mixing tasks and each one equally valuable as both a starting point or an endpoint. Inspire your mixes by experimenting with many, customize your favorites to define your go-to sound, or create your very own by working from scratch. Alloy 2 also introduces a new Module Preset system, allowing you to selectively mix and match settings across all of Alloy’s modules.

Jump quickly into mixing individual instruments, vocals, ensembles, and buses.
Speedily address an array of utility tasks, including ones specific to broadcasting and podcasting, post production and more.
Load and save settings specific to individual modules with new Module Presets, including 60 new Module Presets that highlight the best uses for each mixing tool.

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Other Highlights

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Click less and achieve more with Alloy 2’s overhauled interface, completely redesigned and expanded to make more controls more accessible.
Easily monitor and tweak the most relevant controls for all active modules in Alloy 2’s new Overview Panel.
Sidechaining support lets you control the Dynamics module from other tracks in your mix. Affect the whole signal or zero in on just the frequency range you want with advanced multiband sidechaining.
Crosschaining allows you to trigger the Dynamics module with another frequency band of the same input source for never-heard-before compression and gating effects.
Completely customize your signal routing with two Dynamics stages, sidechain mapping and more.
Gain insight for setting controls with visual feedback and metering in every module, including new Gain Trace meters in the Transient Shaper, De-Esser, Limiter, and Dynamics modules.
Make your life simpler with powerful workflow tools—the History list lets you go back in time, and the integrated preset editor lets you browse, manage and customize presets easily.
Prevents sync problems in hosts like Pro Tools SE with Zero Latency mode.

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