1. Izotope Alloy 2 Keygen

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The original version, which was reviewed by John Walden in SOS April 2010 , has now been superseded by a thoroughly overhauled version 2.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.

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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. 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.

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. Izotope Alloy 2 £139 $199 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.

Izotope Alloy 2 Keygen

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. All contents copyright © SOS Publications Group and/or its licensors, 1985-2018.

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's plug-in is the software company's second attempt to make a one-stop shop for single-channel processing (the original version of Alloy was released back in 2010). Combining a parametric equalizer, transient designer, harmonic exciter, two dynamics modules, a de-esser, and a limiter into one plug-in, Alloy 2 covers almost all signal processing needs in one convenient package that strikes an effective balance between ease of use and audio quality. After installing Alloy 2 (a considerably painless process that requires no USB dongle or any such nonsense), the power of the plug-in is instantly usable via an array of global presets that serve as great starting points for sonic tweaking. Depending on the preset, different components are enabled, but most utilize the EQ, at least one dynamics processor, and either the transient designer or harmonic exciter to some degree.

The presets are conveniently organized by instrument—bass, drums, guitar, keys, and even special effects and utility categories—and from there, each has detailed descriptions to start users on the right foot. Considering how many moving parts this plug-in utilizes, the global presets become immensely helpful with not only learning how best to fit all of the components together, but also figuring out how each one can be individually utilized to reap desired results.

Alloy's user interface is crisp and clean, its simple design making it easy to navigate and understand. Virtually every desired control is present on the front panel of each separate module, and further levels of customization can be found by clicking on the ever-present 'Options' button found towards the bottom of the window. Furthermore, each component can be bypassed individually allowing for scrutiny of A/B comparisons, while the graphic representations of the signal and levels supply detailed visual information about how the sound is behaving. And for those who like to dig even deeper, Alloy goes so far as to offer the ability to rearrange the order in which one's signal passes through the various components with the 'Graph' function. But perhaps the smartest aspect of Alloy's usability lies in the 'History' menu, which catalogs each change made in the plug-in and makes it possible to undo or go back to a previous state—even across different sessions and different instances of the plug-in. Basically, iZotope thought of just about everything.

But as with all audio gear, the most important aspect is—of course—sound quality, and to that effect, Alloy 2 delivers the same superb sound that iZotope has built its reputation on, most notably with the mastering suite. Although the combination of elements in Alloy 2 can lead you down many paths, the overall tonality lends itself to a clean, precise, and professional quality, rivaling industry standards such as the Waves bundles or Sony's Oxford plug-ins. Still, it's worth noting that Alloy 2 appears to be aimed at audio engineers more than bedroom producers, and while the transient designer and harmonic exciters (which give the option of blending between 'Tube,' 'Tape,' 'Warm,' and 'Retro') can warp and complement sounds considerably, Alloy 2 is best when used to make elements fit into a mix—enhancing, repairing, or polishing the specifics of one's audio spectrum. Alloy 2 isn't going to give producers biting distortions or provide their tracks with colorful vocoders or glorious reverbs, it will—when wielded correctly—just make all those things sound better. Considering the software's more than reasonable price point and vast range of necessary uses, Alloy 2 largely asserts itself as an essential piece of software for any digital home studio intent on achieving pristine sound—whether it be generated from inside or outside the box.

MSRP: $199 ($149 before September 6).