iZotope Alloy 2 mixing plug-in suite released

iZotope's Alloy was designed to do for mixing what its sister product Ozone does for mastering: provide a one-stop set of tools for getting the job done.

Now we have version 2, which offers a completely updated interface, more efficient control, a new transient shaper, a redesigned Exciter module, new EQ filters and more.

Aimed at producers, remixers, engineers and even broadcasting and post-production professionals, Alloy 2's tools are designed to help you shape and create your own sound.

Find out more below - Alloy 2 can be purchased now via Time+Space for the introductory price of £99/€125.

iZotope Alloy 2 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 you're tracking in real-time or in the midst of a mix session.
  • Visualize your 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.
  • 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.
  • 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.
  • 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.
Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.