The module works just as well in single‑band mode when applied to material such as a strummed acoustic guitar or an individual drum mic. Using the multi‑band mode allows you to focus in on the attack of the kick, snare or cymbals independently. Increasing the Attack setting enhances the initial attack portion of the sound, which is great for bringing out the initial click of a kick or snap of a snare, while reducing the Sustain level can help reduce any unwanted room ambience. A common task for this module might be to add some snap to a drum loop or submix. In all, Alloy provides a powerful and very flexible set of options for automated control of dynamics.Īlloy's Transient Shaper is more comprehensive than most similar plug‑ins. I had no problems configuring this within Cubase 5 and it worked a treat. If your DAW supports it, Alloy also offers side‑chain inputs, allowing the dynamics of one track to be controlled by levels on a second (for example, ducking the level of a bass guitar when the kick drum is playing). When they are used in series, the crossover frequencies of the two dynamics modules can be adjusted independently. This avoids phase issues and helps maintain audio quality when processing in parallel. When the two modules are used for parallel processing, the crossover frequencies between the three bands are locked together so that changing the crossover in one module will automatically change it in the other. Other features include choices between vintage (analogue‑modelled) or digital processing modes, and soft/hard‑knee compression styles. All bands offer a gate/expander and compressor, with familiar threshold, ratio, attack and release controls. As indicated above, this is actually two identical modules each can be used in single‑ or multi‑band mode, with up to three bands in each module. More detailed control of level is provided by the Dynamics module. The Limiter is a fairly simple affair, offering both brickwall and 'soft' modes, which does its job in a reasonably transparent way, providing it is not pushed to extremes. These parameters interact with the more familiar Drive and Mix controls to adjust the overall effect. The miniature Harmonics Graph located beneath the X‑Y pad summarises the style (Transistor, Tape, Tube, Warm or Bright) and number of harmonics being generated. Something new, compared to Ozone, is the X‑Y pad for each band, which allows the type (even or odd) and number of harmonics to be adjusted. The Exciter module operates in either single or multi‑band mode, with a Width control providing additional options to enhance the stereo imaging. The algorithm is designed to model analogue‑style EQ filters and, to my ears at least, is superior to many of the generic EQ plug‑ins built into most mainstream DAWs. Operation is very similar to Ozone's EQ and the level of control is extremely detailed, so whether you need to add a little gentle sparkle or notch out a narrow troublesome frequency range, Alloy is up to the task. Many of Alloy's processors, including the Exciter, offer multi‑band modes.Īlloy's EQ provides up to eight bands, with bell, high‑pass, low‑pass and high/low shelf options all included. This is very easy to configure, and I suspect that regular readers of Mike Senior's Mix Rescue columns might wish to take note! A Fine Blend The Dynamics module actually has two stages, which can be placed at different points in the signal chain to run in series or, by dragging one above the other, used in parallel. Two new modules have been added: a De‑Esser and a Transient Shaper, the latter designed for altering the character of percussive sounds such as drums or the attack of a strummed acoustic guitar. The EQ, Exciter, Dynamics and Limiter modules are based on their equivalents in Ozone but tailored for track/bus-level processing. Like Ozone, Alloy's processing is divided into six separate modules, which can be placed in any order. Izotope have taken notice, and have adapted some of Ozone's functionality into a separate product called Alloy, which is aimed at mixing rather than mastering. Many users like it so much that they also employ it at the track or bus level, despite the fact that it's not designed for this application. 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. 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.
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