I guess there are two sides for every thing perhaps as a business you need to stay positive and look on the bright side.
definitely Izotope are innovators with RX loudness control and RX, VocalSynth , but I never really got blown away with the latest ozone esp Neutron I just did not see that much of a difference between Alloy 2 and Neutron sure the pretty colours and great design but not sure if it would have made a bigger difference to the mix than Alloy2 or for that matter ozone 5
Perhaps some one can enlighten me
From what I understand that was the goal, for it to be Alloy's successor. I see where you're coming from... It does have some advantages other than just being easy on the eyes though.
The ability to communicate with other instances and see relationships between them is useful for metering, but they took it a step further by letting you meter and adjust two sources from the same place. The dynamic EQ's also pretty powerful if you use the masking meter to find clashing areas to key from another instrument.
I also think some of the modules sound a lot better than Alloy's. (Alloy's exciter could be harsh and the transient shaper always sounded a little plasticky to me. That said, I use Alloy's multiband gate all the time, not happy that went. I'm also not crazy about the dynamic metering, and think the compressor could sound better...)
The part where I think they broke ground though is their use of machine learning to teach it to identify an instrument or voice and adapt to it. (This has a LOOONG way to go for sure. It's anything but flawless...) But inventing the world's first AI channel strip is a pretty bold move. And I think the way they implemented it in Neutron was thoughtful; it's approachable for someone honing their chops but totally capable as a surgical tool. (It's become popular in post production which says a lot to me... It's useful for balancing big workloads with tight deadlines...)
And like anyone else I have mixed feelings about automation. It's easy to see it as intended to disrupt... But the fact that they were bold enough to be first out of the gate took pretty big balls, and someone else would have done this if they didn't. I'd rather see it be a company like Izotope than something like LANDR whose genuinely interested in disrupting an industry... (FYI I've known a few folks who've worked there (iZotope). Virtually everyone there's a musician and they're not looking to put anyone out of work... Not to digress but people take automation to a dark place on Gearslutz... The point is they have their heart in the game...)
The short version is that Neutron's kind of like VCC in the sense that it creates a network where the plugins share info with one another, and that's how you get the most mileage out of it... You move through the mix, compare clashing elements and create space on two channels at the same time... Plus the EQ module can be used in a bunch of ways... Static and dynamic with proportional Q, and as a de-eseer or surgical multiband compressor/expander with band shelves...
As for Ozone... I felt the same way about Ozone 6. Honestly, I hated it. (And still do.) They threw away features for a shiny UI. Ozone 7 I love though. (I wasn't quick to warm up to it either.) That said IRC IV is really damn good. It's the least invasive and most dynamic limiter I've heard. I find it's really good at retaining transient detail and the top and bottom don't flatten out as much as many other limiters do. (That's subjective of course...) I like the vintage effects. They could give them a little more mojo but they're good at what they do... That said I'd like to see them restore some of the things they removed, and they're certain things about the UI that irk me...
RX6 I think they hit out of the park. They added a heap of new modules and see it heading in a really cool direction if they continue to push the multichannel editing capability.