![]() To ensure I wasn’t succumbing to some visual bias, I mimicked presets I have tailored in Amplitube 4 and compared them side by side. Whether it is due to this or the cumulative effect of numerous other enhancements, the sound quality has taken a jump up across the board. Though I have been happy with the previous placement system, this new addition is impressive and massively helps iron out the wrinkles in the mids and upper mids for high gain sounds.Īnother improvement in Amplitube 5 is a redesigned power amp section. ![]() Though you won’t need to dive into this level of adjustment for every setup, it can make a significant difference for those that have the time to do so, as mics and speaker cones have a fickle relationship, even in the virtual realm. There is also an indication of how much bleed is coming from adjacent speakers. VIR Tech (Volumetric Impulse Response) is a mic placement fine-tuning feature that uses an expanded IR (Impulse Response) library to shift the mics across a 2D plane and rotate around the circumference of the speaker, adding the third dimension. More significantly, the speaker and cabinet modelling see the addition of trademarked VIR Tech and a 45-degree close-mic angle option, which is a nice touch. At the same time, the advanced mode caters for tuning tweakers straying from Equal Temperament into the worlds of Phytagorean and Werkmeister III. The large, clear display is a boon for those using Amplitube live. One straight-up improvement is the tuner, now Ultra Tuner with its two modes: Easy and Advanced. Note that the gear available will depend on the package purchased, with the free Amplitube 5 CS (Custom Shop) version offering some basic, albeit excellent quality gear to get you started, all of which can be added to via the Custom Shop for a price. This is accompanied by an expansion of the rack effects roster, which are now displayed as faux 500-series modules and adapted from the T-RackS product line. The mixer for each amp still consists of two close mics, a pair of room mics and a bus fader, but there are now two effects insert slots per bus, plus two for the DI channel and six for the master bus. Amplitude 5 is a better looking, more efficient platform, but the changes are not just cosmetic. At first glance, I thought there were far more routing options than before, and though there are some extra possibilities, most of this impression is due to the improved visual representation. You can drag rack effects to the amplifier to create an FX loop, the pre-cabinet splitter icon can be clicked to create a second cabinet route, and at the end of it all, the fader icon opens up the mixer window for balancing close mics, room mics and DI signal to the master fader. As a new piece of gear is dragged into the chain window, the available cable destinations light up to guide the user. The previous versions’ set of eight routing combinations is replaced by four main chain types: single, two-way split, three-way split and (dual) parallel. It may have taken IK Multimedia some time to get here, but they have created a skilful balance of comprehensive visual feedback and simple, intuitive editability. The drag-and-drop signal chain portion of the interface is where the real ‘at last’ comes in. To help keep the GUI tidy, you can filter the gear sidebar to only show items in your collection, saving unnecessary dialogue boxes and trips to the Custom Shop. To further this new sense of spaciousness, both the standalone and plug-in windows are user scalable, rendering many amp and pedal controls squint-free. Skeuomorphic representations replace drop-down menus for gear selection. The interface appears less crowded, despite there being more control immediately available than before. Visually Amplitude 5 gets off to a great start.
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