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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