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Magix Sequoia 13 Upgrade from 12

Magix Sequoia 13 Upgrade
Magix Sequoia 13 Upgrade
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Magix Sequoia 13 Upgrade from 12

Magix Sequoia 13 Upgrade from 12

Upgrade to Sequoia 13, from Version 12!

Magix Sequoia 13 Multitrack Recording & Editing Software Details

Magix Sequoia 13 is designed to meet the high demands of professional users and represents, yet another milestone in the development of professional software solutions for audio production, broadcasting and mastering. The new Sequoia 13 offers everything that our professional users need and more! The latest generation of Sequoia sets new standards in the field of high-definition DAWs and offers comprehensive loudness functions based on EBU R128/ITU‑R BS.1771, extensive improvements to the Spectral Cleaning feature, flexible plug-in routing, a realtime AAC/MP3 preview plug-in and continuing development to achieve the highest possible levels of flexibility, performance and efficiency. Sequoia 13 offers professionals everything they need for top level audio production.

Sequoia 13 offers the advantages of 64-bit support in Windows systems. In addition to 32-bit 3rd party plugins, the program is now also compatible with 64-bit plugins. A definite advantage of 64-bit environments is the lack of a 4 GB memory limit. On a Windows 7 Professional 64-bit system the amount of useable memory can increases up to 192 GB. Projects that use a range of memory consuming plugins or samples benefit greatly from the additional memory. Sequoia can also be used perfectly in 32-bit environments.

If you installed the 64-bit version of Windows on your system you can use Sequoia as a 64-bit or 32-bit version. The internal VST bridge makes it possible to use both 32- and 64-bit plugins.

Current limitations: 64-bit video functionality only for MXV and WMV.

The metering display in Sequoia 13 has been completely revised resulting in numerous graphical improvements that allow users to choose various layouts and customize the visualization. Sequoia 13 also provides presets for the following broadcast norms: Type I DIN scale, Type I Nordic scale, Type IIA BBC, and Type IIB EBU.

The loudness metering in Sequoia 13, which has become one of the most important topics in the radio world in recent years, and is rapidly taking over from common peak-based metering methods. Until now peak control using peak levels (-9 dBGS as a rule) has been the standard in radio production. Peak limiters were often used to limit an audio signal's dynamics but they also had a negative effect on the sound quality.

In addition to the method for loudness metering ITU-R BS.1770 provides a recommendation for measuring peak levels of digital audio signals. The device measures the peak value of the digital signal when it is reproduced in the analog domain. Samples of the signal are taken at regular intervals determined by the sample rate. As illustrated in figure 4, it can not be assured that samples exactly match audio peaks. Theses peaks will be restored once the waveform is reconstructed or when signals are processed. Due to the reduced precision of the Sample Peak Meter these new samples may clip or distort, even if the original samples had not been full scale. The common peak meter cannot display "true" peak values.

Sequoia introduced True Peak Metering in Version 12 along with the loudness metering functions. For this reason, the identification of these inter-sample peaks are displayed with 4-times oversampling of the signal and thereby enabling the detection of true peaks. An audio file's loudness parameters are displayed in the file manager and can be calculated there for a limited number of files. When switched on in the Broadcast Wave Editor, loudness parameters can be written to audio files when exporting and bouncing. The loudness parameters are stored in the broadcast wave files' standardized metadata fields.

In live recording situations Spectral Cleaning has proven to be a valuable tool for the correction of noises such as coughing or squeaky chairs. In Sequoia 13, Spectral Cleaning can now be used directly in the arranger. A dedicated time-frequency plot can be displayed for all objects or for individual objects and spectral corrections can be carried out even without having the spectral view enabled. For multi-track live recordings (e.g. an orchestra recorded with spot microphones) this means that detecting and removing disturbances is now easy than ever.

Mixing "in the box" has become more popular in applications with limited space e.g. in fly-away kits for music recording and mobile SNG teams for news production. Working with VCAs (voltage controlled amplifiers) or DCAs (digitally controlled amplifiers) simplifies the mixing and finalizing process. The levels of channels assigned to a VCA group are controlled from one of Sequoia"?s mixer VCA faders. Any number of channel faders can be assigned to any of the VCA master faders. Additionally, any existing channel fader can be changed into a VCA fader. By showing the VCA "ghost faders" in individual channels, the resulting volume depending on the control volume of the VCA master can be monitored.

A fast and efficient workflow saves valuable time during production. With its new Macro Functionality, Sequoia 13 offers the advantages of user-defined macros. Macro recordings of individual tasks and actions can be recorded, programmed, stored and implemented with Sequoia and can even be triggered through project markers. Up to 128 macros can be assigned to customized shortcuts. Independence is the ultimate sampler workstation for professional music production in the studio and for live performances and it is "" also available in Sequoia 13. The first class premium sample library with 70 GB of content and hundreds of instruments, arranger and step sequencer patches make Independence an extremely powerful tool for creating sample based compositions.

What's New

  • NEW! Loudness normalization according to EBU R128/ITU-R BS.1771
  • NEW! Loudness Range (LRA) Normalization
  • NEW! Loudness normalization in batch processing, watch folder and database export (DAVID DigAS and SCISYS dira!Highlander)
  • NEW! Quality Integration Services (QIS): Watch folders and process and convert files automatically
  • NEW! True Peak limiter for sMax11
  • NEW! Calculate loudness and analyze audio in file manager - calculated loudness values and their histories are displayed in the loudness meter
  • NEW! Compact display of loudness
  • NEW! ISRC in broadcast wave files according to EBU Tech 3352
  • NEW! Free plug-in routing and multiple usage of plug-ins
  • NEW! Improved mixer/effect routing, e. g. routing is retained even when the workstation being used does not have enough audio outputs
  • NEW! Realtime MP3/AAC preview plug-in for mastering and "Mastered for iTunes"
  • NEW! New functions for Spectral Cleaning, e. g. single/multi-track editing, "calculate" button, ENTER to close the dialog

Magix Sequoia 13 Multitrack Recording & Editing Software Features

essentialFX Suite: In broadcast and advanced music production, especially when time is a decisive factor, easy-to-use effects with sophisticated sound quality become essential. The design goal for all of Sequoia"?s essentialFX is to achieve maximum sound quality by using only five knobs.

The concept behind the operation of essentialFX is the same for all of the FX in the suite which makes learning how to use them faster and easier. Along with the usual standards, Sequoia 13 has a host of effects for tweaking your audio productions.

Export whilst recording: Sequoia allows the user to play back parts of the audio even while it is still being recorded. The versatile Audio Engine turns nearly impossible tasks into part of your regular studio routine, e.g. exporting a .wav, .mpg or .mus file before the recording is even finished.

Auto Ducking: Auto Ducking refers to a dialog based tool used to manipulate the volume automation curve of one or more target tracks. Edits are made using the volume of the audio material of one or more source tracks. Auto ducking can be used to create volume curves for automatically fading background music during spoken sections.

Timecode track: Now you can display the SMPTE timecode of your timecode track using the time display in Sequoia 13. To do so, define the track that contains the timecode as a timecode track. This is most relevant to post-production projects, so that a recorded timecode is available as a reference when editing in Sequoia

Sonoris Sequoia DDP Player: The Sonoris DDP Player is a standalone application that imports DDP 1.0x and 2.00 images for playback. You can playback tracks, audition gaps, see all PQ codes, ISRC, MCN and CD-Text data and automatically check the project for RedBook compatibility.

New docking concept: The Docking System allows for interface adjustments, this means that the program can be optimized for the studio's requirements. Central components of the software can be repositioned or maximized using drag and drop. Choose to either arrange or display the analyzer, file browser or transport console etc.

The docking concept was further developed and optimized for Sequoia 13. So for example the object editor, visualizations and MIDI editor can be docked neatly. Of course, you can create your own toolbar too. By saving your own work spaces you can use customized program interfaces for various situations so that you always have the appropriate tools to hand.

Advanced hardware controller support: Sequoia 13 supports the Controller from the Artist Series. Artist Mix, Artist Control and Artist Transport are all part of this. These controllers are controlled using the EUCON protocol, which can be activated in the Hardware Controller Settings.

Note: Windows 7 is required to use the Artist series.

New Object Editor: The object editor and MIDI object editor now boast a wider range of functions as well as newly designed graphic interfaces. New highlights are the docker, the option to configure the editor, 4 slots for copy and paste purposes and object automation for EQ, pan and object surround.

Surround Downmix: In the Surround Master you can select "Surround Downmix" as an output device, then use various presets in the Downmix Matrix. Moreover, surround busses can only be routed to stereo busses. You can also set the Downmix Matrix here. The downmix is factored in during a stereo master bounce project, i.e. you can stereo bounce from a surround project when downmix is adjusted. Furthermore, the object surround can be automated using the Object Editor.

Optimized Visualization: The visualizations have been completely reworked and have a new design. The interface allows you to design multi-visualizations individually. You can integrate the visualization interface into the Docker or open it in its own window. A surround visualization is now also built in.

Advanced Features For Spectral Cleaning:

  • Logarithmic display: This setting allows you to change the spectrum's view to a logarithmic display. It makes sense to use this option when working in low frequency ranges. This results in the low frequencies being triggered higher up whilst still displaying the entire frequency spectrum. You can adjust the influence of the logarithmic display exactly to the users' needs using the logarithmic display.
  • Harmonics: You can remove individual noises, e.g. 50 Hz buzzing, as well as harmonic overtones from a spectrum using this function. To do this an individual sound is selected in the editing window with the smallest possible edge. Once the calculation is activated for harmonics, the corresponding harmonics will be automatically provided with an editing rectangle in the editing window above the selected root. Changing the root always effects a change in the harmonics. Specify in the settings dialog whether or not harmonics should be observed when making calculations, and if so, which ones in particular.
  • Threshold value editing: With this setting you can limit interpolation to certain amplitudes in the spectrum. This means certain notes can be removed from the spectrum, without influencing background noises. This range determines the volume window in which the set threshold can be interpolated. Quieter or louder signal components outside the area will not be affected.
  • Automatic click marker recognition: Use the "Click marker" buttons in spectral cleaning interface, to highlight special points, quickly jump between or delete markers in the spectrogram. You can set and delete click markers. Created click markers are marked with a "C" in the editing window's marker bar. The "Search clicks" button allows you to search the entire project for clicks and have them marked automatically so you can edit them in a group. You can set the sensitivity of the search using the corresponding knob.
  • Radio CMS / Radio Automation Integration - Sequoia offers seamless integration into the workflow of radio content management systems, such as DigaSystem from DAVID systems and SCISYS dira! Highlander. Whether for large music productions or shorter news pieces, the interfaces ensure that the radio production workflow never needs to be interrupted. Project collaboration can be handled on a project basis without the need to import and export audio files. By using the dedicated Sequoia interface, productions are created in the correct format and can be exported into the corresponding table at the press of a button "" without any detours in Windows, thus enhancing efficiency in daily work.Complete Sequoia projects are managed within the databases. The project and all of the associated audio material is copied to the database server. Later, the project may be edited using any computer on the network. The automated backup and deletion routines for the database ensures that the data is always maintained. Incremental save- and backup-functions reduce the traffic on the network by updating only data that has changed during the project editing process.
  • Advanced Editing:
    • Object-oriented editing - On top of the classic, track-related editing functions, Sequoia uses object editing as one of the most powerful editing methods in advanced audio production. Working with audio objects offers versatile ways in editing, mixing and mastering. Objects can be defined individually and positioned on the project tracks. Every object can be set with its own parameters, fades, effects and even VST-Plug-Ins. EQs, Aux sends and dynamics are defined for every object, as well as time-stretching and pitch-shifting. These parameters being active only in the dedicated object and thus ensuring freedom from time-consuming and complicated automation.The definition of objects is non-destructive to the audio-material, consequently no audio files are written to disk, saving hard disk space. By editing an object non-destructively, a virtually unlimited number of undo steps can be realized enabling changes in effects and settings (EQ, AUX, GAIN) up to the last minute before mastering. Furthermore, system resources are effectively saved by calculating all object edits and effects in real-time when audio is played back or exported.
    • Source- / Destination Editing - Sequoia includes a professional 4-point editing function. The method is especially effective and intuitive, since it connects the advantages of a linear audio editing studio consisting of a playback and a recording system with those of a non-linear hard disk system.Two display areas let you view and play back source and destination tracks simultaneously and independently of each other. The lower monitor area (source) displays the source material, i.e. all of the material recorded (including all takes). The upper area contains the target tracks (destination). Cut material will be arranged using the mouse or keyboard. Both areas can be navigated, zoomed and played independently. Control of the whole project is retained by being able to navigate to source material while playback is running in the destination area.The actual editing takes place via markers. In and out markers in the source material define the material that should be copied into the destination track following an edit command. This method may be used to quickly realize steps that would otherwise be very time-consuming, e.g. replacement of a passage in a finished multi-track edit with a version that may be played slightly slower. Source/destination only requires in and out markers in the source and in the destination. The edit command inserts the correct passage and moves the remaining audio material synchronously across all tracks to the new edges of the cut.The advanced Multi-Source Project operation enables multiple source projects to be edited into a new project with the help of the source/destination editing functions. The individual source projects can be easily selected from the source list via a manager especially made for this purpose. The crossfade editor offers the option to adjust cuts exactly and to design transitions.
    • Advanced crossfade editor - The crossfade editor controls every parameter of a crossfade. All crossfades are computed in real time, meaning modifications to the crossfade are immediate, i.e. they can be played without any intermediate calculations or delay. Keyboard shortcuts and mouse instructions can be configured freely to offer users customized operation. For example, fade curves and lengths can be changed, different playback commands may be applied in order to evaluate transitions as best as possible, and fades can be stored in snapshots to quickly compare different variations. A special advantage of this is that the unused material to the left or right of the crossfade may also be viewed, and that it may also be listened to as required. This also makes extremely precise adjustment of the editing points possible.
  • 70 GB Premium sample libraries
  • Load VST effects and VST instruments from third parties
  • Supports processors with up to 8 cores
  • Drag'n'Drop support for audio and MIDI files
  • Incredible file browser including attribute based batch processing

Magix Sequoia 13 Multitrack Recording & Editing Software Specifications

  • Hardware:
    • ASIO, WDM and MME hardware interfaces supported
  • Multicore Support:
    • Thanks to continuous advances in CPU performance, native Digital Audio Workstation systems no longer depend on the DSP power of external hardware.
    • The multicore support in Sequoia 13 (currently up to 8 cores) offers you the flexibility of customizing the entire audio system according to your application in order to achieve optimal system performance.
  • Supported OS
    • Microsoft Windows Vista
    • Microsoft Windows 7
    • Microsoft Windows 8/8.1
  • Minimum System Requirements
    • Processor: 1,5 GHz and higher
    • RAM (32 Bit system): 2 GB Ram
    • RAM (64 Bit system): 4 GB Ram
    • Graphics card: Onboard graphic card with screen resolution of at least 1024 x 768
    • Sound cards: ASIO and / or WDM compatible soundcard
    • Hard disk space: 1GB for minimal installation
    • Drive: DVD drive (for installation)
  • Optional:
    • Burning: Requires CD/DVD R(W) recorder
    • MP3 export: Requires Windows Media Player 10 or higher
    • MIDI recording: MIDI interface
  • Supported file formats
    • Export: MIDI-Standard-Format (MID), WAV, ACC, Broadcast WAV, MP3, CD-A, OGG-Vorbis, AIFF, WMA, FLAC
    • Import: MIDI-Standard-Format (MID, GM, GS, XG), WAV, ACC, Broadcast WAV, MP3, CDA, OGG Vorbis, AIFF, FLAC, MOV, AVI (audio material)
  • License Security: Uses Codemeter USB Dongle (included)

What We Think

"Magix Sequoia will blow your mind. Simply opening the package will do this. Included among the 11 installation disks, and CodeMeter dongle, is a hardcover manual that is mighty impressive. Even casually comparing all the available and optional features of the available DAWs on the market, Sequoia comes out on top pretty much every time. Why? Beyond it's exceptional audio engine (mathematically perfect), you can quite literally do ANYTHING with Sequoia or work in any fashion you like. The workspace is completely configurable by dragging your components around to different locations. A variety of available skins change the look and feel of the application - but these are minimal features.

Ever want to apply effects directly to your Objects (as they are known in Sequoia and Samplitude - Regions or Clips as they are known in other DAWs)? You can completely mix your project without the mixer - and many do. For those who are processor-load conscious, the plug-ins and effects applied to an object ONLY touch the CPU for the duration of a clip.

However, the mixer window offers something really neat. You can save 5 mixer snapshots and the mixer is independent of the object window (audio editor). So, as long as the track names correspond with the mixer channels, then you'll be able to run different songs through another song's mixer and toggle through the snapshots. This brings back some of the 'accidental inspiration' that was possible back when you would simply change reels on the tape machine and listen to that song through another song's mix that was still up on the console and patched through all the outboard gear. Sometimes, great ideas come from this process. This is something that really excited me about Sequoia!

There are a ton of very useful, great sounding plug-ins included, but power users who are really familiar with vintage outboard gear will be well served by adding a UAD-2 card or more to really expand the sonic-palate; though it's really possible to mix great sounding stuff with the included plugins - these are not the normal run-of-the-mill sterile plugs from the days of old. They are definitely worth the price of admission.

Other features include Spectral Editing on EVERY TRACK. Other standalone programs exist which allow you to import your wav files for editing that you'll save and then re-import to your host DAW. There is no need for this as you can edit across multiple tracks, simultaneously, without ever leaving your session. Plus there is an edit-audio-like-MIDI pitch/timing correction component as well that boasts the same functionality and reportedly better sound-quality than the most popular of these standalone/plug-in components on the market today.

With features that help optimize your product for broadcast (loudness meters and a loudness report export function), a full mastering suite complete with a full host of mastering grade plug-ins, it's advanced spectral cleaning functions, auto-ducking features, EuCon support, included Independence Sampler Workstation and 70GB sample library, VCA faders, 64-Bit support and much more... it's difficult to imagine a situation where another DAW excels beyond what Sequoia 12 offers the power user. It's not a program for the beginner. But for the experienced audio engineer who wants the best, there is simply no other logical choice."

Alan Moon - Front End Audio

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