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Magix Samplitude Sequoia 14 Academic Edition

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Audio production. Broadcasting. Mastering.

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Sequoia has has been one of the leading software solutions for professional audio productions for decades. But continued success in the music business also requires that you regularly reinvent yourself without losing your original character. And that's exactly what we've done with Sequoia 14.

Support for Avid® Pro Tools | S6 controllers

Support for Avid® Pro Tools | S6 controllers

Sequoia 14 is now perfectly synchronized with Avid® Pro Tools | S6 controllers in terms of functionality. Collaborative functions have been enhanced and there are also a number of smaller-scale optimizations.

Sequoia and the S6 controller communicate via the ethernet-based high speed technology, EUCON. Data can also be transferred between Sequoia and the EUCON-based iOS app from Avid®.


New functions:

The channel strip input monitoring can now be switched on and off via input key under the channel display
The direct audio phase invert is located directly on the In key next to pan pots
Aux: Pre/Post/DirectOut circuit via Select key/Aux pot
Aux: The bypass circuit works by clicking on the pan pot
The level display in the channel strip now as stereo


SpectraLayers Pro 4 full version

This award-winning audio tool is one of the most revolutionary spectral editing platforms on the market. The innovative layers concept enables restoration and comprehensive frequency spectrum editing for audio files in 2D and 3D.

The technology and workflows behind the concept are inspired by video and image editing. Ideal for application in tasks such as audio restoration, post-production, sound design and mixing. SpectraLayers Pro is the ideal extension for the spectral cleaning function built into Sequoia and offers a wealth of tools for complex tasks.

Simplified embedding for external editors

Simplified embedding for external editors

Edit audio files with external editors directly from within the program. An audio object in Sequoia can be seamlessly transferred to SpectraLayers Pro for editing and then can be imported back into Sequoia.

ARA interface

ARA interface

The ARA interface enables close collaboration with external plug-ins designed for synchronization, so the DAW and plug-ins can work seamlessly together and exchange information on a continual basis. Data exchange via ARA is particularly useful when working with Melodyne from Celemony in Sequoia 14.

Melodyne essential from Celemony


Technical Grammys, various specialist awards and a truly innovative editing concept for recordings: Professional plug-in Melodyne essential is included Sequoia 14. It contains a main tool for pitch and timing correction and is integrated directly via ARA.

Audio to MIDI conversion

Audio to MIDI conversion

Easily change audio recordings in Sequoia 14 into MIDI data with this efficient tool for music production. It enables you to add missing instruments to a musical arrangement without needing to find studio musicians right away.

Tempo automation for audio recordings

Tempo automation for audio recordings

You can let audio recording speed be calculated automatically in Sequoia 14. For projects with tempo switch, Sequoia 14 calculates speed of an audio take in the background and adjusts this to the new basic tempo.

This saves hours of work, especially when working with live recordings.

Mixer design

Mixer design

The new mixer skins offer a choice of algorithms. Depending on the screen size and recording setting selected, the design of aspects such as channel strips will appear narrower and darker. With these settings, you're prepared for any project outside of your studio.

zplane élastique V3 timestretch algorithm

zplane élastique V3 timestretch algorithm 

The new time stretching and pitch shifting algorithms in Sequoia 14 are powered by zplane - one of the leading developers for state-of-the-art audio processing and music analysis.

Includes: élastique Pro V3, élastique Efficient V3



New docking options let you set up a working environment customized to your needs and offer optimal screen use.

There's also a new project management workflow for a clearer overview with new tabs and the option to switch between projects when several are open.

Efficient docking options for multi-project management
Batch processing for watch folders

Batch processing for watch folders

Significantly reduce production time - batch processing with Batch XML files can now be done in watch folders and even includes L&R files. In addition, shorter items are automatically processed first. The "KeepFileExtension" job entry enables the file extensions to be retained permanently (e.g. for type conversion). And advanced error codes are now available for watchfolder.ini.

Support for new video formats and codecs

Support for new video formats and codecs

Sequoia 14 is one of the leading solutions for post-production editing. The latest version also supports current video formats and codecs.

Clipstore folders

Clipstore folders

Keep everything perfectly organized with the Clipstore - this advanced clipboard lets you access all folders. Use the Clipstore to categorize specific audio files that you need to use regularly in your projects. This makes working with jingles or sound effects - for instance - much more efficient.

Safe record stop

Safe record stop

Decide from the start how Sequoia should behave at the end of a recording. This ensures that unwanted interruptions don't occur during recording or live broadcast.

Multichannel export without surround master

Multichannel export without surround master

Create an interleaved WAV file specific to your needs. You can assign individual tracks to channels in the resulting file by selecting the audio line-out. This enables you to transfer variations or language soundtracks in a single file.

Alternative interface design

Alternative interface design

Birdline Platinum Pack V.6.0 offers a huge range of alternative designs for the interface in Sequoia. It contains designs for Mixer, Track Editor, VIP, color profile, MIDI editor and more.



Sequoia is one of the leading software solutions for acclaimed studios that focus on audio production, broadcasting, post-production and mastering.



As mastering engineers, we know that extraordinary ideas need to be combined with precision, efficiency and creative craftsmanship. That's why Sequoia is a true icon when it comes to mastering. With a unique object editor, detailed phase and peak meters, high-quality plug-ins and native audio restoration, the software fulfils all professional demands.



The success of a complex audio production depends on each and every detail and nuance. With this premise in mind, we've developed features for source destination cut and multi-synchronous cut. This allows you to combine different concert recordings into a single whole in the blink of an eye.

Sequoia 14


Time is a decisive factor in broadcasting. For this reason, Sequoia offers direct connection to broadcast CMS and automation systems. Thanks to the powerful audio engine, you can edit material during a live recording and sent to a broadcast station with a slight delay.



Sequoia is a constant in an ever-changing film industry. This is due on the one hand to the software's high stability and reliability, on the other to the close collaboration between our team of developers and recording studios, TV stations and broadcasters. With these industry connections, we're in the know - so this lets us focus on developing and bringing to the market features that are actually needed in post-production.




Sometimes the most important thing isn't what you hear, but what you don't hear. Restore audio recordings with the built-in spectral cleaning feature in Sequoia, the new SpectraLayers Pro 4 and a number high-end plug-ins for audio editing.



Spectral cleaning in Sequoia

Spectral Cleaning is especially useful for post-editing live recordings and interviews containing noises from moving chairs, cell phones and coughing. Using conventional filters and complicated crossfade editing usually takes a lot of time and often results in changes to the useful signal.

The spectrograph display (time on the horizontal axis, frequency on the vertical axis and color-coded amplitude) as well as A/B testing options make it possible to accurately restore the desired signal. Audio disturbances can be easily selected for removal with the mouse. Elements that have gone missing from the original frequency spectrum are recalculated into the recording using interpolation or transitions from the surrounding usable signal.

Spectral cleaning highlights

Direct track selection in spectral cleaning dialog
Individual track-based editing
Reference track: Apply changes made to a track to other selected tracks
Leave dialog open: Leave the dialog open following calculation
New shortcuts for playback and for saving zoom ranges and presets

Logarithmic display

This setting allows you to change the spectrum view from linear to logarithmic. It makes sense to use this option when working in low frequency ranges so that low frequencies are triggered higher up, yet still display the entire frequency spectrum. 


Threshold range 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 signals.

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.

Spectral cleaning highlights

Automatic click marker recognition

To highlight special points, quickly jump between or delete markers in the spectrogram, use the "Click marker" buttons in Spectral cleaning interface. You can set and delete new 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 as a group. You can set the sensitivity of the search using the corresponding knob.



SpectraLayers Pro 4 full version

The external audio editor visualizes the frequency spectrum in layers and enables a whole new workflow for restoration, sound design and mixing. Intuitive operation, high performance audio engine and audio editing in 3D make SpectraLayers Pro one of the world’s most revolutionary spectral editing platforms.



Audio editing in Sequoia


Sequoia uses advanced adaptive filter technology to remove noise from recordings. Recordings made in environments with a high level of noise (e.g. air conditioning unit) tend to suffer from constant background noise and are often unusable as a result

Using "noise prints", the DeNoiser contained in Sequoia can remove disturbing elements with little to no effect on the audio signal itself. For example, you can select the noise print of an air conditioning unit and calculate the noisy signal in your audio material in real time, allowing you to restore one-of-a-kind recordings in no time at all.



The DeHisser is an additional noise removal tool which eliminates regular, low-level "white" noise, typically produced by recordings, microphone pre-amplifiers or transformers.

Unlike with the DeNoiser, a sample of the distortion is not required.



The De-clipper is a tool for removing clipping and distortions. Passages with clipping are recalculated, i.e. interpolated, based on the material immediately surrounding them.

The DeClipping algorithm is suitable for material with clearly audible clipping, e.g. distorted piano or vocals.


DeClicker / DeCrackler

The DeClicker removes crackling and individual clicking noises, which are typical on scratched records. The DeCrackler has been specifically developed to remove crackling noises from old records.

The signal display shows you the edited material as a continuous waveform or a spectrogram. In the display, you can see at which position the DeClicker and the DeCrackler have intervened.

DeClicker / DeCrackler

Brilliance enhancer

The Brilliance Enhancer can be used to compensate for sound leakage in the higher frequencies and restore brilliance to the audio material. In contrast to an equalizer, which only raises existing frequencies, the Brilliance Enhancer recalculates new overtones from the remaining signal and markedly refreshes the sound.

The Brilliance Enhancer is particularly effective when used as a mastering effect for pop and rock songs to increase transparency and brilliance.

Brilliance Enhancer


Time is a decisive factor in broadcasting.

This is why Sequoia makes it possible to preview, cut and arrange material while the recording is still running. You can prepare live concert recordings which are being sent to a broadcast station with a slight delay.



Broadcast CMS and automation systems

Sequoia offers direct connection to broadcast databases and automation systems, including DAVID DigaSystem, SCISYS dira! Highlander, TRACT Digispot and d'accord.

Sequoia's interface guarantees seamless integration, whether for news, features or multi-track projects. Productions can be imported and exported from any workstation at the press of a button. Depending on the level of integration, audio files and even entire Sequoia projects are supported.

The entirety of the audio material and the Sequoia projects are saved on database servers. Automatic backup and deletion routines maintain data integrity at all times. Incremental and differential saving results in reduced network load and saves a lot of time. Only project changes are saved, instead of complete projects.

Import/export of ISRC in Broadcast Wave files

Export in broadcast wave files compliant with EBU Tech 3352
The ISRCs are written into the wave file during export with the setting "Each CD track in a file".
In the Broadcast Wave Manger the ISRCs of wave files are displayed and can be edited.
After loading wave files into a mastering project (sequentially on the first track), CD indices that include the respective ISRC can be set automatically using the function "Set track indices on Object Edges". These are used for CD burning or DDP export of the project and don't need to be entered manually.
During CD import as single wave files, the BWF-ISRC entry is simultaneously written into these files.
ISRC display options in objects

Auto Ducking

Auto Ducking is a very useful production feature for coordinating background music and vocal recordings. This dialog-based tool manipulates volume curves and lowers the music level as soon as a someone begins talking on another track. Edits are made using the volume of the audio material in the source track and can be applied to multiple target tracks.


Cue Mode

Cue mode is a special live playback mode often used for special cue sounds in radio broadcasts and theater. The objects or object groups in this audio track can be played back in sequence while another track is recorded simultaneously. For recording radio dramas, for example, you can record a speaker and seamlessly integrate noises and pre-produced elements as the script calls for them.

During recording: Playback, editing and export


When working on productions that rely heavily on the rapid flow of information, Sequoia's "Record independent of playback" feature makes it possible to listen to any part of the material from a live recording, to cut and arrange objects in the project and to export already available material.

This makes it possible to delay playback of a live concert recording for radio listeners, as well as skip intermission. Alternatively, you can create an edited recording of a seminar and make it available for participants directly after.

You can even export raw material locally or to a database before the recording is over (e.g. to allow an editor to preview the current status and content of a report). Sequoia's audio engine handles all of these tasks like charm.

Network dongles

Network dongles

Each CodeMeter dongle can make its network licenses usable on other workstations. To reduce the amount of administrative work when using multiple licenses in a company, Sequoia offers network dongles with any desired amount of network licenses which can be accessed by any desired number of workstations. This can make it a lot easier to upgrade firmware and software.

User administration

User administration

Sequoia can be set up for different users using the user administration. Each user can have his or her own settings (e.g. keyboard shortcuts, color settings, toolbars and crossfade presets).

The local user administration allows the administrator to grant or deny users access to certain hard drives. Sequoia may also be set up so that users can change program options while they are working, but the software will open with the administrator settings the next time it is launched.

All Sequoia system settings can be saved in a container file to make it easy to transfer settings from one computer to another. When you put Sequoia on a new system, you can decide which settings to transfer (e.g. general settings, display settings, window positions, project templates, etc.).

These containers can also be used for network login, where they are stored in a network path to serve as user or group profile images. This lets you centrally manage all user profiles on a server. Users can log in on any workstation in the network with their personal settings. It's also possible to start off with the default settings on every new network login or to automatically transfer settings changes to the network profile.

All these features make it easy for administrators to set up and manage even a large number of workstations.




The success of classical productions depends on each and every detail and nuance.

With this premise in mind, we've developed features for source destination cut and multi-synchronous cut. This allows you to combine different concert recordings into a single whole in the blink of an eye. Sequoia: Perfection on principle.



Source Destination Cut

Sequoia offers a professional source destination cut feature, which is frequently used for classical productions when combining multiple recordings into a final composition. This method is especially effective and intuitive. Two display areas let you view and play back source and destination tracks simultaneously and independently of each other. Both areas can be navigated, zoomed and played independently. You can navigate to the source material while playback is running in the destination area in order to get the next cut set up. The actual editing takes place via markers.

In and out markers in the source material are used to indicate that the material following the edit command at a marker position should be pasted into the destination track. You can apply 2, 3 or 4-point cuts. Depending on the use, cuts located after the pasted marker are shifted accordingly or (when working with images) are kept where they are. Selecting the source is very easy using the keyboard shortcut for the source list. This method can be used to quickly perform editing processes that would otherwise be very time-consuming.



Multi-synchronous cut (MuSyC)

Multi-synchronous cut makes it possible to minimize the search for similar audio material and accelerated the editing process.

MuSyC adds an overview project to the source destination cut by displaying takes according to musical similarity following an analysis of the source material. A multi-track recording take is represented by a single object. If a section of music has been recorded multiple times, the takes are arranged together and displayed in terms of time. This makes it possible to make sound changes and cuts, even between takes recorded with slightly different tempos. Cuts are always made at the correct position, removing the need to search for the beginnings of alternative recordings.

Cuts made in the overview project are carried out in a multi-track destination project which can then be further edited.

Find similar audio material

Find similar audio material

Finding parts of songs that are musically similar to one another takes a lot of time, especially in multi-track projects with lots of individual takes. Sequoia's "Find audio" feature helps you out by searching through entire projects for musically similar material and reporting the results back to you listed according to the rate of similarity.

The easy-to-use yet powerful feature makes searching for similar material much easier and is useful for swapping out individual audio objects in a single project.

Advanced crossfade editor

Advanced crossfade editor

The crossfade editor offers the option to make exact cut adjustments and to design object transitions. All crossfades are computed in real time, meaning modifications are immediate and can be played without any intermediate calculations or delay. A special advantage of this is that the unused material is visible to the left or right of the crossfade and can be listened to if needed. This also makes extremely precise adjustment of the editing points possible for the transition.

Keyboard shortcuts and mouse instructions can be configured freely to offer users customized operation. All fade characteristics can be changed (e.g. length, curve characteristics, position in the audio material), different fade variations can be managed via snapshots for quick comparisons, and different playback commands can be carried out in order to evaluate transitions as a best as possible.




For the avant gardists among the mastering engineers, Sequoia provides much more than just a familiar working environment.

Sequoia's mastering area not only contains excellent plug-ins, such as linear EQ, but also streamlined workflows and data exchange in line with industry standards (e.g. DDP export).


MP3/AAC audition plug-in

Under "Encoder preview" in the Master Plug-ins section, there is an encoder preview plug-in, which you can use during editing to preview projects that you plan to export as AAC or MP3 using the encoder settings.

You can change the export settings directly in the dialog window. During the mastering process you have the option of taking the idiosyncrasies of the encoder into account and adjusting the quality relative to the requirements (e.g. "Mastered for iTunes").

MP3/AAC audition plug-in

CD/DVD mastering

Sequoia lets you burn CD masters directly from a multi-track project or an audio project. This means that the whole process, from recording to master CD, is covered by Sequoia. The CDs produced are 100% Red Book-compatible and can be sent directly for pressing. The CDs can be configured to include copy protection, UPC/EAN, ISRC, pre-emphasis, and CD text.

In order to reduce the bit depth to the 16-bit CD-format and preserve the highest level of quality possible, Samplitude includes POW-r dithering. Developed by the POW-r Consortium, this patented algorithm works on a psycho-acoustic basis to permit word length reduction with a very high degree of usable signal dynamics, with or without noise shaping. Audio material with higher sample rates may be burned in stereo or Surround to audio DVDs. Audio files are burned uncompressed (linear PCM) according to the DVD audio standard.


DDP import/export

Sequoia supports professional file exchange between mastering studios and pressing plants. DDP masters are mastered CDs that aren't burned to audio CDs. They are digital data provided with a checksum that are sent to the pressing plant to guarantee that the production is absolutely free of errors. It's also possible to import DDP masters for editing or to compare them to the original project.


Sonoris Sequoia DDP Player

The Sonoris DDP player is a standalone application contained in Sequoia and can be used to check DDP masters that you have created yourself or received from others. You can playback tracks and track transitions, see all PQ codes, ISRC, MCN and CD text data, and automatically check projects for RedBook compatibility. The DDP player can read DDP 1.0x and 2.00 formats.


Import/export of ISRC in Broadcast Wave files

Sequoia can read and write to Broadcast Wave files in accordance with EBU Tech 3352 ISRC. This is an important step towards optimally supporting mastering engineers working with modern, file-based workflows.



The metering display in Sequoia enables you to work with absolute precision. Access a range of visual layouts and set up your own private "cockpit" with different metering indicators. The following presets are also available for radio and TV broadcast norms:

Type I, DIN scale - Type I, Nordic scale
Type IIA, BBC -Type IIB, EBU

Metering in Sequoia


Loudness Metering in accordance with EBU R128 and ITU-R BS.1771

Loudness Metering in accordance with EBU R128 and ITU-R BS.1771

An important feature in Sequoia is loudness metering, which has become one of the most important topics in the radio world in recent years, and is rapidly taking over from known peak-based metering methods. Up until now, peak control using peak levels (-9 dBGS as a rule) has been the standard in radio production. Peak limiters were often used as they limit an audio signal's dynamics, thus negatively affecting sound quality. Loudness metering takes a different approach. In contrast to peak metering, the loudness measurement is integrated above the time.

In combination with the introduction of open standards for peak control there are reliable ways for engineers and producers to describe subjective loudness in countable terms.

In Sequoia, you can switch between EBU R128 and ITU-R BS.1771 loudness measuring on the fly.

"ITU Recommendation BS.1770-3" is the international standard in loudness measurement.

True Peak Metering

True Peak Metering

In addition to loudness normalization, ITU-R BS. 1770-3 also provides a measurement recommendation for digital audio peak levels. Normally, the peak values are determined in accordance with the sample rate by reading individual sample values.

However, on account of the system, it's not possible to verify that the samples correspond exactly to the audio peaks, which arise as soon as the signal is processed or the wave form is reconstructed. Due to the inaccuracies of a sample peak meter, it's not possible to avoid clipping or distortion in the analog output if the individual samples in the original aren't at full scale. So, a normal peak meter cannot represent "real" peak values. Inter-sample peaks identified by oversampling by a factor of 4 can now be displayed and allow you to see "real" peaks.


Loudness normalization according to EBU R128/ ITU-R BS.1771

This powerful feature lets you normalize objects and audio files in accordance with EBU R128/ITU-R BS.1770/1771, which standardizes them for broadcasting on the radio or TV.


Dynamic limiting (Loudness range normalization)

Dynamic limiting is now part of the loudness normalization dialog and enables the limiting of object dynamics in order to even out loudness variation within the audio material.


Loudness normalization in batch processing

Loudness normalization can also be applied to the batch processing feature. This allows a large number of files to be adjusted to the target loudness value automatically.


Monitor folders using Watch Folder

The Watch Folder feature lets you monitor selected folders. New files added to the selected folder are also edited automatically (e.g. with loudness normalization). Batch processing can also be accessed through the command line.


Calculate loudness

This feature can be found in the "Edit" menu and calculates the loudness of the entire project or the selected range. The calculated values are displayed in a text dialog. This dialog also contains the option "Correct program loudness with master volume", which adjusts the volume using the stereo master or Surround master.




Compact loudness display

In the compact display you can see the loudness value according to EBU R128 with colorized signalization when the value goes over or under the target. This display can be activated in the loudness settings.


Loudness normalization for database audio export

Automatic loudness normalization is for stereo audio export in DAVID DigAS and SCISYS dira! Highlander databases optional.


Global loudness settings in the system options

Under "Effects" > "Loudness" you can set the options for the loudness calculation for the file manager, for track bouncing and for database export. This is also where you set the save options for the loudness value in the XML protocol. XML files are created during exporting, bouncing, batch processing or calculating loudness values. They are named like audio files and contain separate data for stereo and Surround streams. During saving loudness values can also be written as BWF files which are compliant with EBU Tech 3285.


Loudness data export

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 standardized metadata fields for broadcast wave files.




In addition to outstanding recording functionality, Sequoia offers extensive mixing tools, ranging from stereo radio commentary to film mixing in different multi-channel formats, such as 5.1, 7.1 and 12.0 Surround. Different audio formats up to 32-bit floating point and sample rates up to 384 kHz can be combined without any format conversions. Sequoia takes care of the sample rate conversion and possible decoding of compressed audio files in real time during playback.

VCA Fader

VCA Fader

Mixing within a DAW is increasingly important today, especially for uses that entail limited space, such as mobile music recordings or news productions. Working with VCAs (Voltage Controlled Amplifiers) or DCAs (Digital Controlled Amplifiers) makes mixing and finalizing much easier.

In Sequoia, you can control the channel levels that are assigned to a VCA group using a VCA fader in the mixer. You can assign as many channel strips as you want to a VCA master fader. Each existing channel strip can also be easily turned into a VCA fader. By displaying "ghost faders", changes resulting from adjustments made in the VCA Master can also be read in the individual channels.

Free plug-in routing

Free plug-in routing

No more limitations on the ordering of internal effects and VST plug-ins. Now you can change the order of the plug-ins any way you choose. Exception: Object AUX sends still remain in the last position. Exception: Object AUX sends still remain in the last position.
Internal effects can now be used multiple times per track/object. (Exceptions: EQ, Dynamics, Distortion, Delay.) Exceptions: EQ, Dynamics, Distortion, Delay.
The order of Surround effects can be changed. In this case, the plug-ins in the individual channels are always calculated before the Surround effects. Note: This new functionality is not compatible with the characteristics of older program versions.
Multiple outputs

Multiple outputs

For even more flexible routing during mixing: Sequoia 14 lets you easily add or remove additional outputs – you can also assign no outputs to a track. Moreover, you can also view and select multiple outputs directly in the routing manager.


Different tap points downstream of the volume control (post), upstream of the volume control (pre) or directly after the gain (direct out) make it easier to mix complex music productions.

Automation modes

Automation modes

Sequoia supports the touch, latch, trim and overwrite automation modes. Automation curves are displayed graphically and can be easily edited. In addition to volume and panorama, you can also automate VST instrument parameters and plug-ins at both the track level and object level.

Surround downmix

Surround downmix

In the Surround Master you can select "Surround downmix" as an output device and 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.

Object-oriented editing

Object-oriented editing

The audio material can be split into as many objects as you like and moved around on tracks freely. Every object may be edited with custom effects and fades (e.g. equalizer, timestretching, pitchshifting, and various VST plug-ins); even sending to individual AUX channels and the Surround bus sis possible at the object level. This makes most time-consuming automation unnecessary.

The object editor provides real-time access to every object setting. Settings are calculated at the object level in real time and can be changed at any time.


Hardware controllers

Sequoia supports hardware controllers from SSL, PreSonus, JLCooper, Tascam and Yamaha, as well as all controllers based on Mackie Control and Mackie HUI. Sequoia also works with the Artist Mix, Artist Control and Artist Transport Artist Series controllers. These controllers are controlled using the EUCON protocol and require Windows 7.


Macro functionality

Being able to use complicated workflows can save you a lot of time during production. Sequoia's macro functionality lets you record, program and run custom command sequences. You can assign up to 128 macros to keyboard shortcuts for quick access. It's also possible to run macros through markers in a project.


Excellent sound quality

Highly advanced digital algorithms, outstanding effects plug-ins and continuous use of floating point calculations ensure that the sound retains its nuances, even following extensive digital processing and accumulation of individual signals.



Sequoia guarantees precision, stability and reliability when it comes to dubbing.

The powerful audio engine makes it possible to easily edit and mix complex arrangements and sound effects in video productions.


Video import and export

Sequoia supports most standard audio and video formats. Sequoia also make it possible to edit video material for dubbing and post-production. Multiple videos can be loaded into Sequoia natively. Make sure you use uncompressed (or minimally compressed) formats, since positioning and editing these is much faster.

Video import and export
Independence sampler workstation

Independence sampler workstation

Independence is the ultimate sampler workstation for professional music production in the studio and for live productions. The first class premium sample library with 70 GB of content, the hundreds of instruments, arranger and step sequencer patches make Independence one of the most powerful tools for creating sample based compositions.

Newly designed audio engine
70 GB Premium Sample Library
Loads VST effects and VST instruments from third-party providers.
Supports up to 8 CPU cores
Drag & drop support for audio and MIDI files
Intelligent file browser with attribute-based batch processing
Virtual Instruments

Virtual Instruments

All Vita Solo Instruments can be used in Sequoia. These virtual instruments offer impressive sound design, intuitive controls and a huge range of modulation options.


Timecode track

Now you can display the SMPTE timecode of a timecode track using the time display in Sequoia. This is most relevant to post-production projects, so that a recorded timecode can be displayed as a reference when editing in Sequoia.


Synchronized video recording

The video recording feature allows you to record audio at the same time as video. Recording can be done on any available recording device present in the system. For example, a reference video track can be recorded in order to document additional stage sound for editing and mixing later.


AAF/OMF import and export.

Sequoia offers integrated OMF/AAF support, making it possible to exchange projects between programs and platforms. AAF is the preferred exchange format due to its larger feature set and open documentation.




Supported operating systems

Windows 10, Windows 8, Windows 7


Minimum system requirements

All MAGIX programs are developed with user-friendliness in mind so that all the basic features run smoothly and can be fully controlled, even on low-performance computers. The technical data for your computer can be found in the control panel of your operating system.

  • Processor: 2 GHz
  • RAM: 2 GB (32-bit), 4 GB (64-bit)
  • Graphics card: Onboard, minimum resolution 1024 x 768
  • Sound card: Onboard (ASIO compatible sound card recommended)
  • Hard drive space: 2 GB for minimal installation, 90 GB for Independence
  • Optical drive: DVD drive

Internet connection: Required for registering and validating the program, as well as for some program functions. Program requires one-time registration.


Supported file formats

  • Audio import:WAV, Broadcast WAV, AAC, AIFF, DDP, FLAC, MP3, MPEG, MUS, OGG, SD2, WMA
  • Audio export: WAV, Broadcast WAV, AAC, AIFF, DDP, FLAC, MP3, MPEG, MUS, OGG, WMA
  • Video import: DV-AVI, MPEG-1, MPEG-2, MPEG-4, H.264, HDV HD1, HDV HD2, MXF, MXV, DVCPRO1, AVC-Intra1, QuickTime, WMV(HD)
  • Video export: DV-AVI, MPEG-1, MPEG-2, HDV HD1, HDV HD2, MXV, QuickTime
  • MIDI standard formats import: MID, GM, GS, XG
  • MIDI standard formats export: MID
  • Photo import: JPEG, BMP
  • Other: Import/export of CD-A, DVD-A, CD/DVD data

DVCPRO and AVC-Intra require a free initial activation.
MP3 export requires installation of Windows Media Player.

Note: Only non copy-protected audio CDs can be imported.