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Member for

17 years 8 months
Okay Joe and Ben - I just got Sequoia in and set up and so far I'm loving it. It truly does sound better than the others I've tried. One thing I'm real curious about though - You guys seem to be real excited about "Object Based Editing." Either I haven't figured out all the intracicies of this yet, or we have a different work flow. Tell me what it is that you guys do with the objects that makes this feature so special. (Who knows, maybe I'll learn something here - I always do...)




Member for

20 years 9 months

FifthCircle Sun, 01/16/2005 - 18:40
OK... Object editing and mixing is as follows... Get all of your tracks in (whether recording or importing). Split the objects, either by marking a range or just placing the playcursor and splitting (shortcut "T"). Grab the object handles (set up in your view settings) and extend the crossfade out and use to raise and lower the level.

It does take some getting used to for mixing, but once you do, it is hard to go back. I find it much faster than automating by fader because it is faster than real time. If you need to fix something, it is easy and sometimes don't even need to go back and listen. Now, in addition, you can use these sections to apply a full channel's worth of effects non-destructively- from plugins (all latency compensated) to pitch and time change... (in version 8- the elastic audio is simply amazing). It means that for restoration, you can hit some areas hard and others lightly, rather than traditional eq automation and other effect automation, you can moph easily from object to object.

It may not feel like a big deal when you first begin, but as you do it more and more, you'll see why it is so powerful- much moreso than your standard clip-based automation.


Member for

17 years 5 months

JoeH Sun, 01/16/2005 - 18:58
All that Ben says above, but first (in case it wasn't clear from the start), select "New VIP" in the file open menu, and select a track count of your choice. (Doesn't matter right now, pick a number....4, 8, 16., custom, whatever).

Once you've opened a new VIP with the parameters you want, then go to File/Load Audio File and then the fun begins.....your "Wav" file (now represented as an object) will appear in the timeline. You can do this over and over again; importing, splitting, copying, pasting, etc., changing levels, EQ, etc. You can do it with the object itself (reverse click on it, etc.) or you can do it in the mixer section as well.

Believe me, the fun has just begun for you! Hehehe.....

Member for

21 years 2 months

archived member Mon, 01/17/2005 - 08:51
Here;s my approach to mixing:

Press "M" to get the mixer up, and adjust faders to get an acceptable mix, then go into the objects (splitting as necessary with the "T" key) for fine local adustment in level, EQ, attack--- you get the idea. You can even apply plugins for just the object in question. This makes it real easy to kill all the material in which the soloist does NOT sing, for instance.

Running two minitors is a great help. I have the mixer and object editor and peak meter on one, with the VIP on the other.

Word of caution: I use the scroll wheel alot for fine adjustment of EQ, level etc (hold the shift ket when scrolling ) as well as for waveform scale and time zoom. If you have just been adjusting fader level be sure to click on the VIP afterwards, or your next scrollwheel adjustment will change the fader you were just tweaking. It would be really nice if it only affected the control the cursor was on, as in the EQ window.


Member for

20 years 9 months

FifthCircle Mon, 01/17/2005 - 10:02
Personally- I never go to the faders first for a mix. Rather, I work in the objects and raise and lower levels there as a trim setting and leave the faders at unity.

It comes from my experiences dealing with large format analog consoles and large mixes (ie 48 track sound reinforcement mixes). When doing an active mix, you must keep track of unity at all times. It is easy to go overboard with levels and when faders are all over the place, you can't remember where unity is for each one. Keep them at zero (unity) and use the trims for your rough mix and you'll never loose sight of where unity is. Also, if you like fader automation, using the objects as trim will help you keep track of that...


Member for

17 years 5 months

JoeH Mon, 01/17/2005 - 10:28
Yes indeedy, there are MANY ways to get there with the objects vs. the mixer (fader) control.

I too like to set the faders and forget 'em. Of course, you can also do an "automated" mix, where you record the fader moves and watch 'em go up and down while the track plays. FUN, and a lot cheaper than flying faders! :-) But for the most part, I too set 'em and forget 'em, or at least rough-in the mix this way.

After that, it's all about the objects. (Of course, you can also get the db level of the object itself by single clicking on the CENTER little tab/button at the top of the object in question, and see the numerical readout in a little popup box - this number goes up and down as you move the "height" of the object with this same button/tab) If I'm not sure that I've messed up a track's general level (lets say after a bunch of cuts/inserts, etc) I often single-click on this same button for each split clip and check on the db level, to make sure it's all even. (or not, as may be needed.)

This may sound silly if you don't know the experience from doing it, but VISUALLY - looking at the height of the waveform in the object - is more helpful than you may think. It at least gets you in the ballpark before any additional tweaking. (Because, of course, the height (vertical size) of the waveform changes as you move the top button up or down - good visual cues there. Sony Vegas works the same way, as do many others, I'm sure, but not to this extent or power.)

And the track volume curve (yellow line - default color) is yet another way to make changes and tweaks to the levels as you go.
Between the cross fades, fade ins/outs, object level adjust, volume curve drawing and (last but not least) fader levels, there's a ton of control available, and that's just for amplitude per track.

The cool thing, of course, is how many different ways there are to get to where you need to go.

Maybe we need to start a samp/sequoia sticky or separate thread...this could get tedious for non-Magix users, yet I think it's a valid topic, considering how many Samp/Sequoia users are here, or even just visiting.