Pragi
Here a post from the vegas hp :
 
From a news letter received and it seems the software guys are still in Madison. Pro 14 due in september.
 
VEGAS Pro is entering into a brand new era!

Since the acquisition of VEGAS Pro and other tools from Sony Creative Software, our entire development team in Madison, Wisconsin is working tirelessly to take video editing with VEGAS Pro to the next level.
This means that at the end of September 2016, you can look forward to the most advanced version of VEGAS Pro yet!
Here’s a sneak peek of some of the highlights and new features in the upcoming version:
» HEVC/H.265 support
» 4K Smart Upscaling
» Native ProRes support
» and much more!
Stay tuned for more updates and get ready for the all new VEGAS Pro 14.
Sincerely,
Klaus Schmidt
CEO MAGIX Software GmbH

Sound Forge 11 is also advertised on the Magix site (as is ACID and CD Architect.) Why not email them and see what's up on their end?

digimidi
Soundforge comes in a cut down version called Studio which I believe is up to version 10. It sells for less than a $100 and works quite well, but is not 64-bit at last look. Wavelab has Elements which is approximately, again, at $100. I am unable to determine if it is 64-bit or not. I also don't know how much the Steinberg dongle is...

 
Wave Lab Elements 7 is 64bit ( and 32). You don't need to buy the dongle. I used it for a couple of years with the E licencer software. The difference is when you upgrade your computer you have to un authorise the old system first.
I didn't do this and they where very nice about it and sent a new code anyways. But that led me to buying a dongle because I also have Cubase 5 LE.  
 
Greg- I hope you keep bugging them about improving Sonars Wave Editing. :) 

Well you hit the nail on the head. A Wave editor will tell you the stats before you do things like normalize. 
The most important tool I use in mastering is Wave Labs Global Analyser. It tells me at a glance the RMS level of the song both right and left channels. This is not only important for producing a CD but I also need my backing tracks to all be the same level.  Peak level is useless. 

FWIW I have used Sound Forge since SF7 and still use SF9 ... it has always worked well for the applications I need along with Splat ... I have used it since the Sonar 3 days ... ;-)

Anderton
Don't write off Magix. I've seen firsthand what's involved when one company buys another. The Roland/Gibson transition was unusually seamless, which in retrospect I think had a lot to do with both Roland and Henry Juszkiewicz wanting it to happen properly. However in many ways this was not the norm, and such transitions usually take longer to unfold and are more complex.
 
I was an expert witness for Magix once in a patent suit, they are a major force over in Europe and I suspect part of the Sony purchase was to establish more of a foothold over here. Magix has done well with their own video software but IMHO it's not quite up to the level of Vegas. So regardless of whether they develop Vegas independently or fold it into one of their programs, I suspect use Vegas users will be able to carry on with an evolving program. Now, if only they'd do lifetime updates...
 
As to Acid, I know of at least one other bid for it but it was rejected, so it seems Magix wants it...maybe to integrate more fully into video, I don't know. I have no idea what the plans are for Sound Forge. However...
 
I'm pretty much with Chuckebaby on this one. If you team up iZotope RX (and possibly Ozone) with SONAR, there's not much you can't do. More and more, I'm mastering in SONAR, and I keep pestering Cakewalk about how they could make SONAR a true mastering platform with what I think is not a lot of effort...we'll see what happens.

 
Please tell me what is missing in Sonar for mastering, when you have the time. Is it just the plug-ins, or is there something more fundamental?
 
I know I am odd man out, but I have always mastered in the DAW. I bought Sound Forge 20 years ago but found that the keystrokes were different than Cakewalk, so why should I learn them.
 
Back then I needed glitch removal software, but over the years it seems like the bakers at Cakewalk made it so that pops and glitches are more or less gone along with the dinosaurs.
 
I have a bunch of after market mastering plug-ins I use, but I imagine I could get by with just the stock Platinum VSTs.
 
I create very few CDs anymore, but if I needed to make a CD I think I could find CD creation software somewhere on my computer. Like in Media Monkey if nothing else.
 
 
 
 
 

What can't be found elsewhere, is the quality of their algos , i use the timstrech over any over ....

Also a Sound Forge (since time began) user here, with the same concerns as most here. Tried the demo of wavelab which was superb but a massive price to do pretty much what I already have in SF11. Decided to stick with what I have and watch this space.

When I bought Sound Forge 9 back in 2006 or so, I paid a pretty penny for it.
and sometimes as an artist, or even just as a person, we want to get our moneys worth out of something we pay for.
So myself personally, I held on to Soundforge because It was a tool I paid for.
 
Similar to the Tascam 388 (Studio 8) 8 track reel that I paid a grand for in the early 2000's.
The studio in Boston I was working at just started going digital and laughed at me for buying this 90lbs rock.
It's still in my studio today  as I refuse to let go of it. I use it for mixdowns (I run a hybrid studio).
Go ahead and laugh but if you remember how each channel on a board had distinct characteristics that varied in sound, harmonic distortion and darkness, then you know exactly why I run a hybrid. because its real and in the digital domain, we need a little bit of realism.
 
Or what about those plug in packs that cost a small fortune that are inferior now to todays standards.
As humans, its hard for us to let go of highly purchased items we paid an arm and a leg for.
But that's how I feel about Soundforge. I just don't use it enough anymore. but it does have its uses for producers.
the plug ins, at the time were state of the art stuff. Izotope I believe. That Wave hammer really got its uses .
And its Digital time stretching ability's were amazing for that point in time. I had never heard anything like it.
 

AT
There are things a wave editor can do a DAW can't (see above) but mainly it is usually easier (and quicker) to do wave editing in, well, a wave editor. 
 
You are also switching hats with programs.  I open a mix up in SF and I'm not thinking about adjusting the reverb depth on the vocal or pushing the vol on the lead for a bit more - those tasks are finished.  Now I'm editing the sound of the whole file, topping and tailing and mastering.  Yes, I do take notes (more reverb here, more lead here) that I can go back to for the mix if I want to, but I also realize there are going to be new changes to a mix just about every time I listen to one.  But now is the time to make the unperfect a better song, not better mix.  Esp. working on a deadline, that is helpful.
 
@

 
++1... exactly
 
And Benny- As I said earlier, I bought Wave Lab Elements 7 for only $99 Can. I think that's a bargain considering how much I use it. And It will be probably good to use until Microsoft screws us up again. So I bet I get 10 years out of it.. That's $10 per year.

By the by, I was buying something else on PluginBoutique the other day, and I discovered that Acoustica makes a wave editor. They have 3 versions: Free, Mid, and Premium. If you don't need surround, or their restoration algorithms, the standard edition looks like a good alternative at a good price: http://www.pluginboutique.com/product/3-Studio-Tools/48-Audio-Editor/1955-Acoustica-Standard-Edition
 
I have not used it myself, but I might go that route rather than updating my SoundForge 9, for a $100+ or whatever it is now.