CLASS - Tuesdays September 13 - October 11, 2022 12 - 3pm PT / 3 - 6pm ET

Mixing and Scoring for Podcasts and Radio

All the basics (and a little more!) that you need to know about mixing and scoring, including getting a story to the correct loudness, working with ambiance, and improving audio quality (noise reduction, removing plosives and essiness, etc.) We won’t cover composing original music, but you will learn strategies for manipulating music that already exists, placing it in stories, and editing it such that it supports the emotions and plot of the audio. 

Sliding scale pricing may be available for this class. If you are an AIR member experiencing financial hardship, please contact to inquire about scholarship options.
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About this class

  • 15 student cap
  • Tuesdays, September 13 - October 11, 2022
  • 12 - 3pm PT / 3-6pm ET
  • 3 hours 
  • $590 non- member 
    $515 AIR member rate
  • Payment plans starting as low as 4 payments of $128.75 available
Much of the time, when podcasters say “audio engineering” in a post-production context, what they mean is mixing and scoring. This course will cover mixing and scoring for podcasts and radio shows in ProTools.
Often, the last stage in the production of an audio story is to pass the project from the producer or reporter to an audio engineer. This class is designed to bridge that gap so that producers can begin to mix and score their own work or explore a career shift into professional audio engineering. 
The mixing portion will cover: cleaning up audio (mostly using iZotope and Pro Tools native plugins, though some students might want to incorporate Waves plugins as well), getting levels to broadcast standards, thoughtfully working with ambiance, and pacing.

The scoring portion will cover: how to thoughtfully place music in a story and manipulate it to support story beats. No music composition skills are needed, but welcome to use if desired!
The class will be taught in Pro Tools, and the instructor is most familiar with Apple’s interface. If you use a different DAW, you may want to check in with Rae before signing up for the class. (You’ll be welcome to join, but you’ll be somewhat on your own with troubleshooting, and you won’t get as nuanced feedback as classmates that use Pro Tools). 
Pro Tools First won’t be adequate to your needs in this class. If you want to use another alternate DAW, you will need to be very comfortable navigating and troubleshooting in it. Again: please reach out to Rae before enrolling if you want to use a different DAW in the class. You will need to be able to use third party plugins and import an OMF/AAF file. (Reaper in theory has OMF/AAF ability when using a program called AA Translator, but this seems to require jumping through many hoops and the results are mixed.)  
Students will not be required to purchase any plugins, though if you’re planning to do professional engineering work you may choose to do so. We will use free trials (and/or free downloads) of some plugins. Please don’t activate the free trial for the latest version of iZotope plugins or Waves plugins before the class!

Course Lessons

What does the class schedule look like?

Tuesday, September 13, 2022: Mixing (3 hours)
Tuesday, September 20, 2022: Optional office hours for any needed help
Tuesday, September 27, 2022: Scoring (3 hours)
Tuesday, October 4, 2022: Optional office hours for any needed help
Tuesday, October 11, 2022: Wrap things up, listen to each other’s work, look at some feedback together, any additional Q & A

There will also be an optional office hours the day before class starts on Monday, September 12, 2022 for optional office hours for plugin installation troubleshooting

Who is this class for?

This course is designed for students with at least some experience using a DAW, and ideally Pro Tools. Students should have Pro Tools already installed on their computers, be familiar with the basics, and comfortable using it to assemble stories. Students using a different DAW should check with the instructor before registering.  

"The main thing that helped me get from 'novice engineer' to where I am now was getting constant feedback from my mentors/bosses. Even once I technically knew the theory behind mixing/scoring, it was years of getting feedback on both of the above that really helped me grow. Therefore, homework is going to be a big part of the class! So I think that even if you already know some of the things that we cover, there should be plenty to practice. One homework is going to be mixing a story (I have a straightforward and a more challenging option that folks can choose from), and the next homework will be scoring a story (same option of more straightforward vs. challenging). I'll give feedback on both via Google Docs, which is how I've always been given feedback and have grown in my jobs!" - Rae Mondo
Meet the instructor

Katherine Rae Mondo

Katherine Rae Mondo (“Rae”) comes from a sound-for-film background and currently works in the world of audio engineering for radio shows and podcasts. Her approach to mixing and scoring mostly comes from a combination from her work at This American Life (2018 - Present) and Reveal (2017 - 2019). When not doing radio things, she is mostly riding her bike. 
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