How to Mix a Podcast

To mix a podcast, you clean up each voice track, balance levels between speakers, shape tone with EQ and compression, then set the whole episode to a consistent loudness — usually around -16 LUFS for stereo podcasts. The goal is simple: every speaker is clear, easy to listen to at any volume, and roughly the same loudness as other shows. Here is how to mix a podcast from raw recordings to a finished export.

Get organised before you mix a podcast

Start with each speaker on its own track. If you recorded everyone into one file, the mix options are limited, so record separately whenever you can. Listen through once and note the problems: background hiss, a quiet guest, plosives, mouth clicks, a humming fridge. Knowing what is wrong tells you what processing each track actually needs — most tracks need less than you think.

Step 1: Clean up the recordings

Fix issues at the source before adding tone-shaping:

• Noise reduction: sample a quiet moment and reduce broadband hiss or hum. Apply gently — heavy denoising makes voices sound underwater.
• High-pass filter: roll off everything below about 80 Hz to remove rumble, handling noise and air conditioning.
• Edit out distractions: long pauses, “ums,” coughs and false starts. Leave natural breaths in so it sounds human.

Step 2: EQ each voice

EQ makes voices clear and distinct. A common starting point: a gentle cut around 200–400 Hz if a voice sounds boxy, a small boost around 3–5 kHz for presence and intelligibility, and a touch of air above 10 kHz if the mic sounds dull. Make small moves and compare with the EQ bypassed. If EQ is new to you, our EQ and compression fundamentals guide explains the why behind each move.

Step 3: Compress for consistency

Speech naturally jumps between loud and quiet. Compression evens that out so listeners do not reach for the volume. Try a ratio around 3:1 to 4:1, a medium attack and fast-to-medium release, and pull the threshold down until you see about 3–6 dB of gain reduction on the loudest words. Then add make-up gain. The aim is control, not obvious pumping.

Step 4: De-ess and tame harshness

Bright mics and close talking exaggerate “s” and “t” sounds. A de-esser targeting roughly 5–8 kHz softens sibilance without dulling the whole voice. Use the lightest amount that does the job; over-de-essing gives speakers a lisp.

Step 5: Balance levels between speakers

Set the host and each guest to the same perceived loudness so nobody disappears. Ride or automate volume where one person leans in or pulls back. If you mixed multiple voices to the same intelligibility, the conversation feels effortless. Keep music beds and stings 10–15 dB below speech, and duck them under voices so talking always wins.

Step 6: Set the final loudness

Podcasts are normalised by loudness, not peaks. The widely used target is -16 LUFS for stereo (-19 LUFS for mono) with true peaks no higher than -1 dB. Put a loudness meter on the master, mix to taste, then nudge the overall level to hit the target. A limiter on the master catches stray peaks and adds a little glue. Our LUFS explainer walks through measuring and hitting these numbers, and the mixing and mastering hub has more on master-bus processing.

DAW notes: Audacity and GarageBand

In Audacity, use Effect > Noise Reduction, the built-in EQ and Compressor effects, then Loudness Normalization to set -16 LUFS before exporting. In GarageBand, use the Channel EQ, Compressor and a De-esser plug-in per track, set levels with track volume automation, and check loudness with a metering plug-in since GarageBand has no built-in LUFS meter. Whatever you use, export as a 128–192 kbps MP3 or AAC. For capture tips that make mixing easier, see our home podcast recording guide.

Frequently asked questions

What loudness should a podcast be mixed to?

Target -16 LUFS integrated for stereo podcasts (or -19 LUFS for mono), with true peaks at or below -1 dB. This matches most platforms and keeps your episode’s volume in line with other shows.

In what order should I apply effects when mixing a podcast?

Noise reduction and editing first, then high-pass filter, EQ, compression, and de-essing on each voice. Balance the speakers, add and duck any music, then finish with loudness normalisation and a limiter on the master.

Do I need separate tracks for each speaker?

It helps enormously. Separate tracks let you EQ, compress and balance each voice independently and fix one person’s problems without affecting the others. Record each speaker to their own track whenever possible.