Keith Hodne: Mastering Reality TV Audio with Sonnox Restore Plug-ins
As a sound editor and re-recording mixer for high-pressure reality TV shows like The First 48, The Last Dance, and 100 Foot Waves, Keith Hodne knows that time is a luxury he can’t afford.
Working out of the spacious mix room at Mega Playground in New York City’s West Village, Hodne relies on Sonnox Restore plug-ins to clean up tracks and meet tight post-production deadlines. We caught up with Hodne to discuss his journey into television audio and how Sonnox Restore has become an essential part of his workflow.
From DJ’ing to Post-Production: A Natural Progression
Hodne’s passion for audio started in his late teens as a DJ and electronic music enthusiast. “I recognized early on that if I wanted to be busy and successful, I should head into post-production,” he recalls. He began his career at Pomann Sound in New York, working on Disney shows like Jojo Circus, Little Einsteins, and Kim Possible. “It was a great way to cut my teeth, working with powerful people in the industry and gaining solid hands-on experience.”
Eventually, Hodne transitioned into reality TV, taking on projects for A&E, the Biography Channel, and the History Channel, among others. “I’ve done a ton of mixing, and with reality TV, I often encounter audio that may not be the best quality,” he says. His ability to clean up problematic audio quickly and effectively has made him a sought-after mixer in the industry.
Challenges of Mixing The First 48
The First 48 poses unique audio challenges, often involving Lav mics that pick up unwanted noises from detectives’ movements, jackets, gear, or even badges. “We have to mix it down and dirty, making it sound good despite the constraints,” Hodne explains. “Considering our time restraints, we need solutions that work fast.”
Discovering the Power of Sonnox Restore
Hodne relies heavily on the Sonnox Restore Suite, which includes DeClicker, DeNoiser, and DeBuzzer plug-ins. “You can pull them up quickly with presets ready to go,” he says. “In reality TV, I don’t have time to waste experimenting—I need results fast. The great thing about Sonnox Restore is its ease of use and effectiveness in getting the job done quickly.”
A Specific Example: Tackling Gum Clicking with DeClicker
Hodne recalls a challenging segment featuring a nervous rookie cop chewing gum—a sound notoriously difficult to remove quickly with traditional tools. “I initially mixed the sequence without the Sonnox plug-ins, and the result wasn’t great. But once I got the Oxford DeClicker, I dropped it on every spot where the cop was chewing, and it easily removed the clicking/popping sounds with just a few mouse clicks,” he explains. “The DeClicker preset worked well, but I fine-tuned the sensitivity and processed it, which made a huge difference.”
But once I got the Oxford DeClicker, I dropped it on every spot where the cop was chewing, and it easily removed the clicking/popping sounds with just a few mouse clicks
The impact was immediate, impressing even his seasoned clients. “After mixing over 140 episodes of The First 48 for them, they’re hard to impress. But they noticed the improvement right away and said it’s the best plug-in I’ve ever used.”
Using DeNoiser for Dialogue and Ambience Clean-Up
Hodne also heavily relies on DeNoiser, particularly for softening harsh dialogue. “I use it to shave off some of the harshness from low-quality mics, even on clips that don’t have much noise,” he says. DeNoiser is also effective in sequences where subjects are moving through noisy environments, like bushes or underbrush. “You’ll never remove all that noise, but DeNoiser helps pull off some of the harshness, making the sound more satisfying.”
Hodne appreciates the Warmth control on the DeNoiser, which he uses to smooth out brittle clips and help them sit better in the mix. “That’s key to what I do. Once I get a good sound, I can move on to the next clip.”
Meeting Unforgiving Deadlines with Sonnox Restore
With the relentless pace of reality TV production, Hodne often juggles multiple shows, sometimes mixing one to two episodes a week, each within a tight three-day turnaround. “Deadlines are unforgiving, so plug-ins like Restore allow me to focus on sweetening the scene rather than spending too much time cleaning up noise,” he explains. “These tools let me get through the show efficiently and still deliver a polished mix.”
For Hodne, reality TV’s raw and immediate nature requires audio that feels authentic and immersive. “Viewers should feel like they’re right there in the scene. Most of the ambience is tied to the dialogue, and unless you have time for extensive sound design, you work with what you have.”
Sonnox Restore: An Indispensable Tool in Reality TV
Hodne’s approach to mixing is driven by the need for speed and precision. “With only two days to mix the show and six hours reserved for client reviews, time is of the essence,” he says. “Sonnox Restore plug-ins have quickly become indispensable, saving me valuable time and allowing me to deliver high-quality audio under tight deadlines.”
As Hodne continues to navigate the fast-paced world of reality TV, his reliance on Sonnox Restore remains a cornerstone of his workflow, ensuring that every episode sounds as clean and professional as possible, despite the inherent challenges of the genre.