What do you actually need from us?

The raw recording, ideally as separate tracks per speaker rather than one mixed file, plus guest names spelled correctly and anything that must not appear in the final cut. Separate tracks matter more than people expect — they are what allow one loud speaker and one quiet one to be corrected independently instead of compromised together.

Whose account does the podcast live on?

Yours, always. The hosting account and the RSS feed are set up on your email and your card, and we work as an admin on them. This is not a formality — an RSS feed is the podcast's identity across Spotify and Apple, and a show whose feed sits in a contractor's account is a show that cannot simply be moved.

How loud will the episodes be?

We master to roughly -16 LUFS, which is the standard listeners' apps expect for spoken word, so your episode is not noticeably quieter or louder than the one that plays after it. That is a target rather than a promise about how a specific recording will sound — the ceiling on any episode is set by how it was captured.

Can you fix a badly recorded episode?

Some of it. Room echo, hum and background noise can be reduced, and levels can be rebalanced. What cannot be undone is a speaker recorded into a laptop microphone across a room, or clipping where the signal was already distorted at the source. We would rather spend twenty minutes on your recording setup once than lose a good conversation every week afterwards.

How fast is the turnaround?

The normal cycle is a few working days per episode within an agreed weekly slot, because consistency matters more here than speed. Missing a week costs a podcast more listeners than a slightly later release does, so we build a schedule that holds through a bad week rather than one that only works when everything goes right.

Do the clips come as part of it?

At the upper end of the range, yes — typically four to eight per episode with the hook chosen and captions proofread, plus an audiogram or cover card. An audio-only edit with show notes and publishing sits at the lower end. Clip count and whether there is video are the two things that move the price most.

Content, Social & Communications

Podcast production

Everything around the recording — audio repair, mix to broadcast loudness, chapters, show notes, transcript, publishing on your own feed, and clips cut for social.

From: $150–$1,200/episode
Typical time: ongoing
Usually bought by: Founders, media

What this actually solves

A podcast is an unusual product in that the person making it only wants to do one part of it. A founder or consultant will happily talk for an hour, and does it well. What they will not do is learn to remove room noise, balance three microphones that all sound different, write chapters, and get an episode out on the same day every week for a year. Not because it is beyond them, but because none of it is why they started, and after four episodes the enthusiasm meets the workload and the workload wins.

That matters more here than on other channels, because consistency is close to the whole game. A podcast audience is built out of habit — the same slot, the same feed, the same expectation. Miss a week and a measurable share of listeners simply do not come back for the next one, and the show spends a month rebuilding what it had. The value of production support is less about any individual episode sounding better and more about the show still existing in month nine.

The other half of it is reach. A conversation that took an hour to record contains four or eight moments that are strong enough to stand alone, and those clips are how anybody who does not already listen finds out the show exists. Left uncut, an episode reaches only the people who were already subscribed — which is the quietest possible way to run a show that is otherwise doing everything right.

What we do, and in what order

Setup and intake. Recording platform configured for separate speaker tracks, guest logistics, and a short technical brief so remote guests are not recorded on a laptop microphone in a hard-walled room. Done once, then repeated per guest. Half a day at onboarding, then fifteen minutes per episode.
Audio repair. Noise floor, hum, echo and plosives, handled per speaker rather than across the mixed file, so a quiet guest can be lifted without also lifting the room they were sitting in. One to two hours per episode.
The structural edit. The false starts, the tangent that goes nowhere, the four minutes of technical trouble at the top, and the repeated version of a point already made. Length is not the goal — the goal is that nothing in it is dead. One to three hours.
Mix and loudness. Levels matched between speakers, music and speech balanced, and the whole thing mastered to about -16 LUFS so it sits correctly against everything else in a listener's queue. Thirty to sixty minutes.
Music, intro, outro and any advertising reads. Placed so they do not clip the first sentence of the conversation, which is the one doing the retention work. Twenty to thirty minutes.
Show notes, chapters and transcript. A summary, bullet points, at least eight timestamped chapters, and a full transcript — drafted from the transcript with AI, then corrected, because guest names, company names and technical terms are exactly what automatic transcription gets wrong. Forty-five to sixty minutes.
Publish on your feed. Upload to your hosting account, RSS out to Spotify and Apple, artwork and metadata checked. Twenty minutes.
Clips. Four to eight per episode, hook chosen from wherever it actually occurred, captions proofread, exported vertical, plus an audiogram where it suits the platform. Two to four hours.

Tools — Riverside or Zencastr for recording, Descript for transcript-led editing, Adobe Audition or Reaper for the actual mixing, Auphonic for levels, Transistor or Buzzsprout for hosting and RSS, Opus Clip for clip candidates, and Canva for audiograms and covers.

What moves the price

Video or audio only. A video podcast is a different production entirely — multicam sync, framing, and clips that have to work visually as well as verbally. Audio-only sits at the bottom of the range and video with full distribution sits at the top.

Number of speakers and depth of edit. Two people on good microphones is straightforward. Four people, one of them remote on a laptop, with a conversation that needs real structural work, is several times the effort at every stage from repair through mix.

How many clips, and how fast. Clips are where the hours accumulate, because each one is effectively a small edit of its own with its own hook decision and its own caption pass. Compressed turnaround is priced separately rather than absorbed.

What usually goes wrong

Length is mistaken for respect for the guest. Ninety minutes goes out largely uncut because it feels rude to remove someone's words. Listeners do not experience it that way — they experience twenty minutes of preamble before the interesting part, and most of them leave before reaching it. Cutting hard is a service to both the guest and the audience.

The feed is set up in the producer's account. It is done for convenience in week one and it is the most expensive mistake in this service. An RSS feed is the show's identity everywhere it is listed, and a show whose feed lives in a contractor's account cannot be cleanly handed over the day the relationship ends. Ownership stays with you and access is granted to us — never the reverse.

Noise reduction is overapplied. The instinct on a noisy recording is to push the processing until the noise disappears, and past a certain point the speech goes with it — voices turn thin and metallic in a way that is far more unpleasant to listen to than the original room tone. Some noise is left in on purpose, and that judgement is made by ear on the episode rather than by a preset.

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Questions people ask before they commit.

What do you actually need from us?: The raw recording, ideally as separate tracks per speaker rather than one mixed file, plus guest names spelled correctly and anything that must not appear in the final cut. Separate tracks matter more than people expect — they are what allow one loud speaker and one quiet one to be corrected independently instead of compromised together.
Whose account does the podcast live on?: Yours, always. The hosting account and the RSS feed are set up on your email and your card, and we work as an admin on them. This is not a formality — an RSS feed is the podcast's identity across Spotify and Apple, and a show whose feed sits in a contractor's account is a show that cannot simply be moved.
How loud will the episodes be?: We master to roughly -16 LUFS, which is the standard listeners' apps expect for spoken word, so your episode is not noticeably quieter or louder than the one that plays after it. That is a target rather than a promise about how a specific recording will sound — the ceiling on any episode is set by how it was captured.
Can you fix a badly recorded episode?: Some of it. Room echo, hum and background noise can be reduced, and levels can be rebalanced. What cannot be undone is a speaker recorded into a laptop microphone across a room, or clipping where the signal was already distorted at the source. We would rather spend twenty minutes on your recording setup once than lose a good conversation every week afterwards.
How fast is the turnaround?: The normal cycle is a few working days per episode within an agreed weekly slot, because consistency matters more here than speed. Missing a week costs a podcast more listeners than a slightly later release does, so we build a schedule that holds through a bad week rather than one that only works when everything goes right.
Do the clips come as part of it?: At the upper end of the range, yes — typically four to eight per episode with the hook chosen and captions proofread, plus an audiogram or cover card. An audio-only edit with show notes and publishing sits at the lower end. Clip count and whether there is video are the two things that move the price most.

Often taken together.

Start with the brief, not the invoice.

Send what you are trying to achieve. You get a written scope, a price and a date — or an honest “this is not the right service for that”.

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