A show your buyers finish, and then quote.

Everything except being interesting on the microphone, which stays your job. In practice that means designing the format around a commercial goal, booking and briefing guests, running the recording sessions, editing and mastering the episodes, producing the clips, notes, transcripts and thumbnails, publishing across audio and video platforms, and reporting on what the show moved. The most valuable part is usually the least glamorous: owning the schedule so episodes keep shipping when your team gets busy.

Less than most teams fear, if the sessions are batched. A typical arrangement is a half-day block that produces two or three episodes, once or twice a month, plus a short review of the cut. We handle research, outreach, scheduling, briefing and the pre-interview, so the host arrives with question lines already shaped around a real conversation. We also bank episodes ahead of the publishing date, which is the single change that stops a busy quarter from breaking a feed.

Video earns its place now. Edison Research found that 33% of US weekly podcast listeners use YouTube most often for podcasts and 48% of Americans 12+ have both listened to and watched a podcast, so an audio-only show is choosing to be absent from where a lot of discovery happens. The practical answer is to capture both in one session: multi-camera video costs far less alongside the audio than as a later addition, and it is the source of the vertical clips that do most of the growth work.

We price per episode against an agreed scope, then set a monthly fee from your episode volume, so you approve a number rather than an open retainer. The scope drivers are honest and few: whether we record video, how much guest booking you want us to own, how many clips and how much written content each episode should produce, and whether we run distribution as well as production. A short eight-episode pilot season is usually the sensible first commitment, because it is long enough to learn and small enough to change.

Downloads and views are the starting point, not the answer. We track completion rate, follower and subscriber growth, which episodes get finished and where people drop, clip performance, branded search movement, and — for B2B — the meetings and pipeline that guests and clips open. The medium's measurement is genuinely imperfect, so we state the method and its limits. What the market is doing is clearer: US podcast ad revenue reached $2.862 billion in 2025, up 17.6%, which tells you advertisers keep finding value here.

Yes, and it is a common brief. We start by listening to the back catalogue properly: what the format is doing well, where episodes lose people, whether the titles and notes are working for search, and what the publishing history says about capacity. Then we fix the operational gaps first — a recording buffer, a clear owner for post production, a clip pipeline — before touching the creative. A relaunch is sometimes right, but restarting a show that simply needed a schedule is an expensive way to solve a calendar problem.

You do. The show lives in your own hosting account and on your own channel, the artwork, music licences, project files, transcripts and templates are handed over as we go, and the guest relationships are yours. If you later take production in-house or move to another partner, everything needed to keep publishing goes with you. We would rather earn the next season on the work than rely on holding the keys to your archive.

From a thesis, not a wish list. We define who the audience needs to hear from — the buyer's peers, the specialists who settle a real argument, the customers whose story does the selling — then research and approach them with a specific reason they should say yes. Pre-interviews tell us whether the conversation has substance before the diary is committed, and each guest leaves with clips, quotes and copy they will genuinely share. A well-chosen guest is the cheapest distribution a show has.

It is a content engine if you treat it as one. A single recording becomes an episode, several vertical clips, a written piece built for search, quotes for social, ad creative tests, and a sales clip library organised by objection. Because we plan distribution during production rather than after it, those assets are briefed into the session instead of being hunted for in the edit — which is what makes the economics work.

Then do not choose one. A fortnightly or monthly show published reliably beats a weekly show that stalls at episode eleven, and seasons are a legitimate format: eight to twelve episodes, a gap, then a considered second season. We size cadence to the host time you can genuinely protect, bank episodes ahead, and agree cover for travel and launches in advance. Consistency is the growth lever people underrate, and it is far easier to increase cadence later than to recover a feed that went quiet.