You record the podcast.
We do everything else.

Every show is scoped to what it needs, so we quote on the call rather than publish a rate card. Plans are monthly retainers on a six-month term, and you will know your exact number and exactly what it buys before the call ends. We are not the cheapest option and we are not built to be.

Right now you pay full production cost for a recording that produces three assets. We do not change what you spend on recording. We change what it produces. Your cost per published asset drops by roughly 80 percent, and every asset is built to travel rather than to exist.

Record, send the footage, and take one thirty-minute call a month. That is the list. No producer on your recording, no setup, no scheduling on our side. Everything after the footage lands is ours.

Six business days from when we receive your footage, not from when you record. Every deliverable is live on the agreed date or that month is free.

Six-month agreement, and the first thirty days is your exit. If it is not right you tell us on day thirty, you owe nothing further, and you keep everything we made. After that, if we miss delivery dates twice in any three months you can leave with thirty days notice and owe nothing.

No, and we would not want to. Your audience is a few thousand people who matter, not a few million who do not. If we optimised for views we would make content that travels to the wrong people, and you would end up with a bigger channel and a worse business. We guarantee total watch time and returning viewers, measured against your own previous ninety days.

Month one usually looks strong, because The Channel Facelift is fixing packaging on a catalogue that has never had any. Month two often looks flat, sometimes slightly down, because the easy wins are spent and the algorithm is still re-learning who your new packaging is for. That is the rebuild. We tell you in week one so you hear it from us before it happens rather than after.

Keep them. They handle production. We are the layer above it: which moments get selected, how they are packaged, where they go, and what happens after publishing. Most shows do not have a production problem, they have a nothing-happens-after-publishing problem. If your editor is good, we make their work reach further.

Reasonable. Two things worth knowing. A £45,000 salary lands closer to £58,000 to £70,000 in true first-year cost once employment costs, equipment, software and recruitment are counted. And that one person has to be an editor, a short-form strategist, a thumbnail designer, a writer and a distribution manager. Those are five different skills and nobody is strong at all five.

YouTube, yes, and it is not really a preference. The guarantee is measured in your Studio and the thumbnail and title testing happens there. Without access we cannot record your baseline, cannot test and cannot report, which means we cannot guarantee anything. Instagram and LinkedIn are genuinely optional. Without them you get the same assets and the same copy, plus a posting schedule for your team.

Yes, and we design for it from day one. Pre-approval on everything before it publishes, an archive of every published asset, no automated DMs, no performance claims and no client references in content. Compliance is a workflow constraint, not a blocker. It is also the reason most shows in your category are so bad, which is your opening.

Shows where the podcast is the business and sponsorship is the revenue. Shows with nothing to sell, where views are the only number available. And anyone who has not published in the last sixty days, because that is restarting a show rather than growing one.