How to Choose a Podcast Production Company

First, be clear about what you want to hand off

Before looking for a production company, put into words what your problem actually is. Is it that you cannot settle on a direction for the show, that nobody has time for recording and editing, or that you are publishing but nobody is listening? The strengths you need from a partner depend on the answer.

"Production company" covers a wide range. Some are strong at planning and format, some at studios and engineering, some have deep networks of talent, and some are good at attracting listeners through social media and ads. Few are equally strong at everything. Check early that your problem overlaps with what the partner does best.

What to outsource and what to keep in-house

Some podcast work is easy to hand off. Some is better kept inside.

Easier to outsource

• Recording and sound: Equipment, studios and engineering skills take time to build from scratch.
• Editing and mixing: Experienced editors are faster and more consistent.
• Video shooting and editing: Cameras and lighting are specialist territory.
• Distribution setup and operations: Hosting, platform registration and scheduled releases are routine tasks.
• Clips and promotional assets: Volume tends to be high, and once there is a template, an outside team can run it well.

Better kept in-house

• Purpose and editorial judgement: What the show is for, what to say and what not to say, should be decided internally.
• Content review: Facts, internal context and anything that must not be said.
• Appearing on air: If employees or executives host, securing their time is an internal job.
• Evaluating results: Judging whether the show meets its goals should happen internally, based on the partner's reports.

Hand off everything and the show loses your voice. Keep everything and it will not last. Judgement inside, hands-on work outside is a practical starting point. For the bigger picture on company shows, see Starting a corporate podcast.

Checklist for choosing a partner

When comparing candidates, these six areas help you avoid gaps.

1. Planning: After hearing your goals, do they propose concrete formats, titles and episode lengths, rather than applying a generic template?
2. Data: Can they explain how they track plays and listener behaviour and how that feeds into improvements? Check how often they report and what is in the report.
3. Studio and technical: Do they have their own studio, and if not, where will you record? Can they handle remote recording and video?
4. Casting: Can they suggest hosts and guests, and handle the negotiation?
5. Marketing: Do they have ways to get the show heard after release, such as social media, clips and cross-media tie-ins?
6. Overseas reach: If you want English or other language versions, or to reach overseas platforms and listeners, do they have the experience and team for it?

You do not need a partner who scores perfectly on all six. Prioritise the areas that match the scope you want to hand off.

Questions to ask in the first meeting

How a partner answers tells you a lot. Have these questions ready:

• Given our goals, what kind of show would you propose?
• What does the workflow for one episode look like, and where do we come in?
• How many days does it usually take from recording to release?
• How many rounds of revisions, and at what stage?
• Who is our contact, and will that person stay the same?
• In what form and how often will you share listening data?
• Who owns the recordings and music, and can we use them in other media?
• If we end the contract, what happens to the show's accounts and past data?

The last question is often overlooked. If the hosting account is created in the production company's name, you may not be able to take the show with you when the contract ends. Keep the accounts in your own company's name.

Warning signs

If you notice any of these, pause and check before signing.

• Promising plays or chart positions: Rankings and play counts depend on many factors and cannot be guaranteed. Be careful with anyone who promises numbers without evidence.
• Quoting without asking about goals: A price offered without asking what the show is for may just be a fixed package.
• Vague scope: The quote says "full production" with no breakdown.
• No clear answer on rights or accounts: These are common sources of later disputes.
• A different contact every time: A show's tone builds over time, and quality is hard to keep stable without a steady point of contact.

What to put in the contract

Write these down in the contract or purchase order:

• Scope: Which of planning, recording, editing, distribution, promotion and analytics are included
• Volume and term: Episodes per month, length of contract, whether the volume can change
• Deliverables and deadlines: Audio files, show notes, thumbnails, transcripts, clips; days from recording to delivery
• Number and scope of revisions
• Ownership of rights: Copyright and usage scope for recordings, edited files, artwork and jingles
• Account ownership and handover: What happens at the end of the contract
• Confidentiality: How internal information mentioned during recording is handled

For how costs break down, see Podcast production cost. It is worth reading before you compare quotes.

If you want help with production

A good production partner helps you decide what not to do as well as what to do. Clarify your problem, split the work into judgement inside and hands-on work outside, and use the checklist and questions above, and you are far more likely to find a partner you can work with for the long run. If you would like to start by sorting out the scope, reach out via Podcast production enquiries.