What inspired you to start Premiere Podcast Studios, and what sets it apart from other podcast studios?

The Podcast Studio in London, actually sits on the site of my previous music studios, which itself had a great history as Andrew Weatherall’s Scrutton Street Studios in Shoreditch. The space had long been known for its music production, and taking over the site in 2016 I continued that legacy with another fantastic few years as an electronic music studio. However, at the start of Covid the lease ended and the landlord refurbished the whole building, which meant the music studios were no more at this stage. Fast forward through lockdown, and I saw the opportunity to rebuild – this time as a podcast recording studio, keeping that creative energy alive but evolving it into a new proposition.

What really sets us apart is the attention to service. We support clients from arrival to recording to final edit, with in-house engineers and a full studio team on hand throughout the session. It’s a complete experience, not just a hire space and we pride ourselves on the personal touch. This enables hosts and their guests to fully concentrate on their performance and subject matter.

If you are hosting multiple sessions on one day we can handle meet and greet and staging of the interviewees to make sure the experience between recordings is seamless. Many clients bring a whole team of producers and brand managers. We have a production area specifically for this, with a live feed from the studio which also has a talkback facility for producers and hosts in the room. There are also a host of on-site facilities most of which are provided free of charge. We also offer wheelchair access.

Lastly, its location, location, location. Our proximity to London transport hubs means you can attract a wider (sometimes global) pool of guests with minimal travel hassle:

• 5 Minutes walk from Old Street, Liverpool St & Moorgate which boast direct connections to Stansted & Heathrow and airports through the Elizabeth Line and Overground rail.

Can you walk us through the facilities and services your studio offers to podcasters?

We offer multiple set-ups with various fireside options plus 2–4 people in a cross-desk format. We also have a production area with live feed and seating working area for producers and brand managers to utilise without disrupting the recordings.

We only offer engineer-managed sessions, we are not a self-service studio. The prices often advertised by our competitors frequently have a lower “from” price, we try to avoid too many “add-ons” with our pricing to keep things transparent.

Our core services: as would be expected with any podcast studio, cover multi-cam recording in HD – 4k, with live editing options, recording, mixing and mastering of Audiobooks and audio productions such as digital radio shows, plus the full gamut of podcast editing options including trailers and thumbnail creation and social cuts.

The studio itself was custom built with external sound isolation in mind using the traditional room-within-a-room design. Built with extra high-grade materials such as Fermacell boards (instead of plasterboard) and higher density 100kg/m3 rockwool layers rather than standard RW3 which has a rating of 60kg/m3. All designed to give the best possible recording environment for customers.

The wider building space has modern facilities with a large reception area for hosts and guests to meet and prepare for their recordings, a large kitchen area and private meeting rooms for hire should clients want privacy or hair and makeup services, it can all be provided to assist. Ultimately, if you’re looking to rent a podcast studio in London, it should have amenities to cater for all types of guests. We also have wheelchair accessibility.

Something which also sets us apart is our ability to provide Digital expertise through my agency Fused Seven. Over the last 14 years I have worked with a lot of businesses in a range of sectors driving Digital Awareness, Global SEO strategies and ROI-focussed customer acquisition activity. This expertise is utilised for clients who are looking to scale their podcast, especially in an algorithm-driven social media world, where, depending on your sector or podcast niche, finding your right audience can require a more precise strategic approach than just blanket coverage through social advertising.

Finally, the behemoth AI. There’s so much ongoing noise around AI tools and its usage, it’s impossible to ignore the use cases for it across our business and the client’s final product. However, the quality of AI output is much more advanced within the creative sphere, than pre- / post-production. We take a very considered approach to AI deployment, utilising it where appropriate to add value to the production and recording process (like Riverside remote recordings), but we also offer hybrid solutions, utilising AI to offer cost benefit whilst keeping the human element needed for premium quality control.

What are some of the biggest challenges podcasters face when recording, and how does your studio help overcome them?

There are 4 main areas:

1. Recording
2. Hands on Support
3. Attention to Detail
4. Vision / Quality of Final Product

In regard to the recording process, it’s the environment, and being able to control the macro factors that might affect the recording. We’re always running back up feeds which means we’ve never (yet) encountered any lost recordings (which is never a good look). We do everything we can to mitigate technology failures. They obviously can happen, and the purpose of having engineers monitoring for issues as soon as they happen is the peace of mind using a studio setting provides.

Hands-on support is something some studios lack and clients are left to figure it out themselves. We only work on a managed session basis, we stay with you throughout, making sure every detail is handled so you can focus entirely on the conversation.

Where possible, laser focussed attention to detail will enable you to put the best version of your production out into the world. Measure twice, cut once if you like. You don’t want to be watching back footage and realise there is incorrect framing or some visual / audible noise affecting the quality. Of course, if relaxed and loose is the nature of the podcast, then it’s less of an issue but, s#*t can always go wrong regardless.

Lastly, it’s just about striving for quality regardless of your aesthetic / brand. Having a clear idea of how a professional podcast should look and flow are factors that we as a studio will work with the hosts to achieve the desired final product. That guidance helps hosts stay in the zone while we handle everything behind the scenes.

Have you worked on any standout podcasts that you’re particularly proud of?

Some of the guests and hosts that come through the door are definitely surreal moments.

We recently hosted a 2-day recording with Maisie Williams (of Game of Thrones fame) through Cup and Nuzzle productions for the Famously… Winona Podcast.

We’ve also hosted a range of high-profile guests from Riz Ahmed to Rob Delaney, and recently recorded a number of episodes for HRH Queen Camilla’s – The Queens Reading Room. These are just a few of the names people might be aware of.

What advice would you give to someone starting their first podcast in a professional studio?

Preparation is everything. Make sure you have done your research and understand that you’re investing in your choices, just like you would a new car or something high value. If you’re serious about the podcast and are in it for the long run, then it pays to take things seriously from the get-go and evolve from there.

Using a studio such as ours allows you to focus on your performance, making sure the message you’re getting across with your podcast is the stand-out, instead of worrying about technical issues or scrambling for support and trying to fix problems in post-production, especially when recording with an elusive guest, you may only get one chance with them!

How do you see the podcasting industry evolving, and what role do professional studios like yours play in that growth?

I feel there’s already been an interesting divergence, the growth in B2B podcasting is really interesting, it presents a real opportunity across the board. It’s easy to look at the higher profile entertainment podcasts and assume the medium of podcasting is all about that. Increasingly that’s just not the case. Really niching down (from a B2B perspective) drives highly targeted and engaged audiences which can deliver valuable return on investment for businesses. At Premiere we not only have the production expertise but we also have the strategic experience from a media perspective to be able to facilitate the amplification of the product.

What’s next for Premiere Podcast Studios – any exciting plans or expansions on the horizon?

More locations and a broader range of set-ups. We’ve got a huge proof of concept project in the pipeline but, unfortunately, I can’t say any more at this stage!

How can Pod Bible readers find out more about the studio?

Find out more on our website, email us at bookings@premierepodcaststudios.com or give us a call on +44 7916 250090.

This article was produced as part of a paid advertising package. To enquire about advertising with Pod Bible email info@podbiblemag.com.

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Who are you and what’s your podcast about?

My name is Jim Moore, I am the founder of Bloody Vegans Productions, a podcast production company that produces The Bloody Vegans Podcast as well as other shows including The Veganuary Podcast, The Vegan Business Tribe Podcast, The Think Like a Vegan Podcast, Veggies Abroad and a host of other shows.

What’s the first podcast you ever listened to?

The first podcast I ever listened to was WTF with podcasting legend Marc Maron. I still listen to the show to this day and I have to say it has had a life changing impact.

Why did you decide to start podcasting in the first place?

Whilst I have been a podcast obsessive for well over 10 years it wasn’t until 2019 that I stumbled upon a reason to start my own. I had been vegan for 2 years but had never really found or participated in the vegan community and so I volunteered at my local Vegan Festival introducing guest speakers. By my own admission I naively thought up until this point that all vegans were fairly aligned in their world view, socially, politically etc. beyond not wanting to harm other animals and was taken aback by a question posed by a member of the audience to one of the speakers. The audience member described himself as a vegan but very conservative politically, this shouldn’t have surprised me as every community has diverse opinions but as I said I was rather naive. This experience sat with me for a day or two until I decided to go on a mission to showcase that the vegan community, like every community, consists of a diverse range of people and opinions. I chose to do this through the longer form interview format, leaning heavily on my love of Marc Maron’s oeuvre.

Which podcasts do you take inspiration from?

WTF, Kermode and Mayo’s Take, Films To Be Buried With and, I am biased as the show’s producer but, Think Like a Vegan is fantastic (not because of the producer I hasten to add). Emi Leese is an incredible host and human being and attracts some of the brightest minds to contribute their content.

Who’s your dream guest for the podcast?

I’m lucky to have ticked off 3 of my dream guests, namely Captain Paul Watson (founder of Greenpeace, Sea Shepherd & Neptune’s Pirates), Carol J Adams (a seminal American writer, feminist, and animal rights advocate) & Keegan Kuhn (Director of Cowspiracy, What The Health etc.)

What’s the biggest lesson you’ve learnt so far as a podcaster?

‘Just ask.’ So many guests you never thought would agree to come on your show will surprise you, just ask.

Which episode would you say is the perfect introduction to your podcast?

I would say the episode with Keegan Kuhn (Director) and John Lewis (BadAss Vegan) would be a great introduction but honestly if people listen to any of them, I am delighted.

Where can the Pod Bible readers find out more about you?

Search for Bloody Vegans Podcast wherever you get podcasts or if you’re interested in starting your own show and need some help then head to www.bloodyvegansproductions.com.

Listen to The Bloody Vegans Podcast on Apple Podcasts, Spotify, and other popular podcast apps >>

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Welcome to Podshop, your go to destination for professional podcast production services. We offer a comprehensive range of solutions, from audio editing to end-to-end launch strategies, all designed to elevate your content and amplify your message. With access to cutting-edge equipment and our state-of-the-art London Podcast Studio, we’re dedicated to bringing your vision to life.

In this article we’ll run you through what we do and how it changes the podcast game. To focus in, we’ll guide you through one of our latest clients and how we’ve turned their lockdown project into a comprehensive podcast.

Join the Docs: Empowering Healthcare Conversations

Into: Join the Docs, a podcast brought to you by Podshop, hosted by Professor Jonathan Sackier and Doctor Nigel Guest, seasoned medical professionals with a knack for storytelling with a slice of old school humour. With informative discussions and some very bad jokes along the way, Jonathan and Nigel, our valued clients, aim to empower their listeners with details they can use to seek the best healthcare.

But, Join the Docs isn’t just about medical jargon and diagnoses; it’s a journey into the heart of holistic health. Health, for them, transcends mere absence of disease; it encompasses mental, emotional, and social well-being. As doctors who trained together and are dear friends, they believe in the power of laughter as the best medicine. Their podcast delves into topics impacting all facets of health, offering insights and clarity on complex issues while sharing the joy of their profession. It’s like being privy to a conversation behind the curtains of healthcare, where they aim to empower listeners with knowledge and a dash of humour to navigate their own well-being journeys.

So what can you expect from Join the Docs as they release weekly episodes over the coming months?

Weekly Doodles

At the heart of Join the Docs’ branding lies their in-house illustrator, Robin Gott. The doodles are there to draw connection to the docs’ unique humour which have been incorporated into each episode, setting us apart from the usual podcasting format.

Weird and Wonderful Episode Topics

Join The Docs offer episodes covering everything like unusual objects in unexpected places, sausages in Botox, the complexities of auto-vampirism and many more. Trust us, the Docs will have you laughing! And with our studio hosting a diverse array of guests, like Glenn Hoddle and John Oates, we’ll add a captivating dimension to the podcast with insights from individuals spanning various fields of interest.

Podshop’s Impact

Our journey with Join the Docs stands out thanks to the meticulous attention to detail we’ve put into every aspect. From strategy sessions with The Docs, to recording sessions in our studio and right thorough editing, we’ve worked hard to ensure each episode is top-quality. Behind the scenes, our marketing efforts have been equally strong, with targeted campaigns aimed at introducing Jonathan, Nigel, and their unique humour to the world.

Insights from Jonathan and Nigel

In a recent interview, Jonathan and Nigel shared their perspectives on Join the Docs:

What inspired Join the Docs, and what overarching message do you aspire to impart to your audience through each episode?

Nigel: Join the docs was inspired as an extension of the conversations held naturally between two close friends who have been so from the first few days at Medical School until present day.

We have had diverse medical career pathways and yet share a love of medicine, it’s complexities, challenges and the privilege of shared experiences with our patients. We cannot help but mine the wealth of humour in medicine, sharing our experiences from the sublime to the ridiculous and our occasional incredulity at some human behaviours.

Our aspiration is to share our enthusiasm, to entertain and amuse but also to educate with the information we share and the golden thread running through our podcasts of when to seek professional medical advice.

Join the Docs has an eclectic array of topics. Could you shed light on your process for selecting these subjects?

Jonathan: Join the Docs certainly looks to see what people are searching for online, what topics are in the news and patients have asked us questions about over the years. And of course, selfishly, things that fascinate and entertain us….and we hope, the audience! We also really want to make a difference, to help people find the right approaches and avoid the wrong ones. Just today we have received two “thank you’s” from people who took action as a direct result of listening to Join the Docs.

Join the Docs is a prime example of the teamwork between Podshop and our clients, showcasing our significant contribution to the podcast’s success. With Podshop’s dedication to high quality podcast production, we’ve boosted the end product of Join the Docs and made a real impact on its audience. As staunch believers in powerful storytelling, we welcome aspiring podcasters to team up with Podshop, where our attention to detail ensures every episode hits home with listeners.

Listen to Join The Docs now on Spotify, Apple Podcasts and other popular podcast apps >>

Ready to take your podcast to the next level? Partner with Podshop for a seamless B2B podcasting experience. Our skilled team of video editors will seamlessly blend your audio and filmed content with captivating visuals. With YouTube’s boundless possibilities for growth and discovery, don’t miss out on the chance to captivate your target audience and stand out from the competition.

No matter the origin of your raw footage – whether recorded remotely, in a professional studio, or within the confines of your own office – our distinguished video editing will put your podcast above the rest.

Need a place to record? We’ve just launched Podshop Studios, an audio and video production studio with the best podcast equipment to help make your journey with us as smooth as possible. We won’t just deck you out and transform your online footprint, but we’ll give you a place to film your fantastic content and be with you every step of the way.

So if you’re ready to take the next step with Podshop, get in touch now!

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This article was produced as part of a paid advertising package. To enquire about advertising with Pod Bible email info@podbiblemag.com

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Pod Bible co-founder Stu Whiffen caught up with Spike O’Connell, CEO and Lead Producer at Podshop, Pod Bible’s brand new partner for 2024!

Find out more about Pod Shop at https://www.podshoponline.co.uk/

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PB: WHY DO YOU LOVE PODCASTS?

AZ: I love the authenticity of them, the best podcasts for me are when you feel like you’re genuinely listening in to a conversation between friends, almost eavesdropping as opposed to being spoken to directly by the hosts. When you get the feel that a podcast has been overly edited for me it loses that naturalism that I think the very best podcasts have. Also, there’s no other medium that allows such a wealth of information to be dispensed to the listener in such an entertaining fashion. The fact that podcasts are these longform chats between people who know their subject matter inside out for the most part, makes them incredibly

WHAT WAS THE FIRST PODCAST YOU EVER LISTENED TO?

Is it bad that it was one of my own!? I mean, this was years ago, and it wasn’t even called a podcast despite being exactly that. It had the snappy title of Mars Planets MySpace Radio. That should give you an idea of how old it is seeing as Mars Planets don’t exist anymore. Neither does MySpace really. I hosted a podcast with a different MySpace user each week and we played out the best tracks from unsigned bands on MySpace. Anyway, I listened to that in around 2006 which I think factually makes it the first.

WHICH PODCASTER MAKES YOU LAUGH THE MOST?

I love Wrestle Me, the podcast hosted by Marc Haynes and Pete Donaldson. I’m not even a massive wrestling fan but the two of them together are brilliant and I find the journey through the history of all the Wrestlemanias and Marc’s knowledge of the sport ridiculously entertaining.

WHICH PODCAST HAS EDUCATED YOU THE MOST?

As a writer I find John August and Craig Mazin’s Scriptnotes a really useful podcast. They offer some great analysis of different genres of film and TV as well as giving their insight into the industry itself. So yeah, I’d say that’s probably educated me the most, especially when I started writing. Also, I don’t think anyone knows as much about Bond as John Rain on SmershPod, so in terms of an education in 007, that show is a must.

CAN YOU RECOMMEND A SHOW OUR READERS MAY NOT HAVE HEARD OF?

I really enjoy Friends With Friends, where Dave Cribb and Pete Allison are going through and analysing every Friends episode is great fun. Also, the eternally affable Tom Price does My Mate Bought A Toaster, where he interviews guests based on their Amazon purchase history is a lovely listen.

Alex Zane was co-host of the recently concluded film podcast Clash of the Titles. You can catch up on the whole catalogue now on Apple Podcasts, Spotify and other popular podcast apps >>

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It’s been eight months since the winners of Content is Queen’s 2022 Micro-Grants for Podcasters Programme were announced, and we are starting to hear the fruits of that scheme. The first sneak-listen was given to the audience of the Micro Grant session at the London Podcast Festival session, but now one of those stories is available to the public.

‘Dead Ends’ by Talia Augustidis was broadcast last night as part of the new series of the BBC’s Lights Out audio documentary. In the episode, Talia offers a personal reflection on how we choose to remember someone, in this case her mother. With a starting point of home videos and crime scene photographs, the episode is about as personal as it gets. In fact, one of the teaser clips features Talia interviewing her father after developing a video of her mum that turned out to be a homemade sex-tape.

I was intrigued to learn more about how Talia navigated the line between emotion, embarrassment and audio production in such a unique piece.

This came out of the Content Is Queen micro grant – what do you think it was about your application that stuck out?

I think first of all the power of the story: trying to discover my Mum from these insufficient fragments. Then also the concept, I pitched to them a version where it appears in an online exhibition in a choose-your-own-adventure style way, which will come out next year. And finally the access, I already had all of this tape from years of recording.

How important was it for you to have this kind of development space?

Hugely important. It’s such a personal piece that I really needed a lot of time and space to leave it and come back, which the micro-grant allowed me, while also pushing me to actually go into the tapes and sift through them. It was really helpful too because I have a full-time job so I could only really work on it in the evenings and weekends, so I don’t think I would have been able to make it for this Lights Out series without the ideas I developed during the micro-grant process.

Why was audio the right medium for this project?

Ultimately it is a story about “images”: home videos, a sex tape, crime scene photographs and memories. And it’s about me not being able to access those images, for a variety of different reasons. So audio is an interesting medium to choose, because it allows for privacy for me and my family while also replicating the feeling of not being able to access the images we are discussing.

Did you take inspiration from any podcasts in particular before you started?

Not consciously. I tried as best I could to work from the tape first, that’s why each chapter is in a different style. But of course unconsciously I am constantly picking up on influences and inspiration. That being said, I am always inspired by the work of Nanna Hauge Kristensen. I think she creates the most beautiful, human, intimate audio of anyone I’ve ever heard, which I try to channel in certain moments of this piece.

As the Producer you obviously had to watch the videos and then speak to your dad about it. How much did you have to re-listen to that interview when producing the episode? And did your emotions and reactions change with re-listens?

I did that particular interview (the one in the audiogram) with my Dad in 2021, and I only listened to it a few months ago for the first time when editing it. I sort of shut it out for a long time I guess. Then I listened once all the way through and just tried to really listen with my body for the part that made me feel things, including discomfort, and those are the parts that stayed in. Of course I had to listen many more times when refining and cutting down, which usually makes me a bit numb to the emotions of the tape, but with that section it always made me laugh and cringe like it did the first time actually. I guess talking to your Dad about your dead mum’s sex tape is never going to feel normal and comfortable, even on the 100th listen.

At some stage you must have had to bring in new listeners to help you produce – and then hand over to the public to listen – how did you know the right time to do that and how does that feel now?

This is where I really want to give a huge shout out to El and Alan from Falling Tree. I found it really hard at the beginning to send drafts of the pieces. It’s such an immensely personal piece, and sharing it with the public feels like sharing a little part of yourself with the world, but sharing first drafts is like an open wound. And when the pitch was accepted for Lights Out I was so relieved to be working with Falling Tree on it, because I trust them. It really taught me the power of having a good editor, not even just for feedback, but even just knowing that you have someone sensitive that you trust allowed me to really push and finish the project.

Do you have any advice for budding producers?

On the topic of Dead Ends, I would say be really gentle with yourself when making personal pieces. If it’s your first time, I wouldn’t recommend making something with hard deadlines. Give yourself time and space to walk away and come back, without the pressure of disappointing anyone external. The first time I made a personal piece was at university (actually it was my first ever piece, The Sound Collector), dredging up the past became really overwhelming and I had to take a few months away from it and come back when I was ready. So be kind to yourself, check in, and don’t put yourself in a situation where taking space isn’t possible.

Dead Ends wouldn’t exist without two years of recording, one year of space, six months of development time from Content is Queen and a couple months of final edits.

Anything else you’d like readers to know?

I pitched a version of this story to the BBC twice — once to Radio 3 and once to Radio 4 — and it was rejected both times. So I want to say thank you to Content is Queen for taking a chance on it, and for Falling Tree for not giving up on it and putting it in their Lights Out series, which features audio documentaries that do something a little different, and take a closer look at news stories. This project has been so immensely cathartic and I’m really glad it found such a lovely home in such good company.

Listen to Lights Out on BBC Sounds, Apple Podcasts, Spotify, and other popular podcast apps >>

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We asked Head of Client Services, Farrah Charles, to tell us more about the Garden Studios, and what The Hive memberships can offer to podcasters interested in a different recording experience…

Tell us about The Hive at Garden Studios – what’s your elevator pitch?

The Hive is centred around a dynamic and invigorating ecosystem, where creative individuals come together as a community to explore and embrace new ideas and technologies. It is a unifying experience that fosters connectivity among like-minded individuals, encouraging them to engage and collaborate with one another.

Who are the team behind The Hive?

The brainchild of Thomas Hoegh, founder and CEO of Garden Studios, The Hive is envisioned as a vibrant creative hub for the Film, TV, and Creative industry, open to all creatives. I look after The Hive’s client services with support from the dedicated team of Desiree Reece, Zoe Jones, Kadeam Taylor, Hector Carhill, and Hugo Nordstrom. Not to mention Lou Robinson our Studio Systems Engineer.

Is there a particular feature of the recording studio you are most proud to show podcasters?

We’re super proud of the exceptional quality of our facility and equipment available. All you need is an SD card; everything else is readily available. But we’re also very proud that 90% of all the fixtures and furnishings are either remade, recycled, or sustainable sourced. Our aim is to provide easily accessible and incredibly budget-friendly spaces for present and future creatives to bring their vision to life without breaking the bank or compromising on facilities.

What podcasts have used the Garden Studio so far – who would podcasters be joining?

Remel London, Future of Film, Your Aunties Could Never, Lennina Ofori (Awareness Tap), Axel Blake to name but a few.

Who would be your dream podcaster client? Tell us which host you want to see at The Garden Studios!

The truthful answer would be everyone and anyone. We’ve had students come through the doors who have never made a podcast before to professionals who only make podcasts. We’ve loved having them all. We created The Hive because we aspire to be more than just the latest favourite spot for one specific podcaster. Our ultimate aim is to establish ourselves as the go-to destination for all podcasters looking for a home to make their content. A permanent place that can evolve and grow with them. A hub where individuals gather, and where creativity naturally flourishes.

Find out more about The Hive, at Garden Studios now by heading to their website, or book a tour to see the studio space for yourself!

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This article was produced as part of a paid advertising package. To enquire about advertising with Pod Bible email info@podbiblemag.com.

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Sure, you might have to sit through a couple of ads halfway through a podcast episode but generally you don’t have to pay a penny to listen (paywalled platforms like Luminary excluded, of course). So, you might be wondering why I think you should pay for your favourite podcast (if you can afford it).

I’m not referring to the main feed – keep that free – I’m talking about tantalising bonus content that’s one paywall away.

I (John) have a subscription to @empiremagazine, @PilotTVPod, @WeeklyPlanetPod, @cine_verse & Probably True. In my opinion, for bigger shows the appeal has to be the extra audio I'm getting for my money, for smaller shows it's more about supporting creators I like.

— The Dream Factory (@DreamFactoryPod) July 14, 2023

Bonus content builds on the free episodes that you love, so you get to immerse yourself further into that world. Plus, you get access to a community of people with similar interests giving you the chance to make IRL friends. So, it’s great for you but it’s also important for the creator.

That being said, I see a lot of meagre subscription offerings that I personally wouldn’t pay for – ad-free early access and a t-shirt that’s clearly going to shrink the first time that you wash it. Great subscriptions require effort, let me walk you through some of the things on the market.

The Basement Yard has a pretty basic Patreon offering and it’s hugely successful. They make at least £104 526 a month on Patreon (assuming all 23,749 subscribers are paying for the cheapest subscription). Across all three Patreon tiers, they offer early ad-free episodes, merch discounts, and a weekly bonus episode. But that doesn’t seem like very much considering a standard Netflix subscription is £10.99 a month whilst The Basement Yard’s most popular tier costs £8.50.

I am very faithful to my subscriptions as it stands. I would say additional audio and supporting smaller creators are the only two factors for me personally. I'm not fussed about video versions or any community benefits like early tickets to live shows or merch etc.

— The Dream Factory (@DreamFactoryPod) July 17, 2023

A lot of podcasts offer the same benefits as The Basement Yard and whilst some subscribers are just paying to support their favourite creators and aren’t fussed about the extras, let’s explore some of the more generous Patreon subscriptions out there.

The podcast industry is a turbulent place, in part because a handful of companies control most of the wealth. Extremely popular podcasts have been axed by big companies with little notice, such as NPR’s Invisibilia, leaving listeners shocked. Subscriptions allow your favourite podcasters to maintain control of their show and provide an income for themselves independently (instead of selling their soul and their IP to a company who can cut the cash flow whenever they want to). Case in point: RedHanded has 9,779 paying members, makes $47,810 a month, and they’re upfront about how this money helps fund their lives and creation. Their cheapest subscription offers the bog standard early ad-free episodes plus weekly bonus ‘after party’ episodes. Their more expensive subscriptions include a full-length monthly bonus episode, monthly video content, access to presale tickets for live events, merch discounts, free digital products and shoutouts on the podcast.

I’m a believer that bonus material should be of the same quality, if not better, than the main podcast but obviously that requires a lot of work for creators. That’s why I like RedHanded’s free digital products, e.g. themed lockscreen backgrounds. They are an easier lift for the creators but it’s great value for their community who want to rep the show in real life. Realistically, there are only so many bonus episodes that someone can watch (and that creators have time to edit) so I appreciate the creative alternatives that some podcasts have come up with. RadioLab, for example, ships you a magnet collection and offers annual trivia nights.

All of these offerings worldbuild and deepen the show’s sense of community. This Tweet highlights how fun that can be:

Timesuck does this really well, in my opinion. Weekly bonus episodes that are extremely interactive with fans and discounts for merch. There's even a secret handshake!

— JOSH (@joshtayloraudio) July 14, 2023

This is especially crucial for creators from underrepresented backgrounds, who are often neglected by podcast charts, which tend to be dominated by similar shows created by people from similar backgrounds. These shows rely on their communities heavily. Subscriptions keep their diverse storytelling alive and prevent shows/creators that don’t look like those ‘top shows’ from being wiped out because they don’t get the same algorithm boost or have access to the same funding. As one of very few British Indian women in the podcasting industry, I know that it’s harder for certain groups of people and certain types of shows to get sponsorship. If your favourite podcast is lucky enough to secure ad revenue, it’s often not sufficient to cover all production costs and ensure the creator’s livelihood. If those advertisers don’t have the budget next year, then that might be the tipping point for the show.

These creators often take the time to interact with their communities through bonus content – whether that’s through a Discord server, allowing listeners to vote for what the next episode will cover, or a monthly livestream where you can ask questions and paint figurines along with a NADDPOD host.

A huge chunk of each bonus episode consists of the host reacting to & and answering listener voice messages and emails.

— JOSH (@joshtayloraudio) July 17, 2023

By busting through that one paywall, you’re not only supporting your favourite creators and getting some great exclusive benefits, but you’re also helping shape the future of storytelling by ensuring that the loudest voices on the podcasting battlefield don’t all sound the same.

Meera’s Podcast Subscription Recommendations:

The Amelia Project is a comedy fiction podcast about an agency that help people fake their deaths.  Check out their Patreon >>

Radiolab’s membership programme offers exclusive access to behind the scenes perks and more. Read more >>

Not Another D&D Podcast is an actual-play D&D podcast. They offer bonus content, livestreams and other free stuff. Check out their Patreon >>

Redhanded podcast started as a passion project between friends. Their Patreon has nearly 10,000 supporters >>

And this article from the New Statesman argues that it’s the corporate age of storytelling and many stories aren’t being funded.

And if you want to support the only independent podcast magazine in the UK, Pod Bible has a Patreon too! >>

The post We SHOULD pay for podcasts… Unless we want all podcasts to sound the same appeared first on POD BIBLE.

The Birmingham Podcast Festival 2023 is a one-day event organised by Soundtruism that embraces the power of podcasting that removes barriers to entry. The event aims to be an inclusive audio space, a place to share top tips, skills and knowledge from a truly diverse range of professionals. The amazing line-up of podcast experts and audio professionals is representative of both the city and industry (a key aspect of the Equality In Audio pact we don’t always see at podcast events).  As well as headliner Sangeeta Pillai from Masala Podcast, people heading to the festival can expect to hear experts from Spotify, the BBC, and many independent podcast production companies.

We believe that this is as celebration of podcasting not to be missed. Of course, we wanted to learn more and caught up with festival instigator Nina Robinson…

PB: I was so excited to see this launch! Can you tell us how this festival has come about?

NINA: I’d been thinking that Birmingham needed a Podcast Festival for like over a year! I was seeing all the events going on in London and there was very little going on to improve skills and inspire the podcasting community in the Midlands. In the end, I just thought let me do it, as I had a lot of contacts in the audio world from my background working in the industry and I had been working with Birmingham City University who are our partners. I’d been running podcast masterclasses and they were so well received and the innovative ideas that came about also convinced me that we needed a place to share expertise. I have been encouraged by a brilliant advisory board and my lead producer Dylan Hayward- so this all led to Birmingham Podcast Festival 2023 taking shape.

Nina Robinson, creator of the Birmingham Podcast Festival

Birmingham is now a super diverse, minority-majority city – how has this shaped the festival?

A lot! Ofcom did a podcast survey last year, which showed that minority populations are nearly all significantly more likely to be podcast listeners than the white population. For me, this is not completely surprising as these are audiences that have been largely under served by mainstream radio in the past. Having worked in an elite part of the industry, namely foreign affairs journalism – as a South Asian female with a Birmingham accent, media representation has been an important issue that led to me doing research for the Sir Lenny Henry Centre for Media Diversity when I left the BBC.

Birmingham is a young and richly diverse place, these are all reasons why it is a perfect flourishing ground for podcasting. There are no barriers to entry, anyone can enter this media space and it is important to provide a platform for successful podcasters and entrepreneurs such as Spotify Original podcaster, Sangeeta Pillai and CEO of podcast production company Bernard Achampong, Media Diversity expert Marcus Ryder MBE, author Jade LB signed to Stormzy’s #Merky Books (and many more) on the line-up to encourage and inspire others whilst at the same time offering some key skills and insights for new and established podcasters in the region.

The city of Birmingham became a bit famous in the podcasting space after the success of The Trojan Horse Affair – how was the podcast received there?

From the people I know and from my own perspective, The Trojan Horse Affair podcast by Serial Productions was incredible. It was a global number one hit and an investigation that delved deep into the insidious core of Islamophobia as it exists in British institutions including in journalism. It rates as one of my all-time favourite podcasts. (The other one is a New York Times podcast called 1619). My ambition is that one day, an investigative podcast series of that calibre, using local journalists can be produced by Birmingham-based podcast companies. I’m hoping that my own media production company, Soundtruism might play be able to play a part in making that a reality. When I DM-ed the co-host of The Trojan Horse Affair Hamza Syed, who is from Birmingham, I told him about the Birmingham Podcast Festival 2023 and he said that he wished that there had been an event like this one when he was here, which was really heartening thing to hear from him
and gave me a lot of encouragement.

What do you love about podcasting?

I just love the fact that it breaks the rules and anyone can do it! I love that you can find a podcast to suit your mood and frame of mind. I love how intimate it is and how your favourite podcasters can feel like your friends – this is how I feel when I listen to The Receipts podcast. I love the possibilities that it offers to companies and individuals to connect with different audiences – this is one of the areas I want the Birmingham Podcast Festival 2023 to tap into, one of the panel discussions is on ‘The Power of Podcasting for your Business or Brand’ and we’ve got the brilliant Richard Miron from Earshot Strategies who has worked with brands such as Airbus and the European Investment Bank on their podcasts and he has so many amazing insights to share.

Podcasting is such a great media to work remotely – how do you see that shaping the future of the industry?

Having worked through Covid and making documentaries for the BBC World Service from my upstairs loft room in Birmingham during that period, I feel that remote working through podcasting makes the world that much smaller and more accessible. I listen to many US, Indian and Canadian podcasts and this makes it easier to share expertise and have cross border conversations. The tech is easy to use which means you can get crystal clear broadcast quality audio from someone in a remote part of the globe and it can sound like they are sitting right next to you.

Birmingham canals

I’m excited to visit Birmingham for the first time! Aside from the festival – what’s your best insider tip I must see or do before I leave?

Digbeth! It’s right on BCU’s doorstep and there’s a new BBC building about to open (the old Typhoo tea factory) and other media professionals are moving into the area.  It is an upcoming media hub.  Have a coffee at Fazeley Studios –  You have to push an unmarked door (kind of light blue colour) to get in.  It closes at 2pm.

For food after:  Meat eaters should try HANBAO on 46 Floodgate Street Food Menu.
Vegans and Vegetarians should try THE WAREHOUSE CAFÉ food and bar (closes at 10pm) – it’s @thewarehousecafe on Instagram.

Bars to try:

• Dig Brew Co. (43 River Street) – this one’s a brilliant microbrewery, try the stout.
• The Ruin (92 Floodgate street) – they have outside upstairs bit,
• Dead Wax Digbeth (28 Adderley Street) – edgy
• The Old Crown (High St B12 0LD) – really old like the oldest pub in Birmingham I think.
• Or if you want somewhere really near New Street station, go to Cherry Red’s Café Bar on John Bright Street your little home from home (cherryreds.com)

Anything else you’d like our readers to know?

Get your tickets for Birmingham Podcast Festival 2023 via the website birminghampodcastfestival.co.uk. We are also giving away 2 x podcast microphones (courtesy of @guitarguitaruk) with all the accessories in the box on socials so please follow @soundtruism on Instagram or my own profile on Twitter @ninarobinson01 or follow #BhamPodFest23 and we will be announcing the winner at the Festival on the 22nd April, 2023.

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I am very proud to have been named Best Entertainment Producer in last year’s APAs, but that moniker feels inaccurate considering my body of work consists almost entirely of factual narrative storytelling. So, I started to scrutinise the hypothesis that my work is prioritising entertainment. Is it journalism with flair or just a potboiler? Are we telling stories ethically and with purpose or are we just doing it to sell the intellectual property rights to the book/TV/streaming spin-off?

The stories our ancestors told, whether through song or creepy fairy tales, had purpose. They entertained us but they also taught us life lessons like ‘don’t share your home address with strangers when visiting grandma’. Oral storytelling transmitted knowledge that saved our lives and preserved history. Studies have even shown that stories help us process concepts differently compared to when the same concepts are presented to us as facts.

Now podcasts are the oral stories we use to elevate truths that are in the public interest, but we tell them with high production value compared to traditional journalism. This and the explosive growth of our medium is why I question how we tell stories now and whether we’ve strayed too much towards entertainment, prioritising big stories that make big money.

Many podcasts balance entertainment and purpose, with success. A handful of chart-topping true crime podcasts have even uncovered flaws in original police investigations and led to 40 year old murders being solved (The Teacher’s Pet) or freed a wrongly-convicted person from jail (Serial). Furthermore, both the teams behind Serial and Sweet Bobby received evidence and information from listeners during their investigations, which contributed to the resolution of the stories. These live investigations drummed up a lot of excitement, audience participation and attention. They were entertaining but they also did some good in the world.

That being said, these few successes may not justify the trending unwieldy ‘investigations’ and witch hunts. Often we’re ruthless in our pursuit of the best tape and the best access, with some podcast hosts recording phone calls (we don’t hear whether the person knows they’re being recorded for a podcast before the conversation, which is illegal in the UK if you intend to share them with a third party) and knocking on people’s doors out of the blue – completely disregarding a person’s right to privacy. But the more dramatic the tape, the higher the chance that the podcast will be featured on Best Of lists and the TV people will come knocking and ask to buy the IP. After all, every production company wants to follow the podcast to TV examples of Missing Richard Simmons, The Shrink Next Door, Song Exploder, and Limetown. That’s where the money is, I’m told (but not for the real people we’re actually telling a story about who never see a penny). The possible IP sale at the end of the rainbow is a massive driving force behind which stories get greenlit by companies and which gather dust in the Notes app on my phone. It’s a worrying sign that money is increasingly driving our editorial decisions, instead of whether the public needs to hear a story because of its potential real life impact. The ethics of buying and selling true stories was recently challenged on an episode of Lights Out, highlighting that contributors aren’t always aware of how a show is made or how their involvement may affect them, which is something that Ofcom is trying to address. There have been cases like S Town, in which the producers were sued for invasion of privacy, revealing personal information (including about a contributor’s sexuality, suicidal tendencies and financial affairs), and for not getting adequate consent from the contributor. The case was settled but the podcast is still widely debated for being more voyeuristic than journalistic. And yes, it is in development to be turned into a movie.

There are also worries that podcast productions are skewing actual justice, as in the case of The Teacher’s Pet trial where it was recorded that “the unrestrained and uncensored public commentary about the applicant’s guilt, is the most egregious example of media interference with a criminal trial process”. Mere months after the podcast was released the suspect was finally charged, but it very nearly jeopardised the case. It meant that there could be no jury in the trial (for fears that they may have been biased by the podcast), the trial was delayed in order to let speculation die down, and the suspect’s lawyers could use it to request that the judge permanently halt the prosecution. The judge claimed that the podcast was unbalanced and pushed a particular narrative using evidence that couldn’t be used in court. More worryingly, the judge said that the show “may in whole or in part have completely deprived some evidence of its usefulness”.

Podcasts may have the power to aid justice but they rarely start from a presumption of innocence until proven guilty and much of what is shared in a podcast would never hold up in court and would be discarded as hearsay. Whilst these deep dives into what a neighbour may have heard are captivating, it can be a dangerous and unethical presentation of a story – both for the people involved in the story, and for the producers who may be held liable in court. This is an even bigger risk for indy podcasters who may not check their scripts with lawyers prior to publishing, and may not have access to insurance. Take Only Murders in the Building for example – it’s a great streaming show but in reality their podcast could get them convicted of criminal contempt.

The concerns discussed above aren’t isolated to a single genre. Regardless, we want the most exciting tape and the as-yet-untold reveal but we have to be aware of the power of our shows over listeners and how every word we write could damn or distress a person, and – in some cases – subvert the course of justice. Indy producers in particular need to be cautious about how much personal information they reveal about contributors, be clear about getting consent, and be aware of the journalistic and legal principles that will keep their story from overstepping the line.

The line between ethical storytelling and entertainment is a line we draw ourselves as Producers. Yes, it would be great to sell the IP and then be able to tell more stories, but that shouldn’t be the deciding factor in which stories we tell or how we tell them. Yes, a show needs to be dramatic and entertaining in order to retain listeners but that needs to be balanced with journalistic integrity. And yes, it feels great when you get emotional tape and spicy rumours, but not at the risk of abandoning our duty of care.

Listen to Meera’s Podcast Recommendations:

Check out these episodes for more insight to ethical considerations in podcasting…

Ep 3 | Podcasts —> TV = Big Money? ¯\_(ツ)_/¯

This episode of Shameless Acquisition Target explores the podcast to TV phenomenon if you want to delve into it a bit more. Laura Meyer’s show has received lots of praise for its look at the podcast industry. Listen on your podcast app >>

Lights Out – ‘Accounts and Accountability’

Lights Out is a new show on BBC Radio 4 that explores a different topic each episode and encourages people to take a close listen. In this episode,  a documentary-maker hosts an open-call audition for subjects to star in her next project. Accounts and Accountability offers a dive into the ethics of buying and selling true stories. Listen on your podcast app >>

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Meera is an award-winning Producer and Content Development Exec. She was selected as one of the Rising Stars of 2022 in the British Podcast Awards, was named Best Entertainment Producer in the 2022 Audio Production Awards, and has won two Lovie Awards. Meera has produced stories for the BBC, Sony Music, Universal, UK Parliament, Waitrose, and other well-known brands. Meera is Ambie nominated, and has had her work featured in The Guardian and The Times and selected as one of Spotify’s Best Episodes Of 2021.

The post Ethics and Entertainment: What should be driving editorial choices? appeared first on POD BIBLE.

We caught up with Sophie to learn how she works with clients, uniting fans through content and why she loves working in audio.

What do you personally like about audio and podcasting?

For me, audio and podcasting are just so intimate and unique. The first-person communication style is different to any other media; the way the brain processes audio contributes to an incredibly strong relationship between audience and broadcaster. With podcasts, this is amplified even more. Think about the power of consuming podcast content: headphones, alone, directed straight into the listeners ears.

What I love the most is the unstuffy, unscripted, authentic nature of many different genres in podcasting. You genuinely feel like you are part of a two-way conversation with the host compared to watching or listening to other types of broadcast content. Being able to consume content using your senses and building an image of what that audio “looks like” using your own brain is hugely powerful.

I also think it’s a hugely flexible and accessible medium, and that’s really important. The flexibility of podcasting gives space for niche topics that wouldn’t have a platform elsewhere. It’s also much faster and cheaper to create audio compared to other types of media.

What do you consider when taking on a new project or client?

We always start with the client’s overarching communication or marketing objectives. Once we understand what a client is trying to achieve and why, we can get moving with our creative response. For example, if it’s a sport related project, are we targeting existing fans or engaging with new fans globally? What can we do that’s different? Audio solutions and podcasting are limitless tools and should build on existing content strategy – not just try and replicate what’s already available out there!

The bottom line is, we are unlocking the power of audio to engage more deeply with fans and reach new audiences, so clear strategy is super important for any project.

Then comes all of the elements that make up brilliant podcasts, from hosts and presenters to guests, audio branding, distribution, and marketing of the content. In many instances we are also working with integrating a commercial partner, and the Voiceworks team is made up of experts with plenty of commercial radio experience, which gives an invaluable steer on strategy.

As a company you seem very fan focused, but we’ve seen that sports fans can sometimes be very polarised when it comes to content, coverage, social issues. Is this something you have to keep in mind with your role?

Rights holders do face a challenge, there’s no doubt about it. How can they create an authentic and interesting product, while also creating content that avoids criticism of the team, manager, or players when (on occasion) it might be warranted?

The solution is thinking more broadly and using audio as a way of uniting fans by delivering content that isn’t already being served to them elsewhere. Podcasting is a freer form, so we can really shake up the game in that sense.

We look to cater for everyone, that’s a benefit of podcasting – limitless bandwidth for content, which means that no niche needs to remain unserved. We welcome all perspectives that are respectful to others, and of course is suitable for our brand and sponsors.

Both the audio industry and the sports industry have a big gender disparity, and yet podcasting is proven to serve audiences that have been undervalued in other media. Do you think audio is well placed to engage these audiences?

I really do believe that audio is a safe space to find “your tribe” – be that gender related, sport related or any other niche you may have. It’s an ocean of opportunity that is accessible to everyone and can go a long way in engaging underrepresented groups.

Podcasting is a great place to redress the imbalances we see elsewhere but there is definitely still a way to go. That being said, there are no commissioners to say yes or no to an idea, unlike other forms of broadcast media. This allows podcasters to be more daring and creative in their choice of topic, which means that podcasting can go a long way in connecting like-minded audiences across the world.

If you have access to a USB, mic, and internet you are free to experiment with podcasting – it really can be that easy. This gives the space for many people to try out their ideas as the entry levels are low in comparison, to say, making a film.

Podcasting also has much more parity across all genders. In terms of sport, what could have been just one sentence on a national sports radio station can become a whole podcast series delving deeper into, say women’s football, with a super engaged audience.

There are some interesting stats out there that show just how well-placed audio is to engage underrepresented audiences. The recent Sounds Profitable Creators Survey found that podcast creators are still overwhelmingly male; however, there is far less bias towards white men than in traditional media because of the lower barrier to entry. What’s really interesting is that the podcasting space is far more ethnically diverse than the population. The theory is that those who aren’t seeing/hearing themselves represented in popular culture are creating their own media and filling the void, which is testament to how inclusive and accessible the medium is.

What is something you haven’t tried with Voiceworks Sport yet but would like to?

We are all, obviously, huge sports fans here at Voiceworks Sports and live sport audio is a great opportunity for us. Beyond this, owning the audio rights to global events would be incredible.

We’ve done a lot of work on short form audio content delivered via smart speakers but want to really crack the code of how to improve discoverability and user experience via voice. There’s so much opportunity within audio and the market is constantly evolving, so we’re heading in the right direction with all the exciting future projects that lay ahead.

What is the most valuable lesson you have learned in your role?

That’s the golden question… I’d say think big, have a clear plan, and move fast.

When we launched Voiceworks Sport, the Sport Social Podcast Network wasn’t even in our roadmap, but we saw an opportunity which married perfectly with our knowledge of creating great audio, audio technology and how to integrate commercial partners into content. Many rights holders are now putting audio in the ‘must have’ instead of ‘nice to have’ box, which just goes to show how audio really is a secret weapon waiting to be unleashed, and that gives us the momentum to go even bigger and better.

The post Sophie Hind: Managing Director at Voiceworks Sport appeared first on POD BIBLE.

My tips below are born out of the research that makes Audio Audit’s quality checking tool. Of course, if you want the quickest way to find out what’s relevant to your show, head over to audioaudit.io and upload your latest episode. Your report gives you a score and offers guidance on how to use various tools to make the recommended enhancements. Hopefully, you’ll find something that you hadn’t thought about to help you delight your listeners.

1. Improve your metadata

You’ll be used to setting your episode title and show notes for each episode — this goes in the feed — but there’s metadata that can be included in the audio file itself. Why should you care about this? Well sometimes your audio file will be played by someone that’s not using a podcast listening app. People may share the individual MP3 file with a friend or they may download it on their PC. There are also things you can include that are not part of the RSS podcasting standards.

A cover image is essential branding for podcasts so why not embed this so it can be displayed outside of podcast apps? You can even create episode-specific artwork so it’s slightly different each time – for example with photos of your guests. VLC, FFmpeg and others can handle this for you.

Chapters help listeners find a particular part of your show. Maybe you cover several different stories or topics per episode. Breaking your episodes down into sections can make it more digestible and less daunting for longer shows. Some good tools for this are Forecast, Chapter and Verse – find out more here.

Finally, there are a bunch of other text fields — things like copyright info, artist names, show name, and web address, that you probably always want to be attached to every audio file. Most DAWs, VLC, Picard and many other tools will easily let you set text metadata.

2. Check your loudness and peak volume

One thing that can be really annoying is when one podcast finishes and another one starts with much louder or quieter volume. There is a standard way of measuring loudness called LUFS, which outputs a number. Platforms have agreed upon what range this should be but surprisingly few people know how to set it correctly.

Peak volume is another type of measurement, which has an agreed standard and can help ensure levels aren’t clipping. Most DAWs have an option for setting loudness, for example in Audacity it’s under “Effects” > “Loudness Normalization”. -16 LUFS should be the perceived loudness target you’re aiming for. You’ll want to run this normalisation as the final step before exporting.

3. Check your sampling and export settings

Often people will go with whatever defaults their DAW suggests or will set things up once and not re-asses. Audio software can be used for many different types of content and there is a trade-off to be had of quality vs. download time, device storage, and hosting costs. This also skews slightly over time as the average internet speed increases. Most podcasts will sound great if they’re within the most common ranges shown below. If your show is specifically about high-res audio or you have a listener base that is on slow internet then obviously adjust accordingly.

• Sample rate: 44100 Hz or 48000 Hz.
• Sample Width / Bit Depth / Sample Size: 16 bit for export but it’s better to use a higher bit during editing.
• Bit Rate: 128 kbps – 256 kbps MP3.

4. Provide transcripts

More and more podcasts are producing transcripts as part of their show notes. These can be quickly generated via AI speech-to-text tools or human freelancers you can hire online. There are several benefits to producing transcripts:

1. SEO (search engine optimisation) — Search engines are primarily building their indexes based on text. Converting the content you’ve already made into a different form opens you up to different audiences. People might not be looking for podcasts specifically but find you because they match with the topics you discuss.

2. Hearing restricted — Some people have impairments, others find it easier to understand content when it is written down. A transcription opens your show up to people that wouldn’t engage with it otherwise.

3. Navigating within an episode — More advanced transcripts are time-stamped allowing listeners to find a keyword and decide where to start listening. This can also be a life-saver if you are adding chapters to your episodes.

5. Consider silences

Sometimes one show can run into another and the listener might hear an abrupt transition. Silences at the beginning and end give your content space to breathe. Slowing down and leaving your listener time to absorb what you have said might work well especially if your content has a narrative. This is a technique used in highly produced, highly scripted podcasts like 99 Percent Invisible. Standards from the audiobook industry recommend 0.5–1 second at the start of a track and 1–5 seconds at the end.

What else?

If you’ve already nailed everything above then here are a few bonus jumping-off points that might peak your interest.

• Compressor — Filter that automatically adjusts volume within a short time window which is great if you
have multiple presenters.
• Band filtering — Cut out high or low frequency noise that isn’t speech.
• Equalisation (EQ) — Boost/reduce certain frequencies of your voice to improve the tone.
• Panning — Spread out each person within stereo space to make it easier for the listener to tell who’s
speaking.
• Noise reduction — Remove artefacts from inferior recording equipment and the environment.
• Sibilance and De-essing — Filters can reduce sounds like “sss” or “shh” which are not pleasant.

Damian Moore is the Founder and CEO of Audio Audit, an automatic benchmarking and proofing tool which checks the quality of your podcast MP3 files, giving you peace of mind before you publish. Find out more at audioaudit.io.

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This article was produced as part of a paid advertising package. To enquire about advertising with Pod Bible email info@podbiblemag.com.

The post 5 Quick and easy ways to improve your podcast appeared first on POD BIBLE.

Can you tell us the origins of Small Wardour – what drew you to this project?

Small Wardour is a new collaboration between Wardour Studios, founded by David Smith, and Small Audio, founded by Carla Herbertson. Before I was at Apple I worked as an Audiobooks Editor and Podcast Producer at the book publishers Penguin, so I got to work on some great children’s books. When I first started we recorded the audiobook editions of the Moomins books by Tove Jansson and we worked with Carla and David on their production and recording. I absolutely loved working with them both and between us we made something that I’m still proud of to this day. After that we often worked with them on various projects and they always brought that amazing creative energy.

I then went on to head up Apple Podcasts in Europe for the next eight years, which was a great opportunity to get an in-depth overview of the market, meet and work with so many amazing podcast creators and see the industry I loved so much evolve. But whilst I really learnt a lot there I always missed the creative side of podcasts and being on the other side of the table. Like a lot of people the pandemic really made me reassess my priorities so when Carla and David launched Small Wardour I knew I just had to be a part of it.

I read recently that podcasts aimed at children are more likely to be listened to with others (whilst the majority of adult listeners listen solo). Is this something you consider?

Yes absolutely! Whilst it’s really great to create shows that children love, there’s something really special about creating shows that the whole family can enjoy together. We know from David and Kim Normanton’s podcast Super Great Kids’ Stories that parents are listening along so we try to make something the whole family can enjoy – I myself listen with my little ones, it’s such a great way for families to bond over some screen-free entertainment together. In both the shows we are producing and the shows we consult on we keep this in mind. It’s a big part of our ethos that we create thoughtful, meaningful content and it’s really very rewarding to create something that facilitates quality family time.

What is the most valuable lesson you have learned from podcasting for children?

To really think about the ease of discoverability and how to do that in the right way. On most podcast platforms it’s the parents who will be doing the browsing and making the choices so it’s important the content speaks to them too.

Do you like to have constant input throughout the process of producing a podcast, or do you prefer your role to be siloed?

At the moment we are a very small team so we all work together on the creative process – especially around the ideas for a new show. Even though the focus of my role is in development and strategy I really enjoy this part of the job! We have a lot of fun bouncing ideas around and work well collaboratively to put the shows together. David is the expert in the studio so it’s him and Kim that do the audio wizardry.

What is something you haven’t managed to do yet, but you would really like to work on?

We’re a fairly new business so there is still a lot to come for us! But I’m really excited about building a meaningful, supportive community around a children’s podcast. A place where parents can connect around a shared love of a show and what it means for their family. This sounds a bit lofty and conceptual but we all know how intimate podcasting can be and the connections listeners can feel towards hosts. I’d love to see if that could be extended between listeners too!

We do try to give people a ‘point of entry’ to help them discover new things. What would you say is the best thing to start listening to as a parent to showcase what you do?

I’d definitely say Super Great Kids’ Stories. It’s actually a Wardour Studios production as opposed to Small Wardour but it’s this podcast that got me back into the world of children’s audio. My little ones absolutely love it and it’s developed a really loyal fan base.

And for children – which episode do you think they’d like to start with?

If they don’t mind a little scare I’d recommend a story with Baba Yaga – she is my all time favourite witch! They could start with Baba Yaga’s breakfast (episode 8). Kim Normanton tells it so wonderfully – we couldn’t stop singing the Baba Yaga song in my house for ages! Otherwise, Tuup’s telling of Anansi and the Drum of Common Sense is more light-hearted and just so much fun!

Listen to the award-winning Super Great Kid’s Stories on Apple Podcasts, Spotify and other popular podcast apps. Find out more about Small Wardour at smallwardour.co.uk.

The post Danni Haughan: Head of Development at Small Wardour appeared first on POD BIBLE.

We caught up with Matt Allen, Managing Director at Digital Bulls, to find out more…

Can you tell us a bit about who you are and what you do?

Matt: I founded The Famous Company, a music services agency in 2010. Over the last 12 years we have worked with artists across the globe, helping them find their sound, reach new audiences and launch their music careers. As a result of various lockdowns the music industry has been hit quite hard so I wanted to future proof the business by diversifying our service offering. We did some research into podcast production and felt it was an obvious next step for us to take.

We launched Digital Bulls a podcast production & promotion agency at the start of this year. My role within the business is as Managing Director.

The Digital Bulls team has a background in the music industry. It’s easy to see how you could step into working in other audio, but what do you like best about podcasts?

Matt: Our team are obsessed with podcasts. Our favourites range from keeping up with the news for me, The Blindboy Podcast for Harry, comedy and food podcast Off Menu for Rachael and wrestling podcast Something To Wrestle for Zaid. I spoke to the team before this interview and this is what some of them said they liked the most about podcasts:

Sol: Podcasts are a great way of learning, they provide lessons on the topics I’m really interested in.

Cameron: I come away from podcasts feeling inspired, creative and motivated. They are a great way to learn more about topics I’m interested in.

Matty: I find podcasts are a great way for me to wind down and distract my mind from life’s daily challenges.

Has there been anything that surprised you about stepping into podcasting?

Matt: I love music, I’ve worked in and around it for most of my adult life, but there’s something about podcasts that I find fascinating and so amazing. Podcasts are a really personally experience. Unlike a show or a lecture where the performer or speaker can react to the audience, whatever you hear in a podcast, it’s the original raw conversation, no changing of opinion based on audience reaction. And despite how many millions of people might listen to the podcast, it’s just you and the podcast when you listen to it. That’s really special – it’s what makes podcasts so personal, raw and most importantly real.

What is something you haven’t managed to do yet, but you would really like to work on?

I can’t really say too much as we have a number of Digital Bulls original podcasts in development but we want to be synonymous with creating socially responsible original podcast content. We’re based in Bristol but work with podcasters across the UK and also in the US. Bristol is famed for it’s wildlife and natural history media content, as is known as the green film capital of the UK, we would love nothing more than to become the podcast city of the UK too – an ambitious plan but we’re going to throw everything we’ve got at it!

What is the most valuable lesson you have learned since moving into podcasting?

That everyone has a story to tell. No matter what their background or who they are, they have something to say. As species we are curious beings, we love learning, and we love interacting with each other. Podcasts became so popular during lockdown as it brought us together in a way that we couldn’t do in person. I think you would be hard pressed to find someone now who hasn’t listened to a podcast – that’s a really great thing.

And where can Pod Bible readers find out more about you?

You can find out more about our services and meet our team at GoTeamPod.com. We can’t wait to hear from you!

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This article was produced as part of a paid advertising package. To enquire about advertising with Pod Bible email info@podbiblemag.com

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Listen offered to share their blog post with us – and we asked Josh a few questions about the reasons behind the post.

Hi Josh! Your blog on the performance of the ‘Ry-Union’ podcast shared an aspect of the podcast industry that is often hidden. What has been the reaction? Have you had much feedback/kickback?

There’s been a positive reaction on LinkedIn with various people in the industry liking the post. It’s reached 1,300 on LinkedIn so far.

Bianca Bush, the Commercial Insights Manager at Acast re-shared the blog on her LinkedIn saying:

A great article from Josh Adley on the latest Sky Bingo and Ry-Union branded podcast performance. Loved evaluating the effectiveness of this on both the brand and podcast and love the podcast itself! I may be bias but 1000% agree with Josh that podcasts are a new media, there isn’t enough data shared on them yet (working on it!) and measuring effectiveness is key to evaluate holistic performance. Josh says it all with this really: ‘Research studies provided valuable insight’.

You wrote this blog because there’s “not enough transparency in the podcast sector.” What else would you like to see other companies share?

Generally speaking, podcast data isn’t as widely available as other content mediums. On YouTube it’s very easy to see how many people watched and interacted with a video. Likewise other forms of social media. With podcasts we tend to hear about the biggest shows globally and how many millions of downloads they get (eg Serial, Joe Rogan etc) but there isn’t much published outside of that. There are many podcasts that look like huge successes (because they have quickly topped the charts and created a buzz around their show initially), but we know that consistency is the key to podcast success and there are undoubtedly tonnes of shows with a huge listenership that many people aren’t aware of, or certainly aren’t aware of how popular they are.

We produce an entrepreneurial-focused podcast for Fiverr called Ninetwentynine, which consistently gets 20,000-35,000 downloads an episode (at just shy of 2million downloads total). It is, however, most likely a good example of a podcast that has been a huge success (with an engaged and dedicated audience each week), whilst not being spoken about as often as the biggest hitters. There are countless articles about Serial but very few about podcasts that aren’t in the top 0.01%. If we can talk about these kinds of podcasts more, we start to create serious value because it’s where most people entering the space should be setting their goals at. By all means look to become the next ‘How I Built This’, but start by consistently doing 30,000 downloads a week! And for those podcasts that to do that – let’s share our stories and how we got there. One very good example is this article by Dan Murray-Serter, which I would argue is more valuable to a budding podcaster than anything you’ll read on Serial or Gimlet.

When it comes to branded podcasts it’s still a fairly small sub-section of the podcast landscape. Growing it is beneficial to all manner of individuals and podcast companies. The more that brands see the value in podcasting, the better for those looking to attract sponsors and fund creative ideas. Not every branded client will be happy sharing the results of their podcast, but for those who are (like Sky Bingo), by sharing that data it should help other brands understand what success looks like. The podcast industry is built around a sense of community. That’s what attracted me in the first place and it’s what attracts so many people to become fans of their favourite shows. If we can take this community spirit one step further and share how we approach projects, what worked and didn’t and what the results were against the defined objectives, then we are helping the podcast community to set more accurate benchmarks, improve understanding and ultimately get more creative ideas made.

Thank you Josh! Read the full blog post:

How did our branded podcast perform?

There’s not enough transparency in the podcast sector. Download numbers aren’t public and appearances don’t tell the full story.
Whilst branded podcasts are growing, it currently relies on ambitious marketing teams, an experienced production agency and a shared belief to green light a project.

The more we share results, our learnings and celebrate successes, the more marketing directors will see the value in originating a podcast as part of their content plans.

With that in mind, I wanted to dig into ‘Ry-Union’ – one of the branded shows we launched in late 2021 with Sky Bingo and YMU.
Between Listen and our Sky clients we ran significant research studies to uncover what worked, how we fared against our objectives, and what we can build on for the future.

The objectives

• Increase awareness of Sky Bingo.
• Deliver everyday excitement, alongside exciting talent.
• Increase brand sentiment.

The method

• Engaging podcast format: reuniting celebrities from the worlds of music, film, TV and entertainment.
• A passionate host who genuinely wanted to ‘own’ the content as his own, rather than seeing it as a branded gig for hire.

Enter one of the UK’s most-loved entertainment presenters, Rylan.

• Strong guests and storytelling (unique stories that haven’t been told before).
• Dedicated PR throughout the series (Carver PR).
• Significant promotion plan (audio ads, talent posting, social ads).
• Bespoke social assets (videos).

The results

• 2 million video views across social.
• +82% engagement rate (vs benchmark).
• +50% uplift for brand awareness.
• +8% brand favourability.
• +9% brand trust.
• ~ 175,000 downloads in the first 3.5 months.
• 87% average consumption rate.
• Consistently in the top 5 Apple Podcasts Society & Culture chart.
• 325 pieces of press coverage including TV appearance on ITV1’s Lorraine and a magazine cover of The Observer).

Stats came from research conducted by On Device and Nielsen (in partnership with Acast).

For a fairly short-run series (10 episodes), these results were incredibly pleasing. Our objectives were met, our promotion campaign proved effective, and the team finished energised about what is next for Ry-Union.

Editorially, research told us which episodes were received best. We also learned a lot about the views and behaviours of those who heard our audio ad (eg recall of podcast, association with brand and talent, brand awareness and crucially that >1 in 2 people would take an action after hearing the ad with circa 50% planning to listen to the podcast).

Summary

There’s nothing game-changing about the strategy on this one:

• Strong talent + engaging content + strategic promotion plan = success.
• Diverse and well-invested marketing in combination with a phenomenal PR job = effective.
• Research studies provided valuable insight.
• And most importantly…. sharing results is a positive thing for the industry.

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