Here's a question I get a lot: why do you only work with three clients at a time?
It sounds a bit like a restaurant that only sets two tables. But the answer isn't marketing mystique. It's arithmetic.
Quality doesn't scale the way we wish it would.
When you hire a producer, you're not buying hours. You're buying attention. And on any given episode, that attention has to cover all of this:
1. I actually listen to the whole recording, rather than skimming a transcript. 2. I cut and shape it like it's the only show I'm responsible for, because for the time I'm working on it, it is. 3. I pull three to five hooks that could survive on their own, not three to five clips that just repeat the same five minutes. 4. I review the final files myself before they reach you. No tier of underpaid hands in between getting the credit for work I should have checked.
That last one is the whole point. In a big agency, an episode routinely passes through six or seven people, each doing a small slice, and none of them accountable for the whole result. That's how you end up with a timestamp that points to nothing, or a clip that runs eight seconds longer than the thought it was supposed to capture. Nobody caught it, because nobody owned it.
Keeping the roster small is the same thing as keeping the standard high.
I'd rather turn work away than turn out something that isn't right. That's not me being precious about my calendar. It's a choice to protect the one thing you're actually buying, which is a show that's been cared for end to end.
So if you're on a discovery call and you hear "I only take three shows," understand what it's really saying. It's a guarantee, in plain language. Your show is going to get one pair of eyes on it, from recording to publish, every single week. That's the trade, and I think it's a good one.
If you want to talk about whether we're a fit, book a discovery call. It's fifteen minutes, and there's no pressure to say yes to anything.