Freelance Rate Card

The Producer takes a hands-on role, working directly with the content to build the podcast, making it an essential role for all podcast projects.

A Producer takes on an organising role under the Executive Producer and/or Senior/Supervising Producer. They liaise with presenters and journalists to create content, or can work independently as creators.

They are responsible for booking guests and conducting pre-interviews. A Producer writes interview questions, often in collaboration with a researcher or a journalist. They work with other team members to create scripts or assembly edits.

A Producer may conduct interviews with or without a presenter, write scripts, create assembly edits and provide editorial feedback.

A Senior or Supervising Producer provides guidance and support to producers. Typically, they’re producers with a higher level of experience, often across different styles of podcasts, meaning they’re expected to be able to navigate complicated reporting, storytelling, ethical and logistical issues that may be present during a production.

Senior or Supervising Producers are most often used to provide highly specific feedback and support to Producers. This may include decisions around format, duration, guests and voices, the scope, framing and focus of stories, use of sound and language, and especially detailed notes on scripts and audio drafts.

The role of the Executive Producer is to broadly oversee a production and to shape the content, team and roles, schedule and resources accordingly.

An Executive Producer will propose/pitch original ideas and develop concepts. They will think about the podcast’s goals, the audience, how the podcast fits in with similar media, and how it aligns with a publisher or network’s broader output. They’ll often be responsible for advocating for, negotiating, or directing marketing and promotional support, as well as partnerships, advertising and monetisation strategy of a project.

An EP gives feedback and direction on editorial, audio and creative aspects of a production.

An EP will have familiarity with media law, but if they are concerned about risk then they would pass responsibility to a legal professional.

A Story Editor works with a Producer to refine the tone, content and structure of a story, episode or segment.

Their work often starts in the pre-production phase, where they help conceptualise the goals of a story. Throughout the process they will consult with journalists and researchers to ensure that a story is accurate, compelling and complete.

A Story Editor will provide feedback for scripts and assembly edits, and may suggest conducting further recording or reporting, fact-checking, follow-up research, and re-writing.

A Researcher is assigned a topic by the Producer and investigates this topic thoroughly. They create a summary, and proposes appropriate interview subjects.

A Fact-Checker verifies all assertions within a podcast for accuracy and fairness. A Fact-Checker would typically have a background in journalism, and it’s expected that they have a strong understanding of media law.

At its core, the job of a Journalist is to gather, write and prepare stories for a news medium.

We have not stated the rate for an audio/podcast journalist because they operate their own group.

A Podcast Presenter is a versatile performer with the gift of the gab. A Presenter may work with guests, they may discuss a particular topic, or they may have a conversation with other hosts. Our rate is for a non-celebrity presenter.

A Studio Engineer operates a recording studio or a live broadcast studio. In the field of podcasting, they are also responsible for facilitating remote recordings/tape syncs. A Studio Engineer uses their expertise to make clear, consistent and intelligible recordings.

A Tape Sync is an audio producer who travels to an on-site location and records one side of a remote interview, sending the resulting files to the client soon after the recording.

Tape Sync operators typically arrange their own transport and provide their own equipment. They ensure the remote guest is comfortable, that the environment is suitable for recording, and that communication between interviewer and guest is optimal.

On occasion, they may be asked by the client to suggest additional questions or collect extra location sounds relevant to the production. The Tape Sync operator is typically expected to record 30-60 seconds of representative ‘silence’ (room tone) to support complicated edits.

A Sound Recordist facilitates field recordings. They are responsible for sourcing and setting up equipment and trouble-shooting technical issues. They use their expertise to make clear, consistent and intelligible recordings in a wide variety of challenging conditions.

An Audio Editor is responsible for cutting and cleaning dialogue. This may involve assembling a collection of raw audio into a story with the aid of a script, or working from an assembly edit. The Audio Editor smooths transitions, removes filler words, and improves spacing and timing.

A Sound Designer establishes the sound and feeling of a show, episode or segment. They may be involved in early editorial decisions, influence the recording process, or they may work from a finished dialogue assembly.

A Composer writes original music for a podcast. They often work from a dialogue mixdown, or they might work with the Producer or Sound Designer to create a range of musical pieces that can be regularly incorporated into a show.

A Mix Engineer will take a pre-existing session and improve balance, intelligibility and consistency. A Mix Engineer improves recording errors and poor edits and enhances audio recordings for intelligibility and artistic effect.

A Mastering Engineer prepares an audio recording for distribution on different forms of media, including online distribution platforms, by ensuring that all audio specifications are met. These specifications include loudness standards, file formats and metadata. A Mastering Engineer uses their creative skill to finesse and polish a recording.