Publishing automation · Any show, anywhere
Show notes, fact check, vertical clips, artwork cards and a full week of social, all built from the transcript days before release. You read one document and say yes. Everything else is scheduled before the episode is out.
Your show does not have to be recorded at the barn. This works on whatever you already record, wherever you record it.
What you actually do
On the Experience podcast, the entire client involvement in a release is two messages. The first says build episode six. Some days later, after reading what came back, the second says schedule it. That is the whole job.
Everything between and after those two sentences is automated, and everything that carries reputational risk is put in front of a person before it goes anywhere.
How it works
Most publishing problems happen because everything lands in the same hour. Splitting the work into three passes is what stops that.
At edit lock, three days or more before release
From the transcript alone: the episode summary, the show notes, the LinkedIn posts and the social copy pack. It fact checks the episode, picks the moments worth cutting, cuts and reframes the clips from the master, builds the artwork cards and drafts the week of social copy. None of it needs the episode to be public, which is the point. The work moves off release day.
Once a human has read Pass A and approved it
Creates and schedules the episode on the hosting platform, adds it to the website with the player, the show notes and the structured data, schedules the long-form video on YouTube, and queues the week across five social channels. Nothing is scheduled that a person has not read first.
Release morning, on its own
Confirms the feed, the site, the video and every queued post actually landed. It only speaks up if something failed. On the last episode a clip errored on upload at two in the afternoon; the verification pass caught it, and it was live an hour later.
The proof
Episode six of Experience was recorded and released on the same day, 25 August 2026, because the release was called forward. Everything landed. This is what came out of one recording, and what the gates caught on the way.
13
vertical clips, captions burned in
6
artwork cards
5
documents from the transcript
43
posts scheduled across five channels
Before any of them reached the show notes, the website or a single post. Among them a misattributed book title and a policy scheme that does not exist.
Both carried a hypothetical headline naming a real company. In context it was clearly hypothetical. Out of context, on a muted scroll, it read as a real claim.
On release afternoon one clip errored on upload to YouTube. The verification pass found it, and it was live an hour later. Nobody had to be watching.
Every figure on this page comes from the run reports for that episode and can be shown to you.
The check metadata cannot do
Experience is a vision mix. The picture cuts between single shots of each host and a wide two shot of both. A fixed centre crop keeps the middle third of the width, which looks right on a single shot and lands in the gap between the hosts on a two shot.
Correct length. Correct aspect ratio. Captions burned in. Queued against the right channels. Every automated check passes, because nothing that reads metadata can see the picture.
So the pipeline runs a face detector across the finished file and counts faces frame by frame, and a contact sheet goes in front of a person before anything uploads.
That is one of a set of gates built over six episodes of running this show properly. Each one exists for a reason, each one is written down, and we will walk you through the lot in a first conversation. It is a more useful document than any feature list.
If you already record with us
We already know your show, your brand and your channels, so there is no onboarding to pay for. The publishing layer simply attaches to whatever you book.
Add it to any recording package
Bolt the whole publishing and promotion layer onto a session, a Content in a Day, a Launch or a Series booking. No onboarding fee, because we already know your show.
Available on any recording booking, one-off or ongoing.
Ask about this →The Series, published
A monthly recording day at the barn and the whole publishing layer on top. The show gets made and shipped without you touching release day.
Buying the two separately comes to £1,390 a month. Thirty days notice, same as The Series.
Ask about this →If you record somewhere else
Send us the locked edit and the transcript and the pipeline does the rest, wherever in the country you record. Onboarding is £450 plus VAT, once, covering account connections, voice calibration from your published copy, and the first supervised run.
Publish
The publishing chain only, for a show that already has its artwork, its clips and its voice sorted.
£240 a month on a fortnightly show, £480 weekly.
Ask about this →Publish and Promote
Everything in Publish, plus the whole promotion layer built from your transcript at edit lock.
£590 a month on a fortnightly show, £1,180 weekly.
Ask about this →If you want to own it outright
We build the pipeline against your own accounts and tooling, run it alongside your team for three episodes, then hand over the scripts, the credentials and a written runbook. For agencies and in-house teams who would rather have the capability than the service.
Agencies planning to run several shows on it should talk to us about licensing instead. That is a different conversation and a different price.
Add-ons available on any tier: Facebook group distribution paced through a real logged-in browser, extra channels, and ad-hoc episodes outside the schedule. Thirty days notice on anything recurring.
Who it suits
The pipeline does not change much between these. The reason for buying it does.
Release day is a scramble, and the promotion either happens badly or does not happen. You record and edit. You read one document and say yes. Everything else is already scheduled before the episode is out.
Publishing is unbillable time that scales with every client you add. Moving the work to edit lock is what stops every release colliding in the same window. One producer can carry several shows. Licensing and white-label are worth a separate conversation.
The content exists. It just never gets cut up and distributed consistently, and nobody owns it. One recording, five channels, a week of posts, and a written record of what published where.
A publishing obligation with a fixed date and a small team. It goes out on the day, and if it does not, somebody knows within the hour rather than the following week. Boards tend to like the audit trail.
Worth saying plainly
Experience, hosted by Hilary Jeffs and Peter Kinderman, six episodes published. Every figure on this page comes from that show, and the run reports are yours to inspect.
We are opening it to a small number of shows beyond that. Being early means direct access to the people who built the pipeline, a say in what it does next, and a level of attention that will not survive the tenth client.
The obvious questions
Tell us about your show
Cadence, format, where it is hosted, which channels matter. We will come back within a working day with a price and an honest read on whether this is a fit. If your show is single-camera and simple, we will tell you that too.
Your enquiry has landed.
James reads every enquiry personally. You will hear back within a working day with a price and an honest read on fit.
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Publishing automation
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