NYONIC/Audio production
Audio — Podcasts, voiceover and post
Audiences forgive a soft image. They do not forgive bad audio — they leave. I spent twenty years mixing commercial work that had to hold up on a laptop speaker, a car stereo and a phone in a loud room, and I take that work on its own now.
A slightly soft, slightly flat image reads as a style choice. Room echo, a hum under the voice, or levels that jump between two speakers reads as amateur, and it is the fastest way there is to lose somebody in the first ten seconds.
It is fixable, and most people never bother, because audio is invisible when it is right. Nobody has ever finished a video and said the mix was good. They just watched the whole thing.
Podcasts have the same problem at ten times the length. An hour of unbalanced, unedited conversation is an hour of small irritations, and listeners quietly stop coming back without ever telling you why.
What actually loses listeners
How it works
Raw tracks, a call recording, or the video with sound attached. Separate tracks per speaker if your setup captures them.
Cleanup, dialogue edit, balance, and a mix built for wherever it actually gets played.
Delivered at the right loudness target for the platform, in the formats you need.
Cover image is an illustration produced in-studio, not a client deliverable. Mixes I have cut are available on request.
Delivered
Pricing
Audio work prices on runtime, on the condition of what you send me, and on whether it is a one-off or a standing arrangement.
A 60-second spot and a weekly 90-minute conversation are different amounts of hands-on time. Runtime is the biggest single driver.
Two clean lav tracks recorded in a quiet room mix quickly. One shared mic in a busy restaurant takes real work, and sometimes cannot be fully rescued.
A single episode prices as a project. A weekly show prices as a standing arrangement, and it costs less per episode because the setup only happens once.
No published rate card, because a rate card either overcharges the small job or underprices the big one. Email me the scope or call and you will have a number, not a meeting.
Questions
The rawest files you have — separate tracks per speaker if your setup records them, and the unprocessed versions rather than anything already run through an “enhance” button. Processing is far easier to add than to undo.
Often, partly. Hum, hiss, background noise and uneven levels are usually fixable. Heavy room echo and clipped, distorted recording are the two that resist, because the information simply is not in the file. I will tell you what a recording can and cannot become before you pay for it.
Yes, and that is the arrangement that makes sense for a show. Once the sound of your podcast is dialled in, every episode after that is faster, cheaper and more consistent.
I record and direct it, and I can cast it if you need a particular voice. I will also tell you when your own voice is the better choice, which for a founder talking about their own business it usually is.
Yes. Anything I put under your project is licensed for how you actually intend to use it, and you get the documentation. Dropping in a track you found on YouTube is how a video gets muted three weeks after it starts working.
Yes, and a lot of this work is exactly that. Send the locked cut and the audio tracks and I will treat it as a post job.
Send a couple of minutes of your worst-sounding audio. I will clean it up and send it back, so you can hear the difference before you spend anything.
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