PodcastAds

FOR BRANDS SPENDING $20,000+/MONTH ON META

Get 25–50 New Ads In 2–4 Weeks Without Writing A Single Brief.

Street interviews, UGCs, and podcast ads. Finished, uploaded, and running in your account before your next creative meeting.

SHOW ME WHAT'S BLEEDING →

Less than 17 minutes on average. No pitch.

AD 01 · LIVE · CREATIVE LIFESPAN

Your best ad has
about 60 days left.

What's behind it?

DAY 0 New Ads Launched

DAY 30 Frequency climbing · CPA +40%

DAY 60 Nothing queued behind it

THE REAL PROBLEM

It was never
your targeting.

You've already checked. Probably twice.

Audience didn't change. Auction didn't change. Offer didn't change. You pulled the three levers everyone pulls, the number moved for about a week, then settled back exactly where it started.

01 Audience.

02 Budget.

03 Bidding.

In that order. Every time.

Here's what nobody says out loud. The only variable that's been constant all year is the kind of thing you're putting in front of people.

That's the one lever nobody touches, because touching it means changing how you make ads instead of how you buy them. So they don't. They make ten more versions of the format that already died, and hit the same wall two weeks sooner.

HERE'S WHAT THE GAP ACTUALLY COSTS.

You're paying media rates
to stay on a creative treadmill.

THE SECOND WEEK OF THE MONTH

3.2 Frequency

+40% CPA

3 Ads ready

You know exactly what's happening.
You know exactly what fixes it.

What fixes it is 25 new ads.

You have three. Two of them are variations of the one that's dying.

$20,000 a month in spend

3 WEEKS to replace a dead winner

$15,000 pushed through creative you already know is finished.

That happens four times a year. Call it $60,000 spent on ads you would have switched off.

That isn't a production budget problem.
That's media budget you're burning because production couldn't keep up. And it compounds. Every week the account runs on a fatiguing asset, frequency climbs, CPMs climb with it, and the audience you'll need for the next winner gets a little more tired of you before it ever sees one.

THE BOTTLENECK

You're not slow at making ads.
You're slow at finding the winner.

You already know roughly 25 variations gets you one or two that hit. That's not a theory. It's how you've run for years.

25 ADS

3 ADS / WEEK

8 WEEKS OF PRODUCTION

25 ads at three a week = 8 weeks of production

Your winners live about 60 days. By the time the last batch goes live, the first one is already dying.

By the time the last batch goes live
the first one is already dying.

You never have 25 ads competing.

You have three, then three more, each batch testing against a baseline that has already moved.

That's not a test.
It's a treadmill.

CREATIVE TESTING

CLICK TO WATCH ↗

AD 06 LIVE CREATIVE

THE WINNING AD

One creative
changes everything.

The winner isn't the ad that looks the best. It's the one that makes people stop, watch and act.

3.8x ROAS

42% LOWER CPA

2.4M IMPRESSIONS

WINNING AD CREATIVE #17

WHAT THAT ACTUALLY CHANGES.

More test surface.
More output.
Less waiting.

8x the test surface.

25 live at once instead of three.

Three ads live at a time isn't a test. It's a queue. With 25 running against each other in one window, the winner shows up in a single read instead of six.

8x the output per cycle.

25 ads where a production company hands you three.

One test becomes a portfolio. Same calendar window, radically more creative surface.

Same-week scaling.

Not next-cycle scaling.

Something hits on a Tuesday. Everyone else puts the variants in the next production cycle. Ours run that Friday.

Your competitor is testing three.
You'd be testing twenty-five.

THE FORMATS

You could shoot these
on a phone.

That was never the hard part.

Street Interviews

Shot in public with nothing staged. The credibility is structural because the person answering isn't the one selling.

UGC

The format your buyer already trusts, made properly and at volume.

Podcast Ads

Real conversations around something that worked. Native, credible and deliberately different from traditional ads.

No set builds. No studio days. No lighting rigs.

People kill an ad in the first second because they recognise its shape. None of these have that shape.

THE ACTUAL BOTTLENECK

Equipment wasn't
the problem.

The bottleneck was three other things.

Casting.

Finding people who don't read as actors. Every project, from scratch. That's two to three weeks before anyone rolls.

Angles.

Knowing what the person should actually say. That's research, not production, and it's the part that decides whether the ad works.

Post.

Twenty-five ads is twenty-five edits. Contract that out and you're queued behind three other clients.

WE REMOVED ALL THREE.

Actors on retainer, not cast per job.

Angles mined from your market before we roll.

Editors in-house, not contracted.

You approve the direction, and your notes on any ad get actioned the same week. We just don't make you write the briefs to get there.

Nothing gets booked
because nothing is ever released.

That's why nobody else quotes you this timeline. Matching it means carrying a roster and an edit bay against no guaranteed volume, and an agency billing per project has no reason to hold that cost.

SHOW ME MY WORST AD Less than 17 minutes on average. No pitch.

THE CREATOR CONTENT LOOP

Twelve steps
to three usable videos.

The format works. Your buyer trusts it.
That was never the problem.

Find them

Hours in a marketplace or scrolling profiles. Most never reply.

Vet them

Do they look like your buyer? Can they hold a camera? Have they done this before? You find out after you have paid.

Negotiate

Rate per video, usage rights, whitelisting, exclusivity. Every creator. Every time.

Ship product

Cost, tracking, and one to two weeks before they even have it in their hands.

Write the brief

Hook, angle, talking points, what to avoid. Per video. There goes your afternoon.

Wait

A week. Sometimes three. They have a day job and you are not it.

Watch it back

Audio is off. The angle is not what you asked for. The delivery is stiff in the one place it needed to be natural.

Ask for revisions

Another round of notes, another week, and a creator who is noticeably less enthusiastic than they were.

Take what you get

Two, maybe three usable videos.

Test them

One does okay.

It fatigues

Sixty days, give or take.

Go back to step one

The cycle starts again.

4–6 WEEKS. Creator fees. Product. Shipping. And a real piece of your own week. For three videos.

WHAT WE ACTUALLY REPLACE

We're not replacing UGC.

We're replacing steps one through nine.

OLD Find → Vet → Negotiate → Ship → Brief → Wait → Review → Revise

→

US Approve one direction → 25–50 finished ads

You approve a direction once. Twenty-five to fifty finished ads arrive. Your notes on any of them get actioned the same week.

WHY WE BUILT IT THIS WAY

I've been
on both sides.

When I was creating, the brief would land in my inbox saying "make it feel authentic," and that was the whole thing.

No angle. No research. Nothing about who was watching or what they already believed.

I'd shoot what I thought they meant, send it over, and wait. Three rounds of notes would come back, and every round said the same thing underneath the words:

This isn't it, and I can't tell you why.

I could do the work.
I was never given enough to do it well.

Then I ended up on the other side, sourcing creators for a brand, and it turned out the answer was a founder at eleven at night, writing a brief for a video she needed three weeks ago. So I started at the top of that same list. Eleven days went into finding one person who looked like their buyer and could hold a camera steady. After that came the rates, and once we'd settled those there was usage rights, and then product to ship and a week of waiting for it to land. By the time anyone was ready to write the brief, there was nobody left to write it but me.

Three usable videos. Six weeks. A piece of every single week in between. And because creative dies at around sixty days, we started the whole thing again before the quarter was out.

That's the part that stays with you. Not that anyone failed, but that everyone did their job properly and it still took six weeks to get three videos. Nobody in that loop was doing anything wrong. Not the creators, not the brand. The process itself was the cost, and both sides were paying it. Which is why I stopped trying to work faster inside it and built something that removes it. Actors on retainer instead of cast for every job. Angles researched before anyone rolls. Editors sitting in-house rather than queued behind three other clients.

Brands stop writing briefs.
Creators stop guessing.

And nobody spends eleven days looking for one person again.

[ GLENYS ] FOUNDER

THE SPEED ADVANTAGE

Three stages
become one.

That is the entire speed advantage.

GETTING TO A FIRST SHOOT

THE OLD WAY

1. Scope, quote, contract 1–2 weeks

2. Cast talent, scout locations 2–3 weeks

3. Wait in the edit queue 2–4 weeks

WITH US The roster is already booked.

GETTING 25 TO 50 ADS

THE OLD WAY

1. Shoot three videos One shoot, one batch

2. Write the next brief Your desk, your time

3. Book another shoot Restart the cycle

WITH US One session.
25 to 50 ads.

REPLACING A DEAD WINNER

THE OLD WAY

1. Notice it died Usually a week late

2. Brief a replacement Back to your desk

3. Wait for the next cycle 2–6 weeks of nothing

WITH US Already live
and scaling.

HOW IT RUNS

From teardown
to reload.

DAYS 1–3

Teardown and angle map

Which of your live ads are fatiguing. Which are already dead and still spending. Which of your problems aren't creative at all.

Then we mine your reviews, your sales calls, and every ad your competitors currently have live. What's saturated, what's been tried and abandoned, what nobody is running.

WEEK 1

First ads live

Not concepts. Not scripts. Uploaded and running.

WEEKS 2–4

All 25 to 50 live

Street interviews, UGCs, and podcast ads, cut from the same shoot days.

EVERY MONTH AFTER

The reload

Ten to fifteen new ads, so the replacement is finished before the current winner fades.

ANY DAY SOMETHING HITS

We hammer it.

Then we mine your reviews, your sales calls, and every ad your competitors currently have live. What's saturated, what's been tried and abandoned, what nobody is running.

OPERATORS WHO'VE RUN THEM.

Don't take our word
for it.

“They're just more engaging. People sound much more natural. It comes off as more of an authority.”

DR. RYAN Bookkeeping & Tax

“It just looks super native. It doesn't look like an ad.”

AUSTIN DTC Supplements

“We have a media buyer in our business, and he recommended you.”

JOZEF Info Products

“I saw your ad. This makes sense.”

DR. RYAN Bookkeeping & Tax

THE PROMISE

We work until
you get results.

Every agency in this category takes the money upfront, ships a deliverable, and calls that the job.

We don't stop at a deliverable. We keep producing until your numbers move.

No tiers.

No thresholds.

No fine print about which bracket you fall into.

If the creative hasn't beaten what you were running before,
we're still working.

START THE TEARDOWN →

Month to month. Cancel any time.

The brands that win in 2026 aren't running better ads. They're testing more formats. Podcast ads is the hottest format right now.

[ 100+ HAPPY CLIENTS ]

"We generated over $50,000 in revenue with that one podcast ad it was the one we least expected to work"

HASSAN

IS THIS FOR YOU?

Built for brands
already spending.

THIS WORKS IF YOU'RE ✓

Spending $20,000+ a month on Meta
Already converting, so your offer and funnel work
Watching winners die every 60 to 90 days
Capped well under 15 new ads a month
Willing to test a format your account has never run

THIS DOESN'T WORK IF YOU'RE ×

Below that spend
Still looking for product-market fit
Hoping for one hero ad instead of a pipeline
Planning to change your offer, landing page and media buyer at the same time as your creative

That last one isn't fine print. If everything moves at once,
nobody can tell whether the creative worked, including you.

THE MODEL

One client
per category.

We build angles out of your market. We're not selling those angles to the brand bidding against you for the same impressions.

Once a category is taken, it's closed. For the length of the term.

LIMITED PRODUCTION

7-12 MAX
production slots
a month.

2-3 Per Week

A standing roster is still a finite one. Every slot is a shoot day already paid for.

When the month is booked, the next opening is the month after.

CURRENT AVAILABILITY 10 of 12 left for AUG

QUESTIONS

You probably
have a few.

Couldn't we just shoot these ourselves? +

You could shoot them. You'd struggle to cast them, and you'd struggle to edit twenty-five of them. That's where the time goes, not the filming.

How is this different from hiring a UGC creator? +

Same format, different supply. A creator sells you one video at a time, off a brief you wrote, on their schedule. We run UGC as a production line, alongside street interviews and podcast, from a roster that is already booked. The difference shows up at ad fifteen, not ad one.

Why not just double down on what's already working? +

Scaling a fatiguing creative raises frequency against a worn-out asset. It works right up until it doesn't, and the harder you push, the faster that happens.

We already run UGC. Does this replace it? +

It replaces the way you buy it. Most brands are getting UGC one video at a time from whoever is available, which is why it plateaus at okay. Same format, produced at volume against angles mined from your market, behaves completely differently.

Twenty-five ads in a few weeks, really? +

Really. It isn't speed of work, it's absence of setup. No casting cycle, no location scout, no edit queue. The roster is already booked when you sign.

What if it doesn't work? +

We keep working. That's the guarantee. We don't stop at a deliverable, we stop when your numbers move.

What does it cost? +

It depends on volume, not on your ad spend. We quote off how many ads you need a month, not how much you're putting through Meta. That number comes out of the teardown.

Who's on camera? +

Actors on retainer, creators from an established roster, and people sourced specifically for the angle and market.

Do you manage our media buying too? +

The creative production system is built to work alongside your existing media buying team. Media buying scope can be discussed during the teardown.

START HERE

Find out which of your
creatives is actually bleeding.

Less than 17 minutes on average. We pull up your live ads, show you exactly which ones are bleeding and what it's costing you, and you leave with the teardown whether you work with us or not.

SHOW ME WHAT'S BLEEDING → Less than 17 minutes on average. No pitch.

DISCLAIMER: This site and the content on it are owned and operated by Podcast Ads LLC. Every business is different and results depend on your offer, your market, your budget, and your execution. Nothing on this page is a guarantee of revenue, return on ad spend, lead volume, or any other business outcome. Any figures, case studies, or client results shown are specific to those clients and are not typical, average, or promised. Podcast Ads LLC does not provide legal, tax, accounting, or investment advice.

This site is not part of, endorsed by, or affiliated with Meta Platforms, Inc., Google LLC, YouTube, TikTok, Spotify, or Apple Inc. All trademarks, podcast names, show titles, and logos referenced remain the property of their respective owners and are used for identification only.

Get 25–50 New Ads In 2–4 Weeks Without Writing A Single Brief.

Your best ad has about 60 days left.

It was never your targeting.

You're paying media rates to stay on a creative treadmill.

What fixes it is 25 new ads.

That happens four times a year. Call it $60,000 spent on ads you would have switched off.

You're not slow at making ads. You're slow at finding the winner.

That's not a test. It's a treadmill.

See the ads. Not just the numbers.

Winner

Creative Test #02

Creative Test #03

Creative Test #04

Winner

Winner

One creative changes everything.

More test surface. More output. Less waiting.

8x the test surface.

8x the output per cycle.

Same-week scaling.

You could shoot these on a phone.

Street Interviews

UGC

Podcast Ads

Equipment wasn't the problem.

Casting.

Angles.

Post.

Nothing gets booked because nothing is ever released.

Twelve steps to three usable videos.

Find them

Vet them

Negotiate

Ship product

Write the brief

Wait

Watch it back

Ask for revisions

Take what you get

Test them

It fatigues

Go back to step one

We're not replacing UGC.

We're replacing steps one through nine.

I've been on both sides.

I could do the work. I was never given enough to do it well.

Brands stop writing briefs. Creators stop guessing.

Three stages become one.

From teardown to reload.

Teardown and angle map

First ads live

All 25 to 50 live

The reload

We hammer it.

Don't take our word for it.

We work until you get results.

If the creative hasn't beaten what you were running before, we're still working.

The brands that win in 2026 aren't running better ads. They're testing more formats. Podcast ads is the hottest format right now.

Built for brands already spending.

One client per category.

7-12 MAX production slots a month.

2-3 Per Week

You probably have a few.

Find out which of your creatives is actually bleeding.

Your best ad has
about 60 days left.

It was never
your targeting.

You're paying media rates
to stay on a creative treadmill.

You're not slow at making ads.
You're slow at finding the winner.

That's not a test.
It's a treadmill.

See the ads.
Not just the numbers.

Creative
Test #02

Creative
Test #03

Creative
Test #04

One creative
changes everything.

More test surface.
More output.
Less waiting.

You could shoot these
on a phone.

Equipment wasn't
the problem.

Nothing gets booked
because nothing is ever released.

Twelve steps
to three usable videos.

I've been
on both sides.

I could do the work.
I was never given enough to do it well.

Brands stop writing briefs.
Creators stop guessing.

Three stages
become one.

From teardown
to reload.

Don't take our word
for it.

We work until
you get results.

If the creative hasn't beaten what you were running before,
we're still working.

Built for brands
already spending.

One client
per category.

7-12 MAX
production slots
a month.

You probably
have a few.

Find out which of your
creatives is actually bleeding.