Hangar Studios, the New York podcast production company founded in 2009, has detailed how it produces shows for clients across six continents, combining remote sessions run from its Midtown Manhattan facility with on-location crew deployment to client offices, conferences, and event venues.

The studio frames the capability around a specific belief rather than a service list. Its trademarked slogan, Speak Freely, refers to the fact that only about 15 percent of the world's population enjoys genuine freedom of speech. Podcasting, in the studio's view, handed a microphone to people who were never going to be given one, and producing for a global client base is the practical expression of that.

"When we started in 2009, podcasting was still a strange thing to do, and hardly anyone who looked like me owned a studio," said Jennifer Chernicky, founder and CEO of Hangar Studios. "What kept me in it is that the medium does not ask permission. Most of the world does not get to speak freely. Anyone who does has an obligation to say something worth hearing, and our job is to make sure it actually gets heard."

How a session reaches six continents

Two of the studio's three production modes carry the global work. Remote production runs on Riverside or Zoom, with an engineer in the session, a guest preparation deck sent to every participant in advance, and a tech-check call where guests join 15 minutes early to confirm connection, sound, and equipment. On-location production deploys the production team and broadcast-grade equipment to a client site, with a pre-production site survey for venues the team has not worked in before.

Both modes deliver the same Pro Tools session structure a client would receive from a studio booking in Midtown. That consistency is the point. A show recorded across three time zones in a single season should not sound like three different shows.

Reach is a goal, not a byproduct

The studio draws a hard line between global distribution and global reach. Publishing an episode to the major platforms makes it technically available everywhere. It does not make it heard anywhere. Reach is a goal a show has to be built toward from the first format conversation, and it is measured the way the studio measures every goal, in episodes and seasons rather than calendar months.

For clients whose objective is international audience growth, that shapes concrete decisions. Guest selection widens beyond a single market. Recording blocks are scheduled around the time zones where the audience actually is. Short form clips of 60 to 90 seconds and audiograms are cut for the platforms that dominate in those regions rather than only the ones that dominate in the United States. The marketing assets are part of the work, not a favor at the end of it.

"Anyone can put a show on the internet and call it global," said Chernicky. "Very few people ask who they actually want listening in Lagos or Lisbon or Sao Paulo, and then build the show so those people can find it. That is the difference between distribution and being heard, and it is the whole reason a client pays for a production partner instead of a microphone."

What travels, and what does not

Across 17 years the studio has developed a working answer on when to send a crew and when not to. On-location is the right call when the location is genuinely part of the story: a keynote at an industry conference, an executive interview at a headquarters the executive will not leave, a live audience recording, or an editorial production rooted in a specific place. When the honest answer is that recording on site is simply convenient, the show is usually better served by a treated room or a well-run remote session, and that is the recommendation the studio gives.

In cities where deploying a full crew from New York is impractical, Hangar Studios works with partner studios under its own engineering oversight. That arrangement is disclosed to every on-location client during scope.

The record behind the reach

Hangar Studios has produced thousands of episodes since 2009 for more than 600 clients, reaching more than 50 million listeners worldwide. Its confirmed portfolio includes the Microsoft Threat Intelligence Podcast, Microsoft Scott and Mark Learn To, Afternoon Cyber Tea with Ann Johnson, JPMorgan Chase's Market Matters, Viatris's Listen Well, Sakara Life, Move with Heart with Melissa Wood Health, Five Things with Lynn Hirschberg for W Magazine, The Knot's XOXO, Thrive Market's But Are You Thriving, The Chairish Podcast, Internet Misfits, and Refinery29's Go Off Sis. Audiobooks produced at the studio include Powering Up by Anne Doyle, Being Cancer Free by Joyce and Kevin O'Brien, I Might Be You, and Actor Writer Whatever.

The working day across time zones

Producing internationally changes the calendar more than it changes the craft. A show with guests in London, New York, and Singapore does not have a convenient shared hour, and the studio's approach is to stop pretending it does. Recording blocks are grouped by region so a host is not taking a 4 a.m. call for a conversation that could have been scheduled properly, and remote sessions are booked around the guest's working day rather than the studio's.

The technical side stays constant. Every remote participant, wherever they are, gets the same preparation deck and the same 15 minute tech check, because a poor connection in Lagos and a poor connection in Los Angeles cause exactly the same problem in the finished master.

What international clients actually ask for

Three requests come up repeatedly. The first is consistency: a season recorded across four countries has to sound like one show, which is an engineering discipline rather than an equipment question. The second is scheduling that respects a distributed team, which is a production management question. The third is assets that work outside a single market, which means clips cut for the platforms that dominate where the audience is rather than only the ones that dominate at home.

None of those are exotic. They are the ordinary demands of a show with an audience in more than one place, and the studio's position is that a production partner who has been doing this since 2009 should be able to handle them without treating each one as a special case.

Studio, remote, and on-location

The three production modes are not tiers. Studio production at the 417 Fifth Avenue facility in Midtown Manhattan handles audio podcasts, single camera video for a host working alone or with one guest, multi camera setups for larger shows, and audiobook narration. Remote production covers distributed guests and hosts. On-location production sends the team where the story is. Most international shows use two of the three across a season, and the studio's job is to make the seams invisible.

Brands and hosts planning an international show can review the studio's global podcast production capability at thehangarstudios.com.

About Hangar Studios

Hangar Studios is a full-service podcast production company in New York City, producing studio, remote, and on-location shows for Fortune 500 brands and independent creators since 2009. Founded by Jennifer Chernicky, the first podcast production company owned and operated by a woman of color, Hangar has produced thousands of episodes for more than 600 clients and reached over 50 million listeners worldwide. From concept and recording to editing, sound design, and distribution, the team turns ideas into broadcast-grade audio and video. Learn more at thehangarstudios.com.

Contact Information:

Hangar Studios

417 Fifth Avenue, 8th Floor
New York, NY 10016
United States

Jennifer Chernicky
+1-516-366-0333
https://thehangarstudios.com