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You' re one of those who
puts commercial music on your podcast, although

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it' s not a highly recommended
practice. There are people who do it

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because they think they' re covered
by a license, by a series of

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agreements. I personally don' t
recommend it. And if you' re

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a person who does, you'
ve probably run into some other problem.

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Today I want to explain to you
why it is so difficult to put commercial

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music on podcasts. To this day, in two thousand twenty- four we

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welcome you to the other side of
the microphone. On the other side of

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the microphone, a project by Jorge
Marín Nieto in which you will find your

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daily ration of metapodcasting casting with news, events, tools or episodes of opinion

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in just ten minutes. Ten minutes, ten minutes. Hello to all the

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curious and curious that you want to
be aware of everything related to the production

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of podcast, podcasting, all the
news, news, tools and curiosities that

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I bring to the other side of
the microphone every day in just ten fifteen

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zero minutes. I am Jorge Marín, and it is a pleasure to invite

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you to come to this side of
the microphone as every day from v producer

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to offer you a new sound pill
that will reach all players and podcast applications.

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Today I want to bring you a
chapter, rather a reflection regarding a

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news story that I saw recently on
the Global News website c a Canadian website

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that tells us about how difficult or
why you can' t put or shouldn

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' t use commercial music on podcasts, because there is still no commercial agreement

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between creators and distributors of commercial music
and podcast creators and distributors, nor the

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platforms themselves, or anything at all. The industry and market are not prepared

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to use legally and effectively integrated music
within our podcast. And some of you

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' ll be thinking if man does
Evox have a memory with the good ones.

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I' m sure, I'
m sure that if you were serious

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about them or any other means,
you' d have to look very carefully

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at the points of that agreement,
because it' s a little caught with

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tweezers. Moreover, it should be
remembered that we are only covered by our

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podcast outside our borders in Spain.
If we talk about Spain, it would

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not be covered by those agreements,
because each country has its own distribution agreement

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for each music license and it would
be necessary to hire or reach a new

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agreement in Spain. The same happens
with some music used in Spotify within their

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podcast and music option, which I
will talk to you about in a few

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minutes. Well, in this article
they do kind of back to the story

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and how the musicians were against even
that their music if listened to on the

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radio. Very early in the days, when the first tunes began to be

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distributed on the radio, the musicians
said, but man, if people are

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going to listen to our songs on
the radio for free, what sense does

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it make I don' t want
my music to be heard on the radio

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for free, until, little by
little, over the years, they began

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to reach agreements to return an economic
agreement to all those artists who let their

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music be published on some radios.
Then, this gradually evolved so that even

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this way of promoting itself would be
beneficial for artists. But logically, there

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had to be an agreement and a
record of all the songs used on musical

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radios. At first, these records
were commented on in Global News, made

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by hand every day, all the
songs that sounded in each of the channels

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were hand pointed, and then,
at the end of the month or,

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at the end of the quarter,
reported to the competent authority. Listen,

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we' ve played this song so
many times, we' ve played this

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song so many times, and little
by little, that agreements will be reached

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so that they don' t go
over the number of times those songs don

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' t go too far in the
number of minutes. Let' s remember

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that on the radio the whole songs
don' t sound so people can'

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t record them, because this already
sounds very old. But you know what

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I mean. All this also with
streaming music has evolved a lot, just

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as it evolved in its day.
Those lists that were made by hand now

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are already made automatically. Automatically record
all the songs that sound encarradas in each

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musical radio. Well, or the
musical thing also so that it is registered

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and so that it is given say
all kinds of authorizations and are complied with

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everything agreed with these agencies of distribution
and representation of musical artists and that each

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one, then, collect what is
due, because let us remember that not

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only the artist takes money, but
the editor, the distributor. A profit

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- sharing must be done, and
logically, everything must be recorded. And

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that' s where the problem of
including songs into podcasts comes in. Firstly,

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because of the misuse that is being
done. Remember, in order for

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us to have the right to put
a song with rights in our podcasts,

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we should sign an agreement either with
a distributor or with the artists themselves,

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especially with the agency or the record
label of that artist to determine how many

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musical minutes, how many times this
song is going to be put on and

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depending on the number of downloads,
a number of play excuses or the number

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of plays that is made of our
podcast, that artist would have the right

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to charge for that use of his
music that you do not charge for your

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podcast. It doesn' t mean
that the artist in question doesn' t

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want to charge for his eye job. These are licensed works, works that,

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if you want to use, you
have to pay, just as agreements

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are made for the use of books
or films, etc, etc, etc,

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in public libraries, which have a
right of distribution because they have paid

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for them, not the libraries themselves. But yes, the state, those

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books, those movies, that series
is all that is rented in libraries.

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It is the State itself that pays
those fees. In the case of music,

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the same thing happens. Radios pay
to use those musics on their grills.

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You should pay for being able to
use those songs. Even if no

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one listened to your podcast and we
don' t take that into account.

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We' re misused, because we
should split the profits. And here we

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' re already in the real melon. If our podcast is marketed in some

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way or another, or even the
own platform where we stay, the podcast

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monetizes it and here now, now
I get scared and I get a little

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bit on our side. We should
share the benefits of our podcast with that

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musical artist as well as with a
designer we pay for. If we want

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a cover or a graphic design for
our podcast, for those artists that we

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use their musics, we should also
pay for them, just as if we

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want a music specially designed or composed
for our podcast, we should pay that

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composer, that is artist to play
it or compose it. For the artists

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we' re taking advantage of for
their commercial music, we should pay for

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them. But they should also do
so on the platforms themselves. And here

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it takes us to the real melon
of all this. There are many podcast

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platforms that benefit from our content.
We all know this and we get a

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lot of gnashing when we see that
there is that platform X in question is

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putting ads on my podcast. Why
don' t I take any of this

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now. But not only are you
not taking your money from that platform because

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it puts ads or because it puts
vanners or because it puts or because it

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collects a subscription is that the artist
from which you are benefiting because you have

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included a song with rights is also
not receiving anything and has its full right,

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because he has registered his work.
What' s the best, you

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haven' t done it and you
have to go to the platform and tell

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him you' re using my content
improperly and I' m not taking myself

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to anything and the platform itself would
tell you. But you, you'

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re using music with rights because you
don' t make any profits. Like

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me, I' m not doing
it with you, because the artist is

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in all his legal right to have
his work registered. There is the role

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of the EPAs, controlling that all
of this will be accomplished. That is

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the signature of rights that we make, the granting of rights that they make

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and then collect those benefits. We
would have to say a potest guy to

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register all our podcasts there and see
to it that we get a certain economic

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return and podcast platforms use our content, including ads, because there is perhaps

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the real problem. The musicians have
been recording all their tunes for decades to

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collect those rights, so that there
is someone there, someone who represents them

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and worries that every time one of
their tunes is played, one of their

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songs, there is an economic return
and it is recorded where and when it

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has sounded. However, podcasts,
although we have it much easier when it

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comes to registering these downloads bar listens, have not so far done so.

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And that' s where the real
reason comes from why it' s so

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hard to include commercial music in our
podcasts, if it' s already quite

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difficult to keep a record of where
they' re playing, where they'

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re downloading all our content. Imagine
the artists from whom we are using music

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without having their permission and without having
their right. This is where organizations such

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as the GAY are concerned that not
all songs or tunes that are registered under

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their distribution licenses are misused, because
we have to get serious. In an

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adult industry and not using it is
music, tunes, photographs. Anyway,

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everything that' s licensed. We
should not use it and the platforms should

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not allow it. Many of us
are now realizing when we upload our podcasts

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or when we recast our podcasts to
much more mature platforms, such as Spotify

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or YouTube, which are starting to
alarm us. In this chapter you used

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right- wing music. In this
chapter we have silenced this part of the

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episode because you hear a melody in
the background. There' s a little

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piece of a movie in this chapter. This is becoming more common because the

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podcasting industry, let' s say, is maturing and is encountering an industry,

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a little more careful, such as
the audiovisual or music industry of platforms

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like Spotify and YouTube. I don' t entertain you any more. I

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leave a link to the Global News
post c so that you read a little

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bit in English is all this reflection
that I have done in this case.

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They would have used the music and
the radio and, little by little,

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this cannot be carried into the world
of podcasting for the moment. But,

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little by little, little by little, we are professionalizing, we are maturing

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the market and we will see if
within a little bit, because there is

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some kind of license or agreement so
that we can use musics with commercial music

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rights and that we can pass all
the benefits or part of the benefits to

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the artists that we want to use
in ours, our episodes or in our

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creations. Thank you very much for
following the other side and thank you very

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much to Global News FA for this
article that today has made me reflect on

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how difficult it is to put commercial
music in our powers. From you and

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now I say goodbye and as every
day I go back to that place where

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you are right now on the other
side of the microphone or