Today is Friday and if we add to that the fact that today I am
not alone on the other side of the microphone, it may be a perfect
weekend closure, but let' s get to it. We welcome you across
the microphone. On the other side of the microphone, a project by Jorge
Marín Nieto in which you will find your daily ration of metapodcasting, casting with
news, events, tools or episodes of opinion, not in just ten minutes,
ten minutes, 10 minutes hello and welcome to the other side of the
microphone, the daily space where in just ten to fifteen minutes or a little
more, we will see you offer news, tools, recommendations, episodes of
opinion and also sometimes talks with other creators of this that I like so much
called podcasting or podcasting. I am Jorge Marín from v bructora and it is
a pleasure to welcome you to the two guests that I have today. On
the other side of the microphone, on the occasion of the launch of his
latest project Historias a pie de micro, I want to introduce you to Chema
Martínez and Luis Blanco, responsible for the PODCAST format, a content producer in
this format that we like so much, the podcast, which offers a multitude
of services recording, speaking, broadcasting, advertising. We go all the production
from start to finish with a lot of years and also a lot of projects
behind their backs that now we will know a little bit better. Luis Chema
be welcome to the other side of the microphone. Make them comfortable and hear
a pleasure having you around, a pleasure for us to be with you.
Jorge, yes, yes, thank you very much, Jorge. The truth
is, it' s really nice on this side of the microphone. At
the moment, since it' s not too cold, it' s not
too hot, so far we' re seeing how it went that week,
well, the week was pretty complicated, because it was also the week of
the release of the first episode of micro- foot stories, the last project
we' ve launched and we' re going to talk about. But,
at the same time, we have also been joined by a lot of dead
lines, delivery of other customer projects and, in the end, well,
almost every week is the same at this time of years, the truth.
But yes, this week, for several issues, has been quite complicated,
although well, we are already reaching the end. So you have to enjoy
the weekend that people think that publishing a podcast is either this or I'
m going to publish it and it' s coming for the next one.
Not when you already work with people behind you, it takes many hours before
and after. Yes, yes, it is a very very laborious job and
besides, especially if you want to do it well really and you want to
take care of all the details, make a product of high quality And well,
especially if you are also working for customers, which is the gua that
of our daily work, because you want the customers to be happy with the
result. And then, then, you have to give him a lot,
a lot of time and that, well, it' s complex, it
' s very complicated. Yes, then, I wouldn' t dare say
whether previous work or subsequent work is more important. I guess it depends on
the type of content and/ or client or how the project develops. But
there are times when you have to work a lot on the previous one,
it saves you a lot of scares and saves you a lot of work on
the back and other times you have to say come on tape and I'
ll fix it as I can and then you have to come out with it,
because everything else does, but you have to teach the customers themselves as
well. That' s a lot of work before, but also if you
want results, there' s got to be a lot of work after,
because this doesn' t. People don' t discover podcasts alone. He
' s got a lot of promotional campaign, he' s got a lot
of convenience in distribution. It' s not giving him to publish Come on
He' s getting to all the players. No. If you want me
to get there, you have to hit it, you have to give it
more. But, I think it is also normal for many companies to be
unaware when we are hired to IT, for example, to make podcasts.
They' re not very involved in this world, and then they don'
t know exactly what kind of jobs they have to do, the work they
carry and so on. It would happen to us if we had to hire
something not just anyone, but always to try. I think doing an education
job towards brands and companies and telling them today is that I think you need
a podcast. In some cases you could use a podcast, or do you
want a podcast? You can do it this way. That' s a
little what we have to tell them, and then he hears that they'
re doing a lot of work and that they value that work a little bit.
I also believe that it is an exercise that all of us who are
involved in this, yes, totally, totally, and a strategy and a
campaign that is not a podcast, it is not a question of a month
or six months a year. I believe that we are already beginning to talk
about a campaign in good condition for a year, and that is the beginning
of the year. We can already start collecting no fruits, but well,
at least to see green proteins, although we didn' t see it out
of view chema that is the sea expert who has here of the tandem of
partners can explain it a little well. What' s our philosophy about this?
No. Not good. I was going to say one that happened to
you too Jorge, that one of the phrases that scares us the most is
good. I' m going to try three months or two months or a
month and then we see and clear the measure of the times they were looking
at us. Like saying. Well, what are you going to prove in
the audience? It will not answer you in a month that the contents are
polished and the format is exactly where it has to be and that transmits what
you want to transmit, because we will try that yes, but there is
no way of and then not to talk about metrics and so on. But
here it' s not worth improvising, I' m going to put the
duck in to see if it' s cold in the water. No,
you don' t have to get in the water. I don' t
know if this has ever happened to you that they tell you I want a
podcast, and it' s a podcast drive that you don' t see
to see can be done, but it' s like it makes a YouTube
video. No, then, a video youtu one will bring you a return
unless it becomes vira. If it' s true that somewhere that' s
happened to us, yes, but it' s brown that the other times
we' ve done a single episode of podcast is basically because they needed some
audio piece or an audio language to promote something or to complete part of a
communication strategy or networks. But it is true that we have ever been asked
to do one and depending on how it goes, because we do more and
we told him it is not worth it, because it is not impossible for
you to see everything that he was saying. Chema. Now, not well,
there is something that being minor or in our opinion, is quite minor
for certain projects. The customer or the other person behind may consider it important,
which is to take away fears to know whether the person who will present
it will do well or not, whether it will sound good or not,
which is something that we take very for granted, and there are people who
have insecurities that or maybe, who have to make a piece for internally selling
to be easier, need someone above it to monitor it and say oysters.
If this looks like what' s coming, let' s invest in this.
So without saying no to anything, it is true that there are times
when our legs shake a little when projects come with these conditionings. It would
be like a pilot in some passion, for example, but of course,
it' s not the same as a pilot from a television series that has
a powerful producer behind it or that' s even paid for by a network
or a platform. In this case, the pilot has a clear cost,
and then we' re going to be in trouble to invest in a pilot
so much, we' re going to get there. Sometimes we have and
other times because in the end they have turned back or decided to act otherwise.
But deep down, what the client says at the end is the boss.
Then we can direct them to educate them a little bit in the world
of podcasting and tell them what we think would be best. But because many
times the customer, because you understand it, sometimes he doesn' t have
the idea very clear and that throwing around you have to go with him hand
in hand. Yeah, as you tell us, which in the end has
to be adapted. No. I think it is a matter of adapting and
of which we, who are the ones who know the world, this world
of podcasting, and how it can help them. Not the marks, especially
since tell them today because look, we have to send, we have to
do it this way. And some, because accept 100% of what we
did and others, well, they adapt it to what to the idea that
they had and others directly do, we don' t want to do so,
for the clear truth, yes, yes, and sometimes it brings you
surprises that they are phenomenal not things that you say. Well, this isn
' t going to work or it' s not going out and all of
a sudden, obviously it doesn' t work, because if we had all
the answers, you throw me a box. No. This wouldn' t
work. Just as well as every niche is a world, every platform is
also a world. Each strategy, then within your community or within your brand,
as each has to adapt it. But it is true that the one
who lets himself be counseled, at least is appreciated. I' m not
going to say it works, but at least the customer, that is,
the producer, appreciates it. Don' t listen, look, I recommend
you. Let' s try, let' s go anyway. Well,
we' ve already talked about podcast production here. I have not even introduced
you that you have behind you a lot of professions and a lot of branches,
that the truth is that the tanden now that it became a little better,
the tandem that you have made wow that is I would like a partner
by my side, as I am, because two others because my mother.
On the one hand, we have Luis, journalist, announcer, manager,
musical, racing speaker and when I' ve met this, I say I
don' t know if I' ve ever heard you. I' m
sure we' ve run together in some race now. I don' t
know good with both of you in this case, but if you' ve
been running lately I' ve been giving him five or six years, surely
we' ve already agreed on some goal. Surely you also very much ahead
of you, that is, I had to interrupt you a little bit,
Jorge, we have coincided in the last ah yes, half marathon Movistar of
Madrid and we were there. You and I ran it. Sure, we
were what there were another twenty thousand people to himself. Yeah, yeah,
we' d cross it off for a mile. If you have run any
movistas to the half- Manetón of Madrid before two thousand twenty- one twenty
- two and up to two thousand twenty- two, I don' t
know, Jorge, no, because you premiered in half marathon last year.
No yes, in rock and roll running it is worth it then. No.
No. No, no, because if I have been a speaker,
for example, the half Marathon of Madrid, we have seen many years,
many years. The thing is, I haven' t done it in a
couple of years. I don' t think last year says so. No.
Yeah, I don' t remember anymore. Yes, but it'
s true that I' m retired from the world, from career speech,
from ranning for already personal issues, from health issues and, above all,
from family issues, but yes, for I don' t know how many
they were. Ten twelve years. I was present in many races, so
it is very likely that you heard me if you live in Madrid and run
in Madrid. No, because you' ve heard a lot of cursions because
most of them were in Madrid. And another thing that I really liked that
you have put on your website is a small, small story in podcast format.
There would be more of your professional stories and cuts that have been released
from thirty- so many years ago, 40 years since your first radio intervention.
It did occur to us when we set up the web and set up
the company and created the brand in podcast format, which was right during the
pandemic, which, because we had a lot of time also to think and
do things. And we said man, for to present ourselves the best way
to do it is to do it in podcast format and tell it. And,
in fact, this is how we usually work with some clients as well
when we prepare proposals for them. But I wanted to tell my story a
little bit and as my story goes through the microphones since I started the race
practically many years ago, in the early nineties, because I had cassette tapes
recorded from times when I was doing radio shows on local radios in Biscay,
where I am from, and so I recovered it and said well, why
we' re not going to do this. I started here, this was
one of those that I put before a microphone and well, so that people
could see a little bit of evolution and how far we have come now,
which is following this side of the microphone, but instead of doing it in
a radio studio that is broadcast live, because making it a recording that can
then be heard on demand, which can also be done on the radio.
But well, that' s what we do on podcast, but it'
s still the same thing. Not talking in front of a microphone was making
him since the year ninety- two, that is, it is a few
years. Already so and in podcast it can also be done in streaming,
which is not on the antenna. But well, almost live, well it
mixes. Many times they are rivers that cross and intermingle in reason. In
the end. I am a journalist and announcer, good announcer, basically because
I am a journalist and I have worked on radio, almost my whole life,
therefore, exercised as a radio announcer, although I do not consider myself
a professional announcer of advertising, nor of dubbing or of these things that many
and very good that those who work also. But in the end, what
I contributed to this tandem, as you said, was the most journalistic part,
more communication and more speaking, of course, and knowing the whole part
behind a recording of a radio program or a live show or whatever. So,
that' s what I move here, not in addition to many other
things that I' ve learned on the fly And in the case of Chema,
because now he tells you, which is what he brought, but in
the end we' ve been learning from each other and that' s what
I think has helped us make things work out well in the end. No,
in my opinion, I, for me, have made a perfect tandem,
because shema for what I have also been able to get out of your
wepa that studied public relations advertising, commercial and marketing director, marketing consultant,
that is, precisely I believe that the part that was lacking, that was
lacking, that has complemented Luis And precisely you have done, because that a
cander, a perfect equation. And vice versa, Jorge, because in the
end there is a basic thing that we think we weren' t very conscious
at first, but we' ve been realizing, that is, in the
end, marketing, corporate communication advertising, is very similar in some things,
to journalism, even to cinema. I dare say to literature. In the
end we' re talking about telling stories. It is true that in journalism
it has a current basis, it has an in- depth knowledge base,
of going to a reliable knowledge base of I do not know how to compare
views. Marketing goes more from the persuasion branch, but it is still a
brand that personalizes, becomes tangible by what counts and what counts has to hook
up to an audience that is waiting for it. Something looks pretty much like
it, and I think that' s magic. It' s not what
it does. Nice. I have come much later to this medium. I
' ve never made a radio. I liked journalism, but I have studied
two subjects in which when I did medium- transverse advertising we talked a little
bit about journalism. But in the end, when you sit in front of
a wire or make a script or make an approximation for a brand that wants
to convey a message is that it all looks a lot like it. And
then I think that I teach Luis to be more persuasive, to have messages
to do with brand values, to be careful, with certain timings of placing
products on the market. And he teaches me how to build stories on a
good basis, with a solidity, with a confidence for the listener. And
we don' t talk about the technical part that we only learn every day
anymore, because besides, these tools that we use are changing and you have
to stay up to date or you' re not there. But let me
say by closing down a little bit you were talking about the sections of the
web, where we put on a small player with a short story of seven
ten minutes. I don' t remember the duration of each of us and
the other day we just talked about it because we' re starting to get
short cut, because we have to update, because already with so many projects.
That, on the one hand, because, obviously we are no longer
the same ones that recorded that in two thousand twenty, but also podcast format
is not the same either. Right now we are a bigger team, we
have a network of collaborators that, although not all are within the structure of
the company. If we have a network woven with people that can cover practically
everything, from the technical plane, to the creative plane, to the purely
advertising plane, to put on the street the productions of the customers so that
they are more accessible and more reach a greater audience. But I don'
t know people from analytics, social media people, speakers, journalists. Now
we have the study of the TV dish with which we are making some podcast
video, that is, that is going to grow in such a way that
we are already small that definition. And, in fact, another day we
talked about it. Well, how we do it, how we count,
who we are. Our own history has changed. We don' t have
to start injecting it. At the time we were two entrepreneurs, each at
home, in the middle of the pandemic, launching a podcast production project for
brands and companies, fundamentally. But now we' re a company, an
agency besides, we like to call ourselves that. It is an agency specializing
in podcasting, in podcast production. It is a communication marketing agency specialized in
communicating and marketing through podcast, podcast and video podcast. So let' s
say that now, as you rightly say, echema and a lot of people
around us, people who collaborate with us practically every day, and it'
s something else. We don' t want to think that we' ve
taken a step further and that' s what we' re doing and that
' s also what we' re doing when we do things for many customers
and we already do newer things and then we feel like doing them for ourselves
as well. What we do is true that, from the economic point of
view, it is not, it is not so beneficial, but we want
to do so as well. Of course, not only work for the customer,
but also work for us, which is very satisfying, of course,
but look at the word agency. I was because I prepared the presentation a
little bit. I say I don' t know whether to call them an
agency or not, and I haven' t seen it on the web and
that' s why I haven' t said it in the script, but
I recommend you put it on the web because I, in fact, I
felt it as an agency, also if it' s that in Casa del
Herrero it' s dirty if it' s that we' ve got it
very philaristic, that' s that. In fact, in most of the
commercial proposals we send to customers we position ourselves like this and there are some
that we call ourselves that. It' s true that then it also depends
on who you' re headed and this already comes out of him a little
bit. But if you work with an agency that' s the one that
has the core of the client' s story and the guardian let' s
say the messages. You stay in the background there. It' s more
the technician. Then it depends a little on who you address one other thing
for us our ideal and writing the letter to the wise men, we see
ourselves as an agency, because we can give the service three hundred sixty the
clear mark yes, that which many times are not updated And it happens to
me also to bring to update. So if I have to make this change
and well I put it in, there are to do. Now, when
the summer comes, the work comes down a little, because I take advantage
and update. No and well you get a little up- to- date
and when you want to finish, it turns out that you have started another
project and you have to put it And well it happens to all of us
good talking a little bit about projects that self- produces that Luis commented before,
Precisely what has brought us up here is your most recent release stories on
foot micro. A podcast seems to say you don' t say a podcast,
a small podcast, it' s not a sound format. I'
ve only heard the first episode and the intro that already by the intro,
well the promo, sorry, good intro promo, yes, the trailer.
That' s just about the trailer. I see you' re going to
have quite a tour and quite a few people and quite a few guests who
are going to pass by. But the work I have seen in the first
episode as it is five hundred years ago or five hundred five hundred years ago,
hundreds years ago than Vais, If I am not physically mistaken to a
castle of Palencia. If I am not mistaken, you have recorded there,
you have recorded also in Madrid and the story you tell I am. I
don' t want to spoil much either, because what I want is for
people to listen to it. But I also want you to value the work
behind that first episode, that if all the episodes that you have planned are
going to be like this, I understand now the monthly priority, because it
is working. Come on, it looks like it' s been a half
an hour for the chapter, but I want the job behind it. I
don' t know if you can tell me the hours you' ve done
it, because you did it. I' m going to say it in
fact, because I' ve calculated it before, but I didn' t
know you were going to ask me, uh, but out of curiosity our
calculated was precisely that we didn' t make a podcast in sound documentary format
because we love the sound documentary. We have done it in the past for
not us, but also for customers, for some customers, not for many,
because it is true that it is a risky format. When a client
tells him we' re going to do something like a sound documentary or something
like a reported interview, something different. It' s true that there customers
see it a little bit more of rerafenso. They' re very used to
conversational. I don' t know what you' re saying. You get
scared. So, well, that' s what we like the most.
We also do some fiction for some customers and we' re with some fiction
project that we hope to kick off this year of our own. But of
course, when we do it, when we do it for a customer we
put all the affection and professionalism, but when we do for us I won
' t tell you that more, because I don' t want to look
bad with customers, but by feeling it also very own. We don'
t want to do something halfway and we could do it. Eye eh,
because in another project I have to admit that if we do it, not
that it is us, in the end we dedicate the money comes from what
we produce for customers. This is not generating anything at the moment and we
have put in many hours and other projects that we have do not generate us
either. But, well, it' s true that they serve us for
a lot of things. They serve us to test with platforms, with things
working, to test formats. They' re good for us. In this
case, what we wanted was to be honest, at least that' s
what I think. We wanted to like doing something that we wanted to do
and feel good and satisfied about doing it, and we have dedicated many hours
to it, because we wanted it to be very professional for us as well.
It' s kind of a business card. We made some documentary sound
properly, made one about Fermin Cacho' s life and his victory in Barcelona
ninety- two. We made others a music group that started out as a
very small project, a thing for the fans of the band and in the
end, well, we wanted to put it there in case anyone else wanted
to hear it too and now we have done this, but we had like
many ideas and many things we wanted to tell and for us loose comment Sonoro
was a would be a documentary series, but then we said and because we
don' t make a container. We thought about this many years ago,
uh, because we don' t make a fork in which we can tell
the stories in a journalistic or documentary way, stories that many times had no
more tour than an episode. Not because we' re not gonna do it
like that. And besides that mounting a documentary Sonoro in a series plan of
three, four or five episodes takes a lot of work and in the end
you are bogged down for a year, practically to launch it or for many
months. And in this case, it was a way to get him out.
No, of course, one month from what you said, because it
was a lot of work to do an episode of twenty- six minutes.
And yes, well, just to move one day to Valencia to record a
couple of interviews there. A nobody is in the castle to record environments that
most of the sound we hear, the real sound, which is one of
the things we like to work, also to record in real scenarios, to
record with the real environments, and then the sound design of a sound design,
because as faithful as possible of reality, although then there are always things
of bookstore that you use and then yes in Madrid also another day. Our
intention is to repeat that no and this particular episode, beyond the conception of
the episode and many other things and that we are already working and throwing videos
is a long time, which is pure and hard work counting trips recordings and
everything has been about forty between forty and forty- five hours or so that
has taken us from real work, hours worked for him. And as for
design editing, it also sounds quite, quite, but well, we'
re very happy. It makes us feel a bit like we are. I
don' t know if you want to tell yourself a little chema what we
want to do and what things. Well to see is actually all told the
causes and because that stories standing mic is clear Luis told perfectly. I would
add that, more than a letter of introduction on the formal level, that
is, to us this is no secret. We would love to have eight
clients come to us asking us for things to be clear, to trust in
our way of telling stories, to want the format that they bet because well,
because in the end it transmits a series of values in a different way
what we said before, for example, working before to work less after because
this is a little different, because the recording does not happen in a single
session, but it is plotted a lot. But you absolutely own the story
you' re telling. And that seems super powerful to us. In a
conversational for a brand, ideas can be dragged by others, by the flow
of conversation, by more emotional or more superfluous factors. But not here.
Here, the story has to have the rhythm and content that you want and
above with the forgiveness component, which are stories that touch us personally or people
we know, or stories that we have followed personally because we are interested in
what we are going to talk about in epidemical stories. They are among the
issues that interest us with the approach that interests us. And it' s
a little undressing a little more, being more of us. And then,
because that can give rise, as Luis said, something that I am particularly
interested in because the medium I continue to discover every day to experiment and to
count, to say, because the other one has already placed itself on the
table. Listen and if we do a documentary format without narrator, in which
only the testimonies correctly linked and with reinforcement, sound tells the story. Hey,
we' re gonna try, we' re gonna throw it, and
he' s been very motivated. We love it. Yes, we like
to experience myself about the latter that has said chema is an episode that at
first is scheduled to be published in August September. Well, we' ll
see, of course we thought about it a long time ago. It was
around September, about when we started talking about this episode and of course it
' s going to be a series of episodes in principle, but in the
end I know an episode that I think is perfect to tell what we'
re going to tell. But of course, we had heard some podcasts in
which there were no storytellers, leftover titles, but they also gave way to
people, some sort of an announcer or something, a voice that said this
person who is going to talk is I don' t know. We'
re trying to do something a little bit more, a deadly leap, I
mean, we' ll see if it doesn' t come out or come
out but it' s the good thing. It' s what chema says
that in the end we tell our stories very much. The episode, that
is, the title of the podcast. I think it kind of gives clues
about what we do. No or what kind of story we tell, stories
on the foot of a wire. It is not the play of street words
with the foot of a microphone that we are stuck in the world, in
the radio and podcast, because the foot of a microphone is the stand where
you put the microphone on the table or on the floor so that you can
then directly choke the microphone. So that was micro- story. I mean,
there' s always gonna be a microphone in front of someone who'
s gonna tell a story. We want them to be very human stories,
a person or two people who are protagonists and tell us their story, although
then there is some other testimony, the testimonies that will complement everything that is
said and that will shape the whole story. But one of the first names
believe work ing Titers, which is called some of the first work titles,
was close stories, because, first, they are stories that touch us closely
because we have them around us. And second, these are stories that we
consider that anyone who listens to the podcast will feel very close to them,
because in most cases, all people are going to have a brother, a
father, a neighbor, a friend who' s been through something like this.
Okay or that he' s lived a similar story and we wanted to
do that and above all, it' s also close because we want to
bring the story closer to the way we tell it. We think it'
s kind of immersive, that people come with us to Palencia and get into
a castle, that people get into an operating room when a person is being
operated on, there was or died, that is, that kind of thing.
We don' t want people to live it and feel it with us.
And hence the fact of that concept of closeness in every way. And
then, especially the most important thing, that most of the stories we'
re going to tell are stories of anonymous people in quotation marks, people who
aren' t famous characters, who aren' t historical issues or themes that
everyone knows, they' re not everyday stories of ordinary people that happen to
many things and many times we don' t realize that the most beautiful and
exciting stories are by our side. And if someone tells you in a special
way or magnifies them. Then you have to look around us just to realize
that we are surrounded by wonderful, exciting, beautiful stories, and that'
s what we' ve been looking for here and there to put them in
front of us. Look at me in a few moments and only one episode
came, but it reminded me that I imagine with what you know it reminded
me a lot of mobile radio, mobile radio, which also tells in this
case, stories of Latin America. But that' s what you' re
saying It' s more or less everyday stories, more or less close.
But that the way to tell it brings it to you and to me personally,
when I was listening to it the other day, the castle, I
was listening to him training in the gym, and to me because palencia doesn
' t catch me very far. But I said hey, maybe the next
time you do this Medieval tournament. At the same time I happen because listen
I already feel like knowing this castle and thanks to that story that you have
told and above all, that its protagonist has told, that is, hell.
It' s just that this castle has a lot of history behind it.
And I' m not talking about his five hundred years old, but
about the reality of the last twenty years. Yeah, that' s part
of the grace, and that' s what we said before. This too,
sure, is very influenced by everything we' ve been learning we say
every day listen I' m a brand that I make such a thing and
I want to tell this and make it attractive. I' m sorry and
there are times when you' ll have to say this, there' s
no this, we don' t put it in nice. We can'
t make a point of it. It' s going to cost and you
end up getting it not in a way satisfactory enough for it to arrive and
the listener to be comfortable with it, which in the end, for us
is always the goal, because the story arrives as it has to get to
the back. We' ve made the joke once, saying we have more
or less some episodes already advanced in their production or pre- production phase,
but more or less we' ve pulled the next twelve, the twelve episodes
of the Natural Year that are going to compose this podcast. And sometimes we
' ve told each other and if we make one of a story that'
s not interesting to see if we get it to be, it' s
a tiny thing that happened, I don' t know where and sometimes we
' re able to tell it in an interesting way, that the forms are
also important. That' s not the case. I mean, we want
all the stories to play and be deep enough, but there' ll be
times when you' re not clear about the walking radio. I think it
has a lot to do with the sense that it is also a container of
stories and it is a newspaper podcast that is publishing different stories and that each
episode is different, no, but they have the same way of telling things,
they have a similar goal. It' s kind of what we want
with all our episodes in that sense. It is so and there are many
others that are being published and that are like us. Maybe what we want
is that' s doing the same thing because in the end we all know
that telling stories is what' s fashionable and everyone already knows about telling this,
but fashionable. But we' ve been like this for four zero years
and the only thing we' ve put on a right microphone now is a
little bit. Now, today I' ve become very fashionable. Saying hears
isn' t that telling stories and, besides, doing it using sound and
voice, because it' s something that has to work in marketing. Yes
or yes, we see that in many cases podcast is working and very and
very well. So, well, what we want is to go one step
further. Also well, let' s see what kind of stories, how
many, because it' s not worth any story and what chima says the
way the story is told can do with history that in principle has no interest,
it turns out that it is then attractive and likes people. Then we
want to challenge ourselves every day when we try to create that format so that
history comes, reaches people, comes much more. It' s kind of
our goal, it' s good to see if we get it, but
it' s really good that one of the month is, first because it
takes a lot of work and second because, man, if we dedicated ourselves
exclusively to this, we might as well get one of the week worth,
but in the end, one a month, because we have a lot of
other work, which is what feeds us in a moment. So, well,
we have to look for the gaps and manage to be able, but
well until we didn' t see each other with the assurance that we could
keep one episode a month and have, because that preproduce at the same time
three four episodes and then go thinking about themes that are interesting and stories that
are interesting from here to a year, for example, because we didn'
t decide to throw ourselves definitively. Well, listen, it' s all
about presenting the project and maybe, next year or next year, I don
' t know if a sponsorship or a milk patron and you have financial resources
to make one a week You have there to hire a lot of people,
a team and come produce stories. Hey, who knows, I mean,
it' s not on the road map. But well, as we always
say, we don' t have to say no to anything and obviously,
we' re not able to know how far it' s going to go
and that' s not the case. Nothing happens that we are and we
are going to make the most of it, even if it is at the
learning level, but yes because it happens to me with this same metapodcast.
I' m my worst client, I mean, the number of hours I
' ve ever done this comes to some sponsor or patron and so on,
but it doesn' t make up for the number of hours. However,
for pleasure, because listen to me has served me as a cover letter,
like a big, like a lot of things and for the taste or to
do it to myself that hears, for it is a thing that I like.
I imagine you too. Well and let me tell you and clicking that
in our case, the sector has served us your podcast to learn many things
and to catch up not only on the current, but on the functioning.
So, in this case it' s very appreciated. It' s a
contribution to the truist. In your case, because Look today I take advantage
of you to learn me, because the truth that your trajectory both in this
podcast and in podcast format for me personally already I would like to reach the
status that you have today with Eobe producer, because you are an example to
follow so look I return it to you in that way. But we'
re going back to apidemicro stories. With the stories you' ve revealed it
to me a little bit, but I' d like to investigate the stories
a little bit more. You already know them or you have them in your
head, but you like to document them much earlier. During the recording itself
or later, i e how it completes, what is the greatest emphasis you
put on it before the story to prepare the interview. When you arrive,
when you arrive to be surprised with all the data, once you have already
conducted the interview, you begin to search. And scavenging is a little bit
of everything. But because it also depends a lot on the story and the
episode, because I tell you in this case we have published one right now,
we have finished one, 100% and we are working on another three
not. But in fact, the next one is already good, it'
s in script phase not right now. But of course, with us we
have done very similar things with other customers. No episodes, sound documentaries or
sound reports and then, of course we know how? How? How it
' s going to work And, indeed, depending, many times it depends
a lot. We don' t like to document ourselves much before we know
who we' re going to talk to, what kind of stories we can
get from there not where what approach is not going to like more or less,
but there have been times when we haven' t gone to a place
to record and until we' ve gotten there. The main story hasn'
t even come up. Of course, we have arrived there and we have
interviewed three people that we plan to interview and suddenly, one that we don
' t even have a very good interview. He shows up out there and
tells you something and you say it' s not that this is what we
have to stand out in this place today. And then, because you already
document even more about that that they have told you to see if, indeed
it is worth highlighting or highlighting that approach. And in the end, then,
you work, so let' s say it' s a job that
goes from when you conceive the idea of the episode to when you publish it,
that is, it' s continually transforming. Yes, it' s
true that I believe that in this case, without the previous work, those
unexpected moments would not arise, probably because you' re going with that open
- mindedness. But we like that the script materializes as soon as possible,
that is, that the line argument the story tells this plasmas and we like
it as soon as possible. As Luis said, there are times when until
you' re on the assembly table, it doesn' t happen, that
is, you get to write the definitive script. But if in the previous
job you could not, there is no magic. You can' t get
close to a story or tell it without knowing it deeply. In this case,
it is true that, for example, the episode that we published this
week of five hundred years ago, we had it very much in our head,
because we had done something similar to a pilot before and we knew very
well how we wanted it to be the main axis of the story. But
it is true that we added more people, more testimonies and other stories,
and it was a little complicated to see how they could fit in. And
it' s true that there was a first script treatment, really shema,
which was like very ambitious on my part, I wrote it, and it
was from the technical and sonor design point of view it was going to be
very complex to do it, but above all from the point of view of
script structure it wasn' t going to understand very well and in the end,
well, it simplified quite a bit. And well, as I started,
it starts now in a way very different from how it was going to
start. And well, we focused on what we considered to be the most
important and main story, which is that of the person who saved the castle
in the eighties. You' ve already polished them, already spoiled the chapter.
That can be told, that, moreover, main protagonist of the whole
history in a castle that is five hundred years old. See if you can
make history. From there, then, all the ones you want yes,
but notice that following a little with us, with our intention to tell close
stories, we also wanted it to be close in the clear time, we
could have told the story of Don Gonzalo Muñoz de Castañeda, who built the
castle of which there are some out there, some writings that does not leave
him very well. We could have told many stories of other families, even
of the ladies who took care of him for many years before he reached this
protagonist of ours. But of course, in the end, the near story
in time was the story of the main character, of a person who,
because that, that has been our many years and that and that well,
since another person who also tells us things is at the end is to put
together current stories closer in time, because if we tell a history of the
Middle Ages, because it can dwell, it may be cool, but first
it is very likely that we do not have direct testimonies of a person who
lived at that time would be difficult. And then, because maybe it makes
it more complicated for the listener to connect emotionally with the story. Closer you
become a history podcast and that' s not the case. Yeah, that
' s good music to watch one more time, maybe there' s some
that we do with such content, because coming to a time when the source
of what we have in mind today runs out or migrates on the site or
we find another motivation to do another kind of episodes not discarded. We have
in fact and this I suppose we can say not for this season, but
we have talked about making mocumentaries, that is, making some supposedly real documentary,
but about a story that doesn' t exist. Sometimes it' s
public, but we play in that format. In this case we have also
played with something that I' m sure the people who have heard it will
listen or notice, and it is that somehow we have also fictionalized things.
No, because there are things that happen in the 15th century that we don
' t know if they have exactly happened to yes or no. And then,
well, you fiction it a little so that the story, so that
the story comes together and so that people can understand it a lot better,
no, that is to say, that you play a little bit also with
all that yes, and the people, the protagonists of this first episode have
already heard it, they have already given you feedback of this good, I
mean it has already published and how it has been nothing very good, that
is to say they have loved it. I mean, it' s true
that here I would spoil, so I' d better not say it.
But it is true that the person who speaks the most in the episode and
the people around him, because he has lived it in a very special way.
I can say that and it is true that it is very well,
yes, they liked it very much, precisely because of the approach we have
made to the figure of the sensational of the castle and I think I am
very respectful and trying to give it the importance it had then, I think
we are satisfied with that. Then, already from the technical point of view
and so on, because he has not spoken much to us, we have
been told more by other colleagues, by other friends who know more about this
topic and from the technical point of view, not only of sound design,
but also of questions of script and history and so on. But yes,
yes. The feedback has been very positive on the part of those people who
have participated, heard it and above that it has served to further deepen the
idea that had the person who saved in that castle, which was, therefore,
to recognize the history of that castle, to occupy its locality, to
give importance to it. Joded now is already on platforms that who was going
to imagine I will no longer say five hundred years ago, but twenty years
ago that the story of that gentleman would end in Spotify and Apple Podcast.
It' s true. And now, on the other side, the microphone
also doesn' t screw up if if it' s right it' s
one of the clear consequences of publishing to do it, making a good story
and going a little bit further to other projects, because of course, since
you' ve only had one episode, I don' t want to throw
a lot of good bun either you' ve told me that it' s
going to be twelve. I mean, we already have for a year some
history, so you can tell a 12th cheese, yes, and some that
you can advance a little bit. The best not ufff is that it'
s true, that it' s complicated, because I think the good thing
about these stories that most of all have a spinning point of guilloton. Yes,
in the case of the castle there is also not that it is a
twist of script, but it does reveal something that you are likely to be
able to intuit throughout the narrative, but in the end it reveals something that
makes you think of a person who speaks differently and in the rest I think
that at least the two of the next three of them, I think also
have that touch no yes, yes, it is complicated. Not to see
we will give you the great headline, no, because what is the topic
we are going to discuss or which is the person who wants to participate.
But I think we' d like to leave it with the pod- bit
surprises already of some clue. It' s true that the trailer already gives
clues because you hear some and there' s a person out there who talks
about me feeling like a woman. I feel it' s how important it
is to feel like a woman or feel like a man. There' s
another one that looks like some people who are waiting in a hospital for someone
to get out of an O R and then there' s another person who
says that I have a movie life and a boxing ring bell rings around and
so on and so on. They' re going that way. It is
also true that in this case I am telling you or I am. I
' m leaving you clues about the topics they' re going to deal with,
but we don' t like it to be themes that the theme dominates
history. Before always one will always have some background themes and there will always
be something to reflect on some background topics, but we want what the story
sends is the first episode. What is clear is that there is a human
story, in a story of a person who is the main protagonist, there
is another secondary story that connects at the end with the main one of a
musician and so on. But in the background is this, because there are
many people who try to fight because the peoples of Spain empty, because they
do not die and follow life and that we are and that they live and
that people do not flee to the cities and that the historical heritage of the
territories so wonderful that we have or the fact that we do not value the
rural areas that we have as they deserve. No, I mean, actually,
there' s always some background and he' s going to see it
in the next few episodes, but well, whenever he sends the story,
there' s a headline that I think we can make the same difference.
I won' t say anything, because I won' t get too wet
either. But in November the episode we have scheduled to publish that this has
not begun the production phase, of pre- production yet. But we do
have that very clear, because it is that in November of this year fifty
years of a milestone of a sector that in Spain is being very important and
that started just fifty years ago with a very concrete fact that is not very
difficult to guess what it is. But we' ve had access to that
story, and in this case, it' s a story that I'
m personally very interested in. It is a sector with which I manage quite
a lot and informed me a lot and we will take advantage of it a
little. That too is the feméri that is fulfilled so that it will also
give rise to the repercussions after the content. And then I can also give
you something forward, and it is that of the next three episodes, at
least two, well, I would say that even the three, but two
of them touch us very closely I are somehow protagonists of those podcasts both in
chema and me. I mean, the story couldn' t be closer.
Already if the people who are listening to this have not signed up already.
I invite you to listen to the promo of the Castle, because you have
to dedicate half an hour to it and that hears you leave half a horita
of your time, but listen to it promo And if you listen to the
promo, you have the button to subscribe there next to it. So already
take advantage because the truth that having already heard that first episode of the five
hundred years of the Castle, looks very good. Now with all this stuff
you' re telling me, I' m gonna put it on now as
soon as we' re done recording. I put the automatic download to have
them there, because maybe from one month to another I forget ay and then
I find that I have two or three at a time. Nothing I have
already in this you is the problem of publishing one a month effectively, but
good, but good and true. Me too, that is to say,
it was also happening to me with a podcast that I had before. And,
on the other hand, I think it' s the exact time for
people, on the one hand, I' m not going to say they
' re bored, but they' re not going to saturate you, but
on the other hand, they' re not going to miss you. I
mean, it' s a month. It' s just when it'
s all right that I can have them here again. If it' s
two or three months now, I know where they' ll be. They
have already stopped recording and every week, like or I have three earrings to
see if I catch up, but one a month, what happens is that
then you have to live up to expectations, because such general expectation and people
to see when something seems appear, if you do something that is not in
height and you to seem not episodic, that is, do not stay with
an open intrigue at the end of an episode waiting for how it is resolved.
They' re all self- conclusive, making it an independent story.
Each one clear. You can always listen to logo all at once and then
good, but better to listen when they come out than yes, we are
also much more motivated to those behind to say look. This one has been
heard more and this one seems to have liked come. Let' s go
with another next come. Well, this, this is your own self-
production, but it' s that I' m watching on your website and
you have a lot of projects that you' re in and I was going
to say behind the microphones, but in your case, also behind the cameras,
because you' re not only doing audio podcasts but also video podcasts And
besides, what I really liked in the case of audio podcasts because I see
it easier than video podcasts, although there is also that they' re all
active projects and they' re all projects. I don' t know if
weekly or fortnightly. Like a lot of people, I mean, you'
ve got a lot of work going on, you' ve got a lot
of very active customers there. I don' t know the truth that he
' s very jealous of me. We' re very lucky today. Yes,
not to say it. Here we could not sell a thousand bikes and
say that we have done such a thing or such a better or worse,
but I think we have had the luck to chain several interesting projects with a
series of small projects that supported it, because you know how this is.
In the end, you have a base of small projects and little by little
or small ones rise or allow for larger ones to have a customer base.
We' ve been operating from two to twenty against a solid customer base.
It has allowed that experience to give us access to customers a little bit bigger
and increasingly make services a little bigger. Last year we inaugurated the TV dish,
which is mounted in the offices in collaboration with a company with which we
collaborate and have assembled between them and us. His experience was of corporate video.
We have put the whole part of sound and have managed to give a
closed product of video podcast to which we add everything else, since the creation
of channels, the discharge, trying to transform an advertising message into an attractive
content for a podcast and then the whole distribution part. Then I wouldn'
t know why these things are happening to us, but it probably goes a
little bit along the lines of what we' ve talked about before because of
the work. Well, actually, you won' t tell yourself, but
I' ll tell you. It' s just that we dare with a
lot of things and we pick up the phone everybody and we solve things that
in the end is what a customer wants you for. You' re a
supplier and you have to get him out of his head. Yeah, that
' s a little what we do, and that' s why we do
a lot of projects where we' re very happy, man, the ones
we like to do, and I think that' s none of them,
because that won' t be any mystery to anyone. They are the products
in which we can get involved in absolutely everything and from the beginning, i
e even give it into the creative part. There are not many times that
we get a customer says look, the company wants to start a podcast,
but we don' t know very well what we want to do, what
you propose and from there, already, ideas arise and we stay from scratch
and we get involved in the scripts, in the presentation, in everything,
in preparing the sound design, in giving reform to the sound identity of the
podcast. The visual identity, then record it and edit it, publish it
even since they help the part as well or we do it promotion. So
that' s what we like the most. No, but it is true
that there are some that are simply yes, because they are podcasts in which
we entertain in the pure and hard technical part. You don' t know
it will consciously pass many of them is hey you come a client and tells
you I want to record this podcast with i e this script these guests.
I' ll do it to you. All you have to do is record
remotely or in studio. He edits it for me. If you give it
to me, not even many times, because as they also do to you,
I don' t record it on my own. I' ll give
you the clues and you edit it. No. So, well, we
do everything, but it' s true that we really like those other projects.
There are very nice projects, almost from the beginning they are with us
DKV, the podcast Voices Activists. We very much like to give it as
an example, because it is also a company that has always welcomed very well
and very open- minded. Not everything we' ve proposed and we'
re doing very nice things with them, but not just them, many other
things we do the Carrefourt travel videopodcast. Also in a while we have started
to make another podcast video called The End of Beauty, which is also very
well and then in audio. Well, we' ve worked on very nice
things. We don' t work with the technology center, research center explains
the technology that we do also very nice things with them, not trying to
tell what is something different. Well, we do a lot of things and
I don' t want to quote much more, because then everyone is impossible
to quote and I don' t want anyone to be offended, but it
' s true that there are very nice projects. I very much like the
sea salamento, that we also make a podcast for them and that they are
also always open, to say, open because they are above all the two
people of communication with which I contact, because it is a client with which
I work directly, because they are women and they always wanting to do things
and that we help them to improve at all times, and open to do
something crazy to see if they like how it is, no, then we
are happy to do all this. The truth is that yes, because I
' m the truth that you saw a lot of me is that I didn
' t want to start giving specific customer data, because I always say with
big customers that it happens that the others are small. No. No,
actually, you have big clients because they' re powerful brands. Then there
are others, a little more modest. But I really like the proposals that
they make, because what you said Carrefour trips, that you refurbish in a
supermarket, already good, but it also has its part of trips and now
it also makes great content in this case with you who have known to shape
and sell to Harrfur that well, that you can put his brand thanks to
a podcast, well this case, a podcast video, no, but DKV
Control Energy, that we had the sponsorship here to the other one of the
microphones last year, Capital Energies, Sorry, sorry that I read Control is
gone. It' s just that it doesn' t seem to be in
sight, but I' m 40 already. I have to go and regulate
my glasses because that' s where it happens to me with the tail rode
caste that to see the hours that I have left of the card, I
already have to not. It' s just that I' ve been careful,
it' s that editing takes away many years of vision, because being
with the timeline, with the short ondita paste expands. He' s taken
me away, because I' m going to tell him something with this,
because a couple of years ago I went and said I think I already prespiced
her and said no. You' re not too young. I mean,
it' ll be that other than I' m in front of the computer
all day, then, but good. Yes, but see if, as
you say, without the intention of putting some ahead of others, for example,
small projects. To me one thing that I love and it is good
there for the casting of the podcast of a nutritionist, a psycho nutritionist,
and it is a simple podcast in aspirations, because it is a talk.
At first she was alone giving nutrition advice. She is now doing more personal
interviews with people of the stature of Merzu Bizarreta, one of Zubi Moda'
s creators and one of the biggest nuns who, if I am not mistaken,
also has her own podcast. Yeah, that' s right. He
' s got, like, five or six seasons or more. It is
one of the dean podcasts of brands and they do it very well and one
of the greatest satisfactions. It' s not just what you learn with each
project anymore, because in the end you also peck at yourself from a lot
of different sectors, but tell you listen is that people have contacted me to
see me go to my office because they have listened to the podcast and say
oysters is that of course, not only am I giving you an interesting space
to expose yourself and that you have x listen every time you publish it,
but it' s serving them something is totally taking a game. Yes,
it is true there are small projects, very nice, some of them for
reasons of time and economics. Sometimes they follow us and it is true that
we have stayed in the way some of them, but others we do keep
doing them and they are very well. No, and it' s true
they' re very grateful people. And we also love that they also show
you that I like the work you' re doing, so it' s
also a nice thing. And then it' s true that we work very
directly with clients in some cases and then, other cases are through Agency.
No, so it' s true that many times there are projects that you
see them and god is cool and so, but it' s true that
we' re not going to take away the credit that deserves the Agency either.
Many times the concept of podcast or many other things already come with people.
We are. What we do is or help them in that, in
looking for guests or in shaping a little bit of the podcast concept at first
or directly we just bury the technical part. That is why I also do
not want to say that many occasions, because we are not just us who
are also there behind an agency. But, well, as I say to
us, as an agency, we like that a direct client hires us to
do everything. Yes, yes, but well, we don' t say
anything, nothing and we always value everything and through people we are also getting
a lot of work and it is very nice to shape the whole set at
the hand of a customer. Logically, let it be advised that the customer
is also an active part of that process and among all to shape it and
that even then, because it evolves, as the podcast is from the nutritionist,
that you commented, that it starts in a way, but little by
little, because maybe one day try to bring a guest or make a podcast
at an event that I also know you have done some. I don'
t know how to prove it. We are fortunate that this is a format
that accepts a multitude of changes. Can one chapter last ten minutes, Another
chapter can last four hours. We can do it in audio video, streaming,
live or have a recording a year ago that we published now or a
story within a chapter of a conversational. We can put a little space in
with History Telli. We can' t try it out. We can go
testing and formatting accepts everything. I always say there and you will understand the
analogy very well, Jorge, because you are a runner. We have a
podcast that we carry that is at your pace, that is a podcast that
has been for thirteen years as a radio show first and now as a pure
podcast and we know each other from that. In fact, we know each
other from running together and I' ve trained myself as coach of The Running
And one of the things I always say is when someone wants to start running
or has stopped running because of circumstances, injuries or because they haven' t
been able to for life and run again, you have to fulfill at least
three things in your workouts, in your routine. It is an acquiring a
frequency, acquiring a habit, two, trying to run each time a little
more distance and three, trying to do it more and more quickly. But
you have to do it in that order. First you acquire the constancy,
then you start to put in more volume, more race time and then you
already worry about being more or less fast. Something like that happens with the
podcast. First, you have to make room for it in your marketing strategy,
in your day- to- day, in your planning, in your
mind. No, well, you have to have that little hole to think
like a brand, I say, to have that little hole to think about
the podcast. Once you' ve got it, try to get it to
more people and once you' re getting it from other values, try to
get new things with it and in the end, you don' t have
to imagine what it' s going to be like at the end of the
way, because you can evolve it, but you have to start from the
most basic part. Without that, without a constancy training, you' re
not going to run anyhow notice that just and this seems like we did it
on purpose. A little while ago I was commenting on my podcast and minneu
Letter precisely about myself I thought it had been running that had taught me to
have a constancy in the podcast and it had been the opposite. It was
me that podcasting taught me things about running and the one that made me do
that made me complete a half marathon. Thanks, because that is a constant
commitment, because in the end come the consequences and, in fact, in
a brand, if the brand understands it or the entrepreneur understands it and lets
himself advise, in the end the results or the consequences will arrive. But
what you say has to have a habit, has to have a constancy,
a cadence of chapters or career in this then see then there are circumstances.
Of course, there' s something you think is well built and doesn'
t fit you, it doesn' t work or you stop believing in the
exact project. Or there are circumstances, but logic says that if you do,
then you' re going to have good results. If it' s
as typical as it is said, no postcasts have to last thirty minutes.
Well, let' s see if one does, some more, some less.
As a rule, one of thirty minutes is going to work better than
others. Yes, but there are also a multitude of examples you don'
t have. Why run one better than one of thirty minutes than five minutes
or one hour or four hours. Well, circumstances. As you say and
today one of these I have more than anything in my personal capacity. This
if you want to cut it out of the postcast, but I think you
' re going to want to leave what are the biggest challenges you face when
a client arrives who doesn' t let himself advise you at all who puts
you, who already says no. It doesn' t have to be like
this And so, you see that my mother, this one is going to
hit a poor, poor little shit, but hey, what' s it
like to pay. Let' s leave him. But I would advise you
not to have some challenge or some example you can set from uff to see.
I' m going to start with the most theoretical part, with our
way of looking at it, to see if while we come up with any
examples that I' m sure you' ve made us swear. In those
cases we tend to there is one thing that inevitably happens and this remains in
the internal forum, which is to leave, if one of us has spoken
to that client or tencer the client and the other not the next without the
whatsapp to say does not look what I just asked for. Watch out for
the hoot you' re going to get this one you want to do.
I don' t know what we have to depressurize out there. And the
first thing is that we catch up and then one of us makes these papers
that vary. One of them plays cricket and the other plays more of a
captain garcius. No. And there' s someone who says good. He
' s hoping that maybe they' re right. I mean, we don
' t know all the ways to succeed, so let' s try to
do it their way. If we see that you let yourself be advised on
very basic things, I go to a barbarity, because someone comes to you
who has a limited budget and wants to make you the great podcast video,
because that is a mistake of the most basic thinking. I mean, I
don' t dare say it' s a mistake to think that a podcast
is cheap to produce because you' re in your right or ignorance, or
good ignorance, because you try. The truth is that they ask you at
the price of a podcast recorded in remote audio, they ask you for a
superproduction, in study and with exteriors also clear for that is and that you
throw it away for social networks, that you put effects of I don'
t know what and that well we have always clicked on the ignorance, because,
obviously, there can be no wrong. People do these things or try,
I don' t know, but of course, you have to put
yourself in a very positive position and if you see that you can' t
change his mind, at least that he has the best product that that person
thinks he needs and that, if it doesn' t work, obviously,
the owner of the idea is that person and the owner of the results and
the one who will suffer or not the one who works that podcast is that
person. Evidently, you know if it doesn' t work, it'
s gonna stop working with you. But in our obligation is what Echema says.
We try not to lie and be honest and tell the client. It
comes to us from the experience we have, we believe that this thing you
propose is not going to work. We recommend this, this other, this
other, and many customers say well and many others say no, that no,
that I have this idea And actually, what Chema says and says well
it just as happens it works in the end. In fact, it has
not happened in a good oprasion with that which in the end works what you
are saying or it turns out that we have not understood well, because you
have not explained it to us well. Or we, when you haven'
t explained it, haven' t understood. That he had another goal.
The target was not the same. I just wanted to get thousands and thousands
of listeners and I didn' t want to do one. I know how
to improve your brand image or the other way around, not then. In
the end, it is true that many times what the customer wants to convey
you do not understand well, or do not transmit them well. I think
what chema says. In the end, what we have to do is if
the client wants to do it so we' re going to shut him down
like this from the beginning. We don' t think it' s the
right thing to do. Let' s see how it works, telling him
what can happen and from there, then, working that works well. The
cool game that doesn' t work. We' re not one to say
either. We told you, well, he doesn' t realize we have
to try to make that functions. That' s our job and others.
That' s even with his idea, that we' re still not very
convinced of it, because it turns out that we have to say or we
' re going to support it and let' s say why we' re
not going to go forward. That' s true. If you want me
to tell you an anecdote, one of the things that really catches my attention
with a client that, besides, was a pretty powerful agency that had that
has a very very powerful client too and above all they wanted that it is
a I think neither to call it a mistake, but I think it is
always a pretty wrong idea that they usually have many people and many brands that
I want problem made, podcast is that I wanted to have thousands and thousands
and thousands of listens. Then he aspired to also have the podcast only what
they wanted to publish only in Spotify, because he said that Spotify was the
most used platform in Spain to listen to podcast. You' re already doing
it in due course. It wasn' t good to take off on one
side of YouTube okay, but it was that in a studio I had seen
that it was true that Spotify was still there, not with a movie with
eboox and such, but I was starting to do it and as it started
to count, eight and a half million people listen to podcasts in Spotify,
because I want there to be eight and a half million listeners on my podcast.
I meant it to me. No. So I tried and as much
as you explained it to her it didn' t end and I said well,
because I' m not going to try to convince you anymore. I
am aware of all that you can and such, evidently, the podcast did
not have eight million excuses by far. Evidently, it' s no episode,
no podcast. In Spain it has so many listenings per episode is impossible.
So, well, it' s true that you tell him you try
to convince him, you try to explain, you try, you give him
figures, you tell him own experiences, you give him data, you give
him reports, everything and if, in the end, even from there,
he' s not convinced, and what you want to do a product.
So, well, in the end, the important thing is that that project
as such, the content and the way to tell it, in the end
it was what they wanted and that was achieved. It' s worth what
they followed us or you don' t listen to them. I say if
you want this kind of podcasts with this content you' re not gonna get
these listeners. If you want to create prestige over your brand, that your
brand talks about interesting things, it has very good guests and that way it
is reinforcing the prestige that your brand has when it comes to telling these things.
We did it and we did it and we did it, but the
fact that millions of people listen to that kind of content is already very difficult
to achieve. It' s very difficult. I want a figure of tiktok,
but doing a podcast of one. Now of course, but there isn
' t. It' s not the same. A video. It didn
' t work in this sense, let' s say, and how much
audience also worked well, but it obviously didn' t work on the cyphers
I had in my person' s head. Yes, but if we have
got some client, for example, who has the head of social media figures,
social media engagement. Besides, this was very, very good. I
like it a lot as an example and we try to replicate it more.
They asked us for a level of reporting within which the podcast can' t
do a lot of reporting and the platforms don' t give as much data.
If you ask us for a more or less advanced level of reporting to
put you on marketing soutdashboard every month and of course, the first things aren
' t which direction. They' re asking me that clear why the podcast
has I' m going to say figures, if I' m going to
be wrong, no, if I stay short or long, fifteen zero listens
per episode, when we have three hundred zero followers on social networks and they
' re giving us half a million likes a month we told him already keep
in mind that they' re paying attention to you for half an hour that
lasts every episode and we transform that into a KP that I leave there for
being the one who wants to use it, because we have earned that it
' s the minutes of listening. Then we said well, calculate in real
how many minutes of listening you can accumulate to get to what the podcast does
to you and gives them some figures that immediately convinced them and from that very
moment, Direction stopped asking or stopped doubting that this was a good investment.
Then it is a project that has fallen for other reasons. Okay, but
I haven' t just renovated. But the metric in that case was working
very well, really very well. And as for listening and it is also
working very well with other objectives that they had marked themselves internally and that was
to be a reference within their sector, when it comes to telling certain things
and how to tell them about theirs And the truth is that they always finish
a lot of chest of the project And that is that that we also have
to convince those who come, to the producers you guess that you do it
the same is listen not only look at the figures. It' s just
look at other impacts you' re going to have and other goals you can
achieve. I' m sorry I cut you. It' s not basically
that learning was the re- converting of expectations. We basically had to come
up with something good. Not that it was the invention here of the formula
to invent putting it in front of it looks on Tiktok or Instagram or on
Twitter. You have to spend ten seconds reading a tweet on podcast. If
your podcast lasts half an hour, I' m not gonna tell you they
' re paying attention to you for half an hour. But even if it
is fifteen minutes half a chapter, it is that it is fifteen times more
or thirty times more or sixty times more than an East of Tiktok, and
not only in duration time, but the mark will really stay in your head
because you are accompanying them in their day to day. That' s why
you don' t compete with anyone else at the time. That' s
because on social media you get an impact. If you' re half an
hour using social media, you probably received 120 hits from 120 different emitters.
You' re not going to memorize it It' s not going to hurt
you It' s not going to stay with who the sender of that message
on a podcast, you' re totally tris. But, well, look
what I remember, and I always put this as a good memory, and
also because I' m a podcast patient. But I remember the first promotion
campaign that I heard on a podcast and that I used on a podcast and
I' m telling you about twelve years ago that the brand doesn' t
exist anymore, nor does the podcast, but for me, it stayed or
recorded because they really did very well. It is a brand that was associated
with a podcast that I liked very much and really the brand brought some values
that the podcast strengthened Y jo, for me it was a campaign that,
in fact, many times I talk to colleagues who also took advantage of it
and Joe remembers that campaign. Yeah,' cause she was one of the
first on the podcast. I imagine that to you, with naturritmo, I
would pass on brands of raning or sport that associated you with your values or
with what you want to transmit in this case as sponsorship. But well,
if we talk about browndes content even more in the case of DKV or Capital
Energy, because those brands want to make a product that strengthens their brand,
that strengthens their values. It' s just that that' s yes and
that at the end of the day they' re proud that you narrated there.
Not that that seems to escape us many times, but a podcast present
because it lasts longer in its service life, is wider. You have to
worry more about that, because screwing up a tweet or that it' s
an unproductive tweet that doesn' t go anywhere, well, it' s
okay, it doesn' t have an impact. But making a podcast that
doesn' t represent you can be more annoying, it can be much worse.
Luis Cheva, because listen I invite you to return another day, whether
we record it or not, because these talks for me are a pleasure,
because finally and here we are speaking colleagues of profession who face many very similar
challenges in our day to day, and I do look at you within a
year. If you want, come back and keep talking about stories on the
foot of a microphone to see if you are already going to the fortnightly format
to see if the production has liked you so much and that, in fact,
it returns you. You have a return there because it is worth it,
whether you charge it or not, but it is worth it for you
to format podcasts to continue teaching what it is capable of, because to me
personally with a chapter you have already hooked me. I imagine that there are
many of my listeners too and it has really been a pleasure to have you
on this side of the microphone and we have to meet now, I don
' t know if with microphones in front or not to take something to talk
about this great profession that is already heard for us. It has been a
pleasure, especially because we have been following for many years also and you are
one of the people who makes the most low in the world of podcasting in
Spain in recent times, and because we usually listen to you as well and
it is always a pleasure, especially to talk to people who are in tune.
Not because I think we think just as much about what this is about
the production of podcasting, of the industry of the few We like to bring
us the industry and that' s why, that' s why we participate
in talks as it is, whether with microphones in front of the recorder or
not, because it' s always great, good enchanted and you already have
to vergi has seen what it is. Another thing we have is roll,
uh, one, no, because I have to go get my daughters and
I don' t tell you that I stayed here because only because of the
melon I just opened. Luis from the podcasting industry, which looks like a
lie that cost us. But already in Spain we have an industry of podcasting
and works like those of format podcast or b producer prove it this way and
the large number of customers that already have to bet on the format And the
good thing is that look at this is a producer and you are interviewing us
not the two that we are a producer and yet we are not competition,
because we believe that there is space for everyone and everyone has their way of
doing things, has their contacts. And the truth is that we are happy
because it is proving that there is an ecosystem of podcast production that is also
reaching the brands and the mascas, more coming to it, that it is
stable and that for the moment is sustainable. I mean, we' re
delighted and, besides that happened to me, you' re getting another bigger,
smaller producer. And either he hires you, or you hires you because
a service here, a servant. Now, in the end, that'
s what an industry is. This is what we are doing, too,
indeed, we are creating industry. Yeah, that' s totally because listen
to Luis throw me a real pleasure having you on this side of the microphone
have a great weekend and the rest remind you that next Monday on the occasion
of the pedcaster Monday you enjoy this weekend a lot. Full of podcast like
micro api stories that I hope you will have by Monday. Everyone heard Chema,
Luis, we keep listening to each other on the other side of the
microphone a taste. Thank you very much, and now I say goodbye and
return, like every day, to that place where you are right now,
across the microphone,