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The Marketing Architects
How the Right Music Can Grow Your Brand
00:33:52
Highly engaging music can double your return on media investment. Yet most brands treat music as an afterthought, leaving millions on the table. This week, Elena, Angela, and Rob are joined by Roscoe Williamson, Global Strategy Director at...
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- [00:00]
A
If you are a marketer and you're thinking about how you hit both surprise and recall really, really well, then doing re recording reimaginations, reinterpretations of existing music is a really, really strong way to do that.
- [00:13]
B
Marketing Architects hello and welcome to the Marketing Architects, a research first podcast dedicated to answering your toughest marketing questions. I'm Lynn Jasper on the marketing team here at Marketing Architects, and I'm joined by my co hosts, Angela Voss, the CEO of Marketing Architects, and Rob DeMars, the chief product architect of misfits and machines.
- [00:33]
C
Hello.
- [00:34]
D
Hi guys.
- [00:35]
B
And we're joined by a special guest, Roscoe Williamson. Roscoe is the global Strategy Director at Massive Music, a creative and research leader helping brands harness the power of sound to drive real business impact. He started out studying chemistry before turning his lifelong passion for music into a career. He composed for brands and eventually built Massive Music's London office. Over the past decade, he's helped shape the sound identities of global brands like TikTok, the Premier League, Colgate, Pumol of eBay, and Gymshark. Now he leads Massive Music's global strategy insights and culture teams, bridging creative innovation with data to prove something we all feel but rarely measure, that music can grow brands. Roscoe, thanks for joining us today.
- [01:15]
A
Oh, thank you. Yeah, it's lovely to be with you guys. Thank you.
- [01:18]
C
Well, Rosco, I'm excited that you're here. Gonna fanboy out a bit. Love the art of sound. In particular, if I'm not mistaken, you are heavily involved or the creator of the TikTok Sonic logo, which is arguably one of the most iconic sounds in social media. Now, my intelligence network, which is a team of elves, tells me that it contains the sound of a dog barking and that it was an accident that happened during production, but you guys decided to keep it in there. Now, I want to hear a quick story about that. I'll confess I had to listen to the plane of that logo several times before I heard the dog bark. That was fascinating. The elves have it, right?
- [02:03]
A
Yeah, the elves have been going deep. That's great. Yeah, kudos to the elves. So, yeah, you're absolutely right. So I was co leading the team. I have to give credit to my past colleague Afrik Lennon, who, like Afrik and I really did drive that project alongside the rest of the team. And it was a. It was a labor of endur difference. Let's say it was almost two and a half years to get that sound out. But yeah, so I guess so the sort of Easter egg dog bark Sound stems from. At one point in the creative exploration we were looking at, could we sort of have a fixed part of the sound and then could we always vary the other part with a sort of user generated sound? And so somewhere along the line, and I'm talking about 2000 Sonic logos down the line, it gets very confused as to which version is which. And whilst we all loved the version that's come final, we actually forgot that baked into it was this. Was this little dog sound sample. So that's awesome. It'd been okay and it'd been signed off and it was too late, but of course we had to check that it's all legally fine, et cetera. But yeah, and then when you take it out, it just doesn't sound quite the same. You know, there's a sort of discordance in there, grittiness, which it needs. So, yeah.
- [03:21]
C
Wow. So you are in fact the person who let the dog out. Sorry, I really wanted to use.
- [03:29]
A
Keep It Coming, Keep It Coming.
- [03:31]
D
He's been waiting all weekend.
- [03:33]
C
I mean, I like, I can't wait.
- [03:37]
B
Okay, all right, let's. I have a dog in my background, so maybe we'll make some magic with this recording too. But let's get into things here. I'm going to kick us off, as I always do, with some research. This one was easy because I sought out Roscoe for this research in partnership with the ipa. Massive Music published a report called Sound How Music Is a Missing Link in Marketing roi. And they set out to prove something we've all sensed but never had real data to back up, that the right music doesn't just make ads more memorable, it makes them more effective. What they did was they tested hundreds of UK TV ads using implicit behavioral science and measured how the music performed across different areas. And then they linked those results back to real business outcomes and they found some incredible things that we're going to talk about today. And that's just a little preview of the research and Roscoe's here to talk about it. So thanks again for joining us, but I wanted us to start at the very beginning. First, could you walk us through the history of music in advertising?
- [04:32]
A
Yeah, absolutely. I do think it's useful to have a bit of a grounding in the background of this because it helps frame really where we're at now as an industry. So I see the start of this really in the 1920s and with Wheaties, the cereal brand that was basically on life support in terms of it was due to be discontinued. And then a plucky Advertising executive called Sam Gale recorded the first ever jingle with a barbershop quartet, put it on the airwaves in the, I think it's the Minneapolis region, and then recorded the sales. And three quarters of all Wheaties sold nationally over those few months were sold in that region. So very quickly they scaled this up and the Wheaties brand was saved. And you've got the jingle over the airwaves. And of course, the other sectors, other brands started to cotton onto the effectiveness of this advertising. And then you kind of get to the 50s and you get this jingle apocalypse, as I call it, where it's just. It's lost its magic because it's everywhere and every single brand in every single sector has a jingle. And God knows what it was like to listen to the radio or whatever at that time. It must have been fairly horrific. But then the effectiveness trails off. And I think seven years ago there was like 21 jingles registered or something in the United States. So you can see where that's gone. So that's the sort of, in some ways, I think, of sonic branding. And there's kind of two tracks, I guess, that I'll talk about. One is the creation track, where brands are creating distinctive assets and music for themselves. We'll call that sonic branding. And the other one is the curation element, where they're choosing or licensing music. So if we go forward to the 70s, that. That idea about curation comes to the fore with Coca Cola and the Hilltop advert I'd like to teach the world to sing. And that song shot to number one around the world. And some of the royalties were directed back to unicef. And it's the first example of a brand kind of with music, curated music in culture. We then fast forward to the 90s, the birth of intel inside. Ding ding. I'm sure we all know it. And you get again, on effectiveness level, 4% brand awareness before playing that mnemonic for a year to over 80% after one year. So in terms of an intangible asset for the brand, because they've used it now for decades and decades, it's worth in the tens, if not hundreds of millions. I would say that one sound for. For the brand and that's the birth of sonic branding. And then I think we can fast forward through to where you get to the 2003 McDonald's. I'm loving it. There you go, that one. And that's more flexible. They start to play with it more. And then you can fast forward really to where we're at with this Kind of ecosystem era. So TikTok, as we've just talked about, is a sound that is on products. And we know that products have huge reach. And so brands like MasterCard also creating sounds of contactless payment, huge reach. So brands start to tap into, okay, where can we have our brand sound that has huge reach outside of things like tv, digital arcade products? But then it becomes, how do you tie all this stuff together? And that's where we're at. We're at the age of the ecosystem where brands have product sounds, they have voice, they have music, they have curation principles, they have guidance in how to play in culture with music. And it really becomes more of a holistic thing. And therefore we end up now where I would say we're at the kind of age of effectiveness with music and sound to how we kind of study all this stuff and make sure it's having the biggest impact that it can.
- [08:26]
B
The history is amazing. Just the power of sound and all the different ways you can use it. Rob, did you work on Wheaties? I didn't know about the Wheaties connection.
- [08:33]
C
Was that a different General Mills is in our backyard. So pretty much anyone in Minneapolis working in advertising has worked on cereal at some point. So haven't worked on Wheaties, but did work on other cereal brands from them.
- [08:45]
B
Okay, yeah, that's fun with that Minneapolis connection too. Let's talk about the report, because I heard about this report from the work podcast. I dove into it. I was like, this is so interesting. I'd never seen anything like it in effectiveness research. So what motivated you to take this data driven approach to music and what were the questions you were hoping to answer through this study?
- [09:05]
A
Yeah, well, I think if we look at effectiveness in music and sound, there's one area of it that is now a little bit more mature, I would say, which is the. The study of distinctive assets with sound. So sonic logos, sonic cues. As we all know, there's many different words for distinctive assets, right? But let's say, let's call them sonic logos, for example. And in 2020, Ipsos did actually, it was driven by a guy called Alex Sheridan over at IPSOS and did a fantastic study called the Power of you, which really showed across tens of thousands of US TV commercials that it was sonic distinctive assets, sonic logos that were eight and a half times more likely to drive brand attention than any other distinctive assets during that test. Right. So we're talking visual logos, we're talking colors, we're talking masses, celebrities, for example, which was pretty astonishing. So that created A lot of buzz and noise and was responsible for quite a lot of new interest in the area. And then recently this year, System One have actually rerun a similar test and found that again, sonic assets are the most likely to increase brand fluency more than double than all the others. So again, it's back on the radar. But the thing is that it's relatively simple to pre test and post test for short distinctive assets. What's harder to do is all the other music that's out there, the longer form music, and whilst there's more of that music than there ever has been, there's more areas that a brand might be playing that music than there ever has been. It's such a black hole in terms of effectiveness and we all kind of instinctively know that music is, is a really important part of a campaign and how emotional it is, and yet it's always very underserved in terms of the research. So really we set forth to ask the question is what are the key drivers of effectiveness when it comes to longer form music? Which leads us to the IPA effectiveness study.
- [11:15]
B
Yeah, I know that you were measuring these four key metrics. How did you land on those and what did they tell you about how music actually works in advertising?
- [11:24]
A
So we did this two ways. Firstly, we leveraged our kind of global talent internally. So we have teams all over the world who are syncing music daily, creating music daily, and we really wanted to understand what they felt were the key drivers of success. And then we then went to our partners, particularly Professor Daniel Mullen Siefen, who was at Goldsmiths University in London at the time and is now at Hamburg University. And he's one of the leading experts on music and the mind. And he's worked extensively in media and advertising as well. And so he helped us together with the IPA lesbinette, to really start to validate these four in terms of music cognition, emotional processing, long term memory encoding. And if we look at the four that we talk about, engagement being fundamentally, how much does the music catch your attention and pull you in emotionally? Fit. Now, fit's an interesting one because many people go, oh, is that brand fit? But actually what we wanted to look at was fit to picture. So how well does the music actually support the narrative and the picture and surprise? How much does it cut through, stand out, feel incongruous, but kind of right, and recall how easy is this the music for us to stay with us afterwards? So those are the four that we looked like together. I guess they come, they're the kind of psychological engine behind it, really.
- [12:51]
B
So when you looked at those four, you found some pretty interesting things. Can you walk us through some of the findings?
- [12:57]
A
Yeah. So I think just to pull out a little bit around the IPA involvement here and Les Lesbian, obviously Les being an absolute kind of legend of the effectiveness industry. I think what was, what was amazing was be able to take the IPA cases and take the 100, I think it's 30 plus film spread across those cases, all different sectors and have the econometric data, have all of that business and brand performance data that the IPA have there for us. And then we were able to then cross reference how essentially seven and a half thousand people were evaluating the films across those four metrics that I just previously spoke about. And then there's a lot of essentially number crunching under the guidance of both Les and Professor Daniel Malzifen to make sure that everything is non biased and accurate to really look at what are the causations between those and the business outcomes. And what we found was really quite startling, really. So when we talk about engagement and how much the music pulls you in, the driver that changed most really here was return on media investment, right? So the most engaging music could actually double the return on media investment, which is pretty staggering really. But as an average very good engaging music increased it by up to 32%. So when you start to think about the total spend of a campaign and you start to think about the fact that the most engaging music was shown to double the return on media investment, and yet how virtually nobody is isolating this driver, like it's pretty startling in terms of the amount of money or risk really that's being left on the table for the higher end of the kind of campaign spectrum. And we found these findings time and time again. Now that was return on me investment, which is one of the most kind of hard hitting. But there's some other really interesting ones as well. So fit how well the music fits picture increase the willingness to pay, so a kind of premium factor by up to seven times for the most highly fitting music. And I guess when you think about it, I guess and it came out in some of the qualitative comments as well that people just perceived the spot to be of high quality or the product because the music was so tightly fitting. And then the final two, so surprise and recall, so surprise led to increase in brand fame. In fact, the most surprising pieces of music were up to five times more likely to drive brand frame and recall increased the salience by up to four, four times. And so of course like some of the music hit these, these different factors, like more than once or twice or three times and you can play with these. But yeah, I think what it shows is that it's definitely not a nice to have music. It's a genuine driver of effectiveness. And now at least we have some data pointing at how it's doing that, if you see what I mean.
- [16:03]
B
That's amazing and probably a huge untapped opportunity for brands too, that they could make this much of a difference in their ads if yet not a lot of marketers are even aware of it. Could you share an example? I mean, it's a couple brands in this study. An example of a brand where, like music really transformed the impact of their ad.
- [16:20]
A
If I'm being kind of really, really strict to myself to say that they transformed them, I would have to do like a B test with a piece of music. But the ones that we know scored really well and we can look at our qualitative information from our study and we can see that users are attributing a lot of this feedback to the music. So to stand out, number one being Costa Coffee advert. I don't know if you guys have Costa, but it's definitely uk, big UK coffee chain. And the spot was called A Nation of Costa Lovers and it has a re recording in it of Kiss I Was Made for Loving you with a group of like just random people's heads poking out the top of a coffee. It's a bizarre spot, but the music's amazing. Amazing because it's this re record version done by just general normal people. But it's a song that we know and what it did is it hit both surprise and recall really well. And I think if you are a marketer or you're creative and agency and you're thinking about how you hit both surprise and recall really, really well, then doing re recording reimaginations, reinterpretations of existing music is a really strong way to do that. And the second one I want to pull out is KFC Believe in Chicken. This was a KFC Christmas campaign and really what's going on is there's a chef in the, in the commercial kitchen and it's all, yeah, it's all quite festive, but what you've got going on in the background is Puccini's Nesm Dormer and I guess there's this kind of incongruence between the fact that somebody's making KFC chicken and this incredibly famous, beautiful piece of classical music. And it works like it just stays with you. And I think what we found with the surprise was that what it does is that music that makes the viewer, the audience kind of think twice and go, oh, that, that kind of works. I don't really know why it works. It shouldn't work, but it does. That then tends to stay with the audience and hence it helps to drive brand fame. So I would say those two standards, but there's many great examples in the.
- [18:29]
D
Study I think many of us have probably experienced. I know my husband over the weekend, he always calls it an earworm if he gets something that he can't let go of and it's driving him crazy. So clearly the power of music is so powerful. Roscoe, I'd love to jog back to something you mentioned earlier, which was that one of the elements of the study was just how much does the music capture your attention and pull you in emotionally? And the research found that highly engaging music can double your marketing performance. So in your view, what makes music highly engaging, especially in an ad context?
- [19:03]
A
Yes. So there's a few things here. It's so music that in some way emotionally feels engaging in terms of the type of emotion that it's portraying, how that is contrasting potentially to what's going on screen, the structure of that music. So music that maybe starts quieter and builds and lifts and has attention, the lyrical content as well can drive engagement as well. Is that fitting to the picture in some way? Is it being clever in a way that's understated? I think that engagement can also be where the music kind of has some slightly unexpected turns as well that can keep pulling the listener in. How well is it crafted? Is it. Does it feel like wallpaper or is it more intentional? So there's many different ways that we can look at engaging, but ultimately it boils down to, for our testing panel is like, how well does the music draw you in and keep your attention fascinating?
- [20:07]
D
Love that there's so much depth to think about there. We as effectiveness evangelists, love the empirical rigor. In the research you mentioned, it's important to be non biased and accurate and we have to look at correlations and causations. You worked with Lesbinette, who's a bit of a grandfather, on how to do this well, well in the industry on this paper, what did you learn from that collaboration about how to measure creative effectiveness with more rigor?
- [20:34]
A
So much stuff. It was a real honor for the team to work with Les on this. And I think really Les really helped us to anchor everything in the IPA metrics that truly matter. So Romy, pricing, power, fame, salience, long term business effects. I think also he also made sure that we kind of stayed away from. Oh yeah, this is interesting call to steer us more towards. Does this actually change how marketers should think and behave? Because if not, then let's leave it out. Like there's a sort of brutal efficiency that I've noticed with Les and we both talked at the IPA conference this year in London and I witnessed Les's slides and literally I know how much work's gone into what the research that he was doing on budgets, etc. And yet, you know, when Les presents, there's barely anything on the slides. It's kind of ultra minimalistic. But the way that he communicates and the way that he can get his points across by having less information is really, really, really kind of inspiring. So that was good. Yeah. Clarity wins, I think, is the lesson there. So, yeah, it was great to work with Les on this.
- [21:51]
D
Well, and the role of a CMO is so complex, so that ability to just distill it down into those simple principles and allow the marketing world to leverage that, it's so great to have bodies like the IPA and yourself to help support marketers on these moves that will move a brand in the direction we all want to go. If you were advising a CMO that's listening today related to music and advertising, where should they start? What should that strategy look like?
- [22:16]
A
If you're spending over, let's say, a million on a campaign in total, which is not a huge budget in the grand scheme of things, then testing should be in my mind, but our opinion, non negotiable. It should be mandated because you're essentially gambling potentially a six or seven figure output on personal taste or the taste of the agency's taste, for example. And of course that taste is hugely important. And we're not saying that the agency shouldn't make the music, the decision on the music, because. But why not go into that with some data behind it? So that's one thing, I think the other thing is if you can't really define the sound of your brand internally to your team, to your agency partners, then I think you're missing a trick. And what we mean by define the sound of your brand is do you have some guidance on curation for your social media content? Do you have some guidance on your curation for your licensing, for more of your flagship content? Do you have a sound? Do you can actually some. Can you stop somebody in the street or in your industry if you're B2B and say, what is the sound of your brand? Because if not, then you probably should be asking those questions, really. And my advice is to start small, start at the most impactful areas, but start working with specialist companies to start building out guidance and assets that can help increase your effectiveness.
- [23:41]
C
Basically, Roscoe, it really goes without saying that my taste in music is far superior than Angela's. But many would say that that music is a subjective thing. So, you know, when you're dealing with subjectivity, that can be challenging when you're trying to sell ideas. But this study really offers a lens of objectivity that you can use to approach this kind of work. What does that look like in practice?
- [24:08]
A
Yeah, yeah. So having worked in this industry for well over a decade, probably a decade and a half now, like, I understand the decision making process that goes on internally and sometimes that can be democratic or sometimes there can be some element of, I guess, testing and thinking that goes into it. But so often it is the strongest opinion in the room who gets the music choice across the line. And I think that in certain situations that can pull off and that can be fine and that can work. But in other situations, that inherent subjectivity that is often driven by the most senior person in the room can actually be really detrimental to the outcome of the campaign. Particularly as we start to see more and more data coming through like this study that shows that actually this is quite tangible actually in terms of some of the levers that you can pull on it. So the question then becomes, why wouldn't you start to want to test some of this stuff up front, A, B, C, D, different types of music testing to eliminate some of that subjectivity. And I think the defense of creative choice and creativity is actually it can actually be a supportive driver of creativity. Because if you're a creative and you've got a pretty wild card music selection choice that your client's going, what on earth are you thinking with this? If you're coming with some data that goes well, actually, no, this is over indexing on surprise recall, so you actually can use it to your advantage. And I think that agency side clients will be quite pleasantly surprised with how it can support their creative ideas.
- [25:51]
C
Love that. Bring the data to sell the big idea and the pre testing of that as well to help support those ideas is a great ad. You did a great job of taking us through the years of how music has played a role in advertising all the way from the jingle era to the ecosystem of sonic branding. Where's it going? If you were going to go ten years from now. You're talking like you're talking now and you're revealing the latest study. Where's it going?
- [26:20]
A
Oh, that's a. Yeah, that is a question we were asking ourselves every day at the moment. And of course, the elephant in the room here is generative AI music, because I think we would be remiss not to discuss generative AI music in the fold. And I would say in 10 years time, the fragmentation that has already happened over the last couple of decades in terms of how brands reach consumers through different platforms etc, is only going to proliferate more. I don't see that stopping. And so therefore it is about how do you have more consistency, more personalization over a kind of plethora of micro moments? How do you oversee that? So how do you have some more governance on that and how do you look at the effectiveness of that scale? So everything from, yeah, what sonic branding becomes in the future, that will probably be smaller and smaller moments and more fragmented and more like a sonic language, so to speak, to if you've got thousands of influencers who are making content with you. And we know some of the big conglomerate clients are going heavy on influencer marketing and we're seeing some of the data comes out, coming out about the effectiveness of that in terms of brand building, actually, which is quite interesting in terms of influencer marketing. So how do you have some kind of guidance like guardrails over the type of music that, that they're using? And so I think what we'll see is a combination of different forms of music, general generative AI music, license music, product music, everything in between commercial music. But I would imagine in 10 years time that brands are going to really want to have a much better handle on how that stuff is performing in real time, out in the market and being able to, almost like with the dashboard, being able to kind of oversee that and quantify that and make tweaks in real time. I would say that's probably where we're going with it.
- [28:17]
C
A deeper level of sonic intelligence when it's really hard to even think 10 years out. You're right. Going on with AI and its impact on, on the creator. That's a great perspective to bring to the table. All right. We love good contrarian viewpoints on this podcast. I have to imagine you have a few. What's your biggest one?
- [28:46]
A
If you think about the soundtrack as essentially probably carrying maybe even more than half of the effectiveness of a spot, and yet how grossly underlooked that is Again, going back to my earlier point, if you're spending large amounts of money or even medium amounts of money on a campaign and you're not testing it, then you're risking your gambling six to seven figures of outcome on subjectivity. And I would say my other point is that the industry is still visually obsessed, almost to a fault, and it needs to balance that out with some more sonic obsession.
- [29:29]
C
You are a brother from another mother. We've talked about that on this podcast before, so that's. That's awesome.
- [29:34]
B
Yeah. Just the importance of that. I love it. We need to be more sonic obsessed. I wanted to wrap up with something kind of fun. In your opinion, Roscoe, what is. This might be the hardest question of the podcast. What is the best song of all time?
- [29:48]
A
I. Yeah, weirdly, like, it didn't take me long to come to this answer. And it's Frank Sinatra's version of My Way. Oh, yeah, yeah, Good one.
- [29:59]
B
That is a great song.
- [30:01]
A
It's very fortunate that none of you were there to hear it, but actually sung this song at my wedding. So. Yeah. So it holds an emotional. Emotional point for me. But what's interesting about the song is structurally keeps building and building and building and thinking about engagement, thinking about how much that it pulls you in is incredible.
- [30:23]
C
So good.
- [30:24]
A
Yeah. And it can work at weddings, right? It can work at funerals, work in films, it can work in advertising. And I think the other thing about the song is that if you listen to it at different parts in your life, right? If you listen to it in your 20s and then you listen to your 40s, you listen in your 60s and 70s. Actually, I'm pretty sure it hits in different places according to where you are in your life. And I think that is the marker of a really amazing piece of music, how it can be so multifaceted. Right. And appeal to people in different ways. So. Yeah, there you go. Go listen.
- [30:58]
C
So you guys know Jason Bateman, obviously, the actor Jason Bateman. His. His father in law wrote that song. Oh, my team of elves told me that.
- [31:12]
A
That is amazing. That is amazing. Yeah. Yeah.
- [31:17]
C
That's a great tune, Robbie.
- [31:18]
B
And should you have a. Did you have a song to share? You're not as qualified as Roscoe, but.
- [31:23]
A
No, not at all.
- [31:24]
D
Not even close. It's not as sophisticated. I was. I. I love Eye of the Tiger. I do think it's multifaceted. It can have a lot of application. Rob, what's yours?
- [31:36]
C
This is where I prove I have better taste in music. No, I'm joking. That's a great song. Mine is a bit obscure, and I had to think about this. This wasn't as easy for me as it was for Roscoe.
- [31:46]
D
I.
- [31:46]
C
But I. If I had to capture a song, I'm gonna go with 2 out of 3 ain't bad by Meatloaf, because a little rock opera is just like sonic branding. Rock opera is very underappreciated, and.
- [32:03]
A
And.
- [32:03]
C
And Meatloaf's lungs are just amazing. And the irony in that song, when you listen to that sweet melody and then actually listen to the lyrics, you're like, wow, okay. All right. This isn't a love song at all. Even though you think you're listening to a love song the whole time.
- [32:23]
A
Yeah. So I need to go and listen to that straight away. Thank you for reminding me of that one.
- [32:28]
B
Yeah, I went the opposite of the purpose of the show. I went totally subjective. For my choice, I picked Purple Rain by Prince. But I do think that's a great song. But Prince is our Minnesota connection. He lived just like 15 minutes from me. It has one of the greatest guitar solos ever. It was became a part of this movie, Purple Rain. And one of my favorite Prince stories is during when he did a Super bowl halftime show. It was raining so hard. They came up to him and said, hey, we think you shouldn't go on. It's too dangerous out there. And he said, can you make it rain harder? And then he went out there and performed Purple Rain.
- [33:05]
C
Awesome.
- [33:06]
B
Yeah, just iconic, iconic moments with that song. But, Roscoe, thank you so much for joining us today. This was so fun. Learned a lot. Where can people follow you and learn more about what you're doing at Massive music?
- [33:18]
A
Yeah. So massive music.com and we're on all the socials, we're on Insta, LinkedIn, etc. So, yeah, check us out there.
- [33:26]
B
Love it.
- [33:27]
D
So great to have you.
- [33:28]
A
Yeah.
- [33:28]
B
Thank you.
- [33:29]
A
Yeah. Thank you so much.
- [33:30]
C
Thank you, Roscoe. That was awesome.
- [33:33]
B
That's it for this episode of the Marketing Architects. We'd like to thank Taylor De Los Reyes for producing the show. You can connect with us on LinkedIn, and if you like the podcast, please leave us a review. Now go forth and build great marketing. Marketing Architects.