When it comes to Host Read Ads vs. Pre-Recorded Ad Spots the question is...which is better? Here at Ad Results Media, we believe that each variation of an audio ad read holds it's own strengths and when run in tandem, creates a dynamic duo of opportunity.

In this episode of On the Mic with Ad Results Media, hosts Lindsay Smith and Nathan Spell welcome Creative Operations Specialist, Brit Garcia, onto the show to discuss the variations of an ad read and the creative that goes into pulling them all together.

Podcast Transcript

 (0s): We actually use Scribd in our home. 

 (3s): Do you really love your sleep number? And we do 

 (24s): Within podcasting lies the age-old question, which is better host read ads that are baked into the show, or pre-produced reads that the client has more control over here at ad results media. We believe that both are critical components within your overall media mix. They work to augment one another strengths and deliver even greater results when run together in this episode of on the mic Nathan spell, and I welcome Britt Garcia onto the show to join us in conversation, breaking down the differences between various reads, the creative process behind each one and how to successfully direct the various types of podcast ads. 

So Britt, why don't we start with a brief introduction from you? I know you've been on the show before, but just in case anyone has missed the previous episode. 

 (1m 3s): Hello Lindsay. Nathan. Yes. So I work with our creative operations team and through that experience, I've gotten to work with some of our various, obviously with our endorsed copy and our live copy and getting to work alongside the copy team and getting that prepped and out into the world. But then also working alongside Lindsay, getting to produce some of our produced read, or producer read or founder red spots. 

 (1m 28s): Awesome. So why don't we dive in? I want to kind of start with the different types of ad reads. Maybe, maybe starting with host read ads. I know that you mentioned that one specifically and for any of our listeners that maybe are joining and are unfamiliar with host read ads. These are ads that are basically read by the host of the podcast. As you guys know, they tend to be baked into the episode. They can be served dynamically, but they tend to live in the episode. And they're always read by the host of the show that they're placed in. 

So I want to talk about that a little bit kind of how y'all approach host read ads from the creative point of view, and then maybe how we approach them from like an audio insights point of view. 

 (2m 13s): Well, I can say like on the copy side, host read ads are closest to endorse radio ads, which have existed for a while before podcasting really took off. But they're also different because podcasting is very different than radio, but I do think they share a sort of common thread, which is that you're giving the host or the talent as it's sometimes called them the radio world. But you're giving whoever is going to be reading the ad enough copy that they, you know, they have the client's messaging kind of on hand, but ultimately they're talking about their experience with a product that they know and they use and they genuinely like, and as a listener to a podcast, you can really tell the hosts who have actually not just been reading through copy, but they are using the product regularly because it shines through in the anecdotes that they share and the passion that they have for the brand. 

So I think as a listener, you can really tell like when it's a host, right ad that's working well, it's, it's selling you because you feel like this is a host who genuinely does believe in the product. 

 (3m 23s): So I think that's a good point, Nate. And on the audio insights side, we listen for a lot of the points that you brought up, you know, is, is the spot endorsed? Do they share personal stories of using the product? And those are all pros of the host read ads, additional pros it's organic. The CTA has clearly stated. They usually stated a couple of times and they usually presented in ways that are really actionable for their listeners. 

But I'm kind of curious from a creative side, since one of the cons I guess of running a host read ad is there's less creative control for the advertiser. How do y'all kind of balance the advertisers messaging and tone and match it with the kind of creativity and authenticity that the host is going to bring to the region? 

 (4m 13s): I mean, speaking from so prior to creative ops, I did start my time with ad results as doing some copywriting. So I can say one of the things that the, our creative team really focuses on and really is great about is allowing that freedom you want to combine and make it broad enough, but just the right level of SPE, you know, specific, but also broad you walk a very fine line. So you're giving the host enough information so that they can gleam on those. Like, what is the product or the client's main points they want to take away from this spot? You know, what is the campaign focused after this particular set of copy and it's leaving the directions clear enough. 

So they know this is what they want you to hit on, hit on it. And however you would approach that to your audience, whatever sounds natural to you. But these, we kind of give them the roadmap of like, these are the themes that are important, or these are the product elements that we really want to highlight and focus on. And then they take that information and put it into their voice or to their format or whatever fits best for them in their listenership. 

 (5m 12s): One way I think about this is instead of thinking of the ad as this is the time where one brand gets to shine, like let's say it's, it's Molson, Coors, sub-brand Miller Miller light on Conan. O'Brien right. I liked that, that example, partly because I love coming to O'Brien and I think it shows great and his ads are hilarious and they're effective. But what I think is really important to think of from the listener's point of view, that ad is not really Miller lights space, like obviously in terms of media buying, it is middle-aged is paid to show up on the show, but really what's going on is people are listening to a show that they like, and they have a picture of Conan O'Brien as a brand. 

And so for Miller light to show up the most effective way for Miller light to show up is kind of like a guest on the show. And so you want everything that is going to be said in that ad to be on brand for Miller light in the sense that there's no messaging that contradicts the product points or that breaches like their values or any sort of principles that they have about, you know, the hierarchy of their messaging. But at the same time, you don't want to pigeonhole someone whose whole thing is being out of the box. 

And if you listen and watch, because there are a lot of video podcasts as well for Conan, but if you watch his ads, the ones that really hit, it's almost impossible to imagine writing that for Conan. I wouldn't even want to try. And I L I L I love the idea of the challenge of trying to write something that Conan O'Brien would like as a creative it's like, oh, wouldn't that be cool? Kind of Brian like the ad. But the fact is that what I really can do best is set him up for success by saying here's what the client really wants. 

And here's some things that are kind of must house. Here's some things that might be helpful for you. And here's some ways that we really want you to go out of the box. So there's kind of a hierarchy of here's where we want the most control the call to action. The general key takeaway of the spot needs to be clear and where we want less control is how you're going to bring your listeners to that point. Ultimately, we want you to carry the listeners through the whole ad. We want them to be engaged. We want them to enjoy the ad. So yeah, as a client, I would say, get comfortable letting go of control in the places where it makes the ad better. 

 (7m 40s): Well, I think it's interesting to Nate's point about writing for Conan and trying to like get into that space. We've actually had a couple of projects in our history where it was writing for like a specific talent or a specific show. And if you are not in, it's just hard, like you can do the research, have those meetings, but at the end of the day, their voice and their voice, their personality, it's going to come best from them and not forced from, you know, us trying to mimic what they would do. 

 (8m 7s): I totally agree. And that's a lot of what we look for on the audio insights side, when we are running spots through our evaluation process, we're really looking for that authenticity from the host. And that's, that's something that we really coach them on up front when we have onboarding calls, you know, with the host or with the producers. And we, we really want to hear from them because they're the ones who know how to connect with their listeners. They're the ones that know what lands, what their listeners are here for having them just be so open and natural, it's it just can't be scripted. 

I just, I don't think that we've found a way to, to really script out that kind of feeling. But on the other hand, maybe for clients who want a little bit more control, and let's say they go with something like a, like a produced ad read, or like a founder's ad read, how do you all find a way to approach that? Especially since, you know, you're working on the ad results side, you don't necessarily, you know, work for, you know, policy genius, let's say, how do you, how do you bring their, their voice and tone into those types of scripts? 

 (9m 17s): Well, and before we even talk about that, I think just to be super clear, like our clients are generally buying a mix, and that's kind of the whole point of this podcast episode is this isn't a true dichotomy where you can only choose to send out a controlled message, or you can only choose to give up creative control. And it doesn't necessarily make sense to see it that way, even in just like a lot, like larger than just audio. I was just reading, you know, some, some heart, I think it was the Harvard business review came out with how more brands are embracing traditional advertising. 

They're kind of going back to that, but I think it's always going to be a push and pull between, are we going to go fully digital? Are we going to go like more open toward influencers? Or are we going to go more toward the traditional? And I think the answer will always be finding a balance because there are trade-offs. So, yeah, just before we started talking about that, I know that that most, most clients are aware that they don't have to choose either, or, but yeah, like it is totally different to be an in-house creative versus, you know, someone in the media agency writing for a client. 

But I think it can be a real benefit. Like I feel like it's good to ask someone who is outside of your company to help solve a creative problem, because having someone who has an outside point of view can, I mean, it can always be beneficial, whether it's a copywriter or just someone who's not even in advertising, talking to people who are outside of your industry about your product or your service, talking to customers, talking to people like a lot of us on the creative team, you know, like we have brands that are products that we buy and use. 

Maybe not that exact brand before we work with them, but you know, like there's CBD brands, like many of us are familiar with CBD products and are considering, you know, what sort of electric toothbrush we're going to buy? What sort of a subscription box we're interested in. We are consumers as well as creatives. So we, we definitely have perspectives that I think is super valuable. 

 (11m 19s): So Britt, I want to talk a little bit about one of my favorite parts of kind of the advertising mix, which our founders reads. I find them to be a lot of fun, especially being on the directing side, you get to work directly with the founder, you get them in the studio, they tell the story of their product or of their business. And you really get to hear that passion, you know, in their voice and really understand why they built, you know, this thing that they built. But I want to talk a little bit about directing those sessions, because I feel like that is kind of a unique part of founders reads that you don't really find in like the host reads because you're expecting the host to really bring their own kind of spin to the spot. 

But there is an element of coming in and directing founders who maybe aren't voiceover actors who are maybe not super comfortable in the booth. So let's kind of call back to some previous times where you and I have directed some founders and maybe we can give some advice to listeners on how they can approach their own founders reeds in the future. 

 (12m 29s): Absolutely. I mean, those, and I agreed. Those are really fun moments. It does make you feel more connected to a client working, you know, on our end and being providing services. And really it's exciting. It's exciting to be like a direct link to your client and getting to work in those moments. And sometimes too, it's fun in those founder reads, as you may have, like the actual founder and president of the company, but then we've also had times where we've had like a spokesperson come in, like on behalf of the company or the founders. 

And like they wouldn't have 

 (13m 1s): Had to 

 (13m 3s): Yes, Juju was so fun. Judy was one of my, he was one of my favorite examples of like doing, you know, like an endorsed read, a produced, endorsed read, like using a spokesperson, such a nice person. And we got to do some great background work and, and find some jokes and like kind of follow him on social media a little bit and see what his following was there and his super cute dog who is delivering in his own. Right. So, but just with that example of Juju, or then just talking to like company founders, there's such a wide array of people that you would be working with in those sessions. 

So either people who maybe come from like tech companies or pharmaceutical groups and, you know, are, you are used to speaking to these large groups with this very heavy, heavy information and, you know, super buttoned up in the way they speak and, and very precise with what they say. And then you've got other founders or other groups that may be more relaxed and just depending on what their, their company or their services are, you know, there's different tones there. So it's really about finding out first, you know, initially when you're directing these, what's the overall tone you want to go with? 

What's the mood we're trying to set, you know, are we looking at like investing or things like that, where it's, you know, there's going to be a lot of legal jargon and things are going to be more buttoned up and kind of more professional in the messaging, or if it's, you know, a fun company or a fun product, and you really want to lean into that and get the joy out of your, out of whoever, whether it's your spokesperson or your founder that speaking in this spot that day, really finding the mood you want to set, and then setting that early on in the process with the recording sessions. 

And one of the things that we like to do is obviously, you know, let's go over the script real quick, make sure they're comfortable to avoid those marble mouth moments. Everybody gets them, you know, luckily with the produced bots, it's not live. So you, we can do those retakes, but you want, you know, everything to be effective, people can get tied up. So you just want to take a minute. Breathe is really important breathing when you're reading these things is such an important thing. Knowing where your spacing is breathing from the aspect of not feeling flustered and nervous as you go in. 

So definitely kind of prepare your, whoever your performer speaker is that day or your voiceover talent. Take a moment, collect yourself. Let's look at the script real quick. And then as we go through it, finding those natural moments where you can highlight and build in those levels. So you're going to have naturally speaking, you know, you'll have regular conversational parts, and then maybe there's a point in the script or the copy where you want to punch things up and you can lean more into add, injecting more personality into your voice or more excitement because those levels are what gonna is. 

What's going to tie people in. That's what feels natural. Like it's not normal to hear someone speaking and everything is just that one line like that. You know, naturally the inclination is to have those different levels in your speech. So that definitely helps authenticity and then to stumbling and things like that, it happens, but we're not live so we can take those breaks and recut them, just collect yourself, take a minute, breathe, start at the top of that sentence that you just flubbed and we can cut out the rest. 

So it's knowing how to kind of like work around those situations and how it works on the editing side and knowing how your editor is going to be able to clean everything up and make everything flow into one consistent piece. And then I would just say too, for those one of my favorite things that I came across, while we Lindsay and I work together on these produced spots and like working with the founders and things like that is, you know, for those lighter pieces you're doing to smile. Like, it's so weird to think about it, but you could hear, you can hear a smile. 

Oh, like through someone's voice, you don't have to see it, but you can definitely tell when somebody has that energy and sometimes you need that physicality. So like, I always welcome people. If you need to stand while you read this, like I'm T I'm not terrible, but I'm like my thing I gesticulate, like I'm, I do all the things. So it's very rare that I'm going to read something and then just not move any other part of my body. And those are things that all come across and add to the authenticity of a spot or a recorded session that we're doing. And so those are some of the things that I've found while we've worked on these. 

 (17m 17s): Yeah. Smiling is one of my favorite pieces of direction to give. I feel like it just changes the whole mood. And if you're nervous, it just kind of lightens things a little bit. And, and same with gesturing. Like I also encourage people like, don't sit, stand, use your hands. Like don't be afraid to, to move around the booth because this is how we talk naturally. And you want your story to come across as, as genuine and natural as possible Nate, from a creative standpoint, how do y'all approach getting the messaging across in, in, in a founder's read or, or, you know, if it's with a designer or whoever we're working with from the company? 

 (17m 57s): Well, you know, it's obviously different for every client to some extent, but ideally it starts with actually a conversation with the founder themselves, if possible, it's not always possible. So there, there are other ways about, you know, getting the research done, you can usually find these founders out in the wild, so to speak, giving, giving talks, or having given interviews. I do like to find as much of that kind of raw their conversational tone as I can before writing a script. 

But I also, don't like to pigeon hole a founder's read to just, what's already been said, I like to think about it as what is the story that listeners are going to enter into best. And I do think there's a, there's an interesting book out there for, for people who are interested in this kind of idea of, of like story and advertising. I don't necessarily think that it should be prescriptive, but there's this idea of a story brand. It's this like framework of thinking about how these archetypal aspects of a story where you have a hero, you have a villain, you have, you know, a challenge and obstacle. 

If you're familiar with like Joseph Campbell, any of the hero with a thousand faces, all kinds of stuff. There's these like story archetypes and really effective marketing and advertising doesn't place the brand as the hero of the story you think of the customer or the ideal customer client as the hero and the brand as the supporting figure. Like, you know, so a tangible example of this is everyone imagines themself as Luke Skywalker. You know, like everyone imagines themself as the hero of whatever story, the point is the brand coming in and being like, you know, we're so awesome and we're going to save the world cool, but not the thing that inspires people. 

But the thing that does inspire people is to say, Hey, here are all the ways that people like you are awesome. And we believe that we can help in the, in the specific way. So that that's so general. But if you take any great example of marketing and advertising, I mean, one example that comes to mind is Apple's think different campaign. They're not talking about how apple is thinking different so much, as they're saying, apple is for the people who are thinking different and that the people that resonate with that message are really the focal point. 

So as a founder, you know, you have this idea of like, you're starting a brand, you've started a brand for a certain tribe. And so it's really cool. Cause like you get to kind of take the part really tangibly of that Gandalf figure that Obi-Wan Kenobi figure in a way and say like, Hey, like, this is what the brand is. And you get to kind of pitch that to people in a really direct way. And obviously as a founder, you really believe in your brand, you really believe in the company. And I agree, like it's so fun. It's so fun to hear someone who's really passionate about something that's that started something from the ground up, speaking about the people that they made it for. 

And I think that that really resonates in the same way that a really good endorsement resonates because it's coming from a place of genuine connection. I think the founders scripts always have to think of like, how is this founder genuinely best connecting to the audience? And so as a writer, I'm looking for, what are the ways that the audience or the target market, what are the challenges they're facing and how does this brand solve those challenges? And how does the founder have a unique perspective on those challenges? 

And how can I bring that out in the script? And usually I am researching what is their specific tone, their specific perspective, how have they talked in the past, but also I'm thinking, how can I make this script as frictionless for them as possible? How can I remove any jargon? How can I remove any fluff? I want it to be simple. I want it to be clear and I want them to be able to punch it up if they want to punch it up, but I don't want it to be overly witty or like come off as like, I mean, obviously there, there are times to be witty if that's like the tone, but usually you want to kind of step back and say the founder's story is going to shine through. 

I'm just trying to make it really clear. 

 (22m 10s): So we've touched on both hosts, red spots and founders spots, which are very authentic and engaging and natural in their own. Right. But I kind of want to talk about the final third segment of having a well-rounded media mix, which is your generic produced ad read. It's usually read by a generic voiceover actor. Some of the pros for that is that the brand does have complete control over their messaging. They've got control over the production, the voiceover talent, et cetera, cons, it's clear that it's an ad read, but I do think that these play a very important role in the media buy, especially when it comes to programmatic buying, especially when it comes to streaming and remnant. 

And I want to dive into the creative process behind produced reads, because I think that that's a, a portion that maybe a lot of people overlook, you know, they just hear, oh, it's just a produced ad. I'm not interested in it, but what can we bring to the produced ad reads that really, you know, set them apart? 

 (23m 19s): Well, I think one thing that I would start with is acknowledging the elephant in the room, which is of the three, you know, produce red spot is kind of the tightest creative box. Like this is the place where, well, even, I guess, in the terminology, almost the idea of it being a somewhat generic, like, okay, we have 60 seconds, 30 seconds to fill with messaging can be, can be really limiting and doesn't have to be, I think the opportunity, a way to think of this as a challenge and an opportunity is everyone out there, every brand out there that's buying a produced red spot has the same amount of time to fill, but that doesn't mean that you have to take the same approach as everyone else. 

And I think that if brands see that as an opportunity to get creative with how they're buying, obviously like with programmatic and dynamic insertion and with the technology that's being developed and being utilized more and more on tracking and attribution, you know, you can get a lot of data out of how things are performing, but you can also get really smart about how you're targeting and how you're connecting your audio to your larger campaigns. So I think that's the first place to start is thinking, how can we connect this to the larger marketing advertising efforts that we have going on? 

And also how can we think outside the box and how we're going to do that? We don't simply have to regurgitate messaging that is running elsewhere because you know, a billboard and an audio read are very different experiences. Even though I might be seeing the billboard and hearing the audio in the car at the same time, I have a very different relationship to something that is coming at me visually out in the world or, or on, you know, social media or on a website that I'm browsing. 

Then I do something that I'm choosing to listen to, that I'm paying attention to. And, you know, as an advertiser, something that you have to keep in mind is that people do not want to listen to your ads. And I can't stress that enough. People do not go into anything that they're listening to thinking. I can't wait for the ads today. That is just where that is the water we are swimming in. And I don't mean that by of course, by any means to discourage you from buying advertising, because obviously I work at ad results in media. 

I work here for a reason. And the reason is that I know that advertising works. The point I'm trying to make. There is you have to think about how do we entice people? How do we evoke the kind of response out of people that they don't walk? And it's not like you're walking into a bar to meet up with your friends and you can just start talking about anything. You have to attract people. So thinking outside the box and coming up with a produce ad that is in and of itself entertaining or informative or engaging in some really human connecting way. 

That is key. If you're just going to spend 30 seconds saying something that someone's going to tune out, maybe this is a hard line to take. And I don't know if everyone would be the strong, but I would say that's a, at least a missed opportunity. If not worse, you know, you can really use that 30 seconds to create. If you can create a special kind of experience for the listener with that 30 seconds, why wouldn't you do that? That's like from a brand point of view, that's the most awesome thing is when somebody hears an ad and they're like, wow, that actually, I'm not even mad that I listened to that. 

That was really cool. That's the goal. So that might sound idealistic, but I don't think it takes as much as you think to, to stand out that way. It just takes, you know, some human connection and a little bit of why don't we do it a little differently this time. And on the performance side, you see a result, you see a result and we see over the content all the time when they try something more creative, a little bit more outside the box, the performance on their audio does better. And that's because I mean, not to beat a dead horse. 

Creative is really important. Creative really matters. So that's the first thing I would say is don't treat it like it's generic. Even, even though we use that word to describe it. Like, even though you're choosing a voice actor that they don't know, you can make the script, something that they connect with, you can make the approach, something that resonates, even if they don't recognize the voice. 

 (27m 36s): I totally agree. And not even from a scripting side, but from a production side, we've done some really interesting things with clients recently around Sonic sound and tying the emotion in the script to music, to further elevate the, you know, emotion and recall within listeners. We've done some really interesting things with Foley work in, in the ad reads. We've actually brought in real people to voice ad reads before real customers, doctors, actual consumers. 

And we've had all of these people be a part of the produced process. So it doesn't just have to, like you said, it doesn't have to be generic as, as we kind of stated earlier, it doesn't just have to be a voiceover actor in a booth reading a script. Like you can bring some really interesting elements to this piece. And I think that it can be just as powerful, especially when it's being run in tandem with, you know, your, your founder's reads and your, your host reads like you're, it's just another way to get your messaging out there that may relate to someone in a way that the others haven't. 

 (28m 46s): Well, at one point that I really liked and went, Nathan had brought up to and to, and to piggyback on two years as well, Lindsay, with, with the produced spots that are, you know, that are the generic reads. They are that challenge because, you know, when you're going into them directing that's from the production side of it, when you've got the produced read with, or when you've got the founder read or you've got the library and your talents already selected at that point. So once creative has done their magic and art, which there's a quote that I love by Bernbach as far as science or advertising is an art. 

There's a level of science that goes into it. From my perspective, I think the science is on the buying side. So that's where you see that mix of these three different elements being bought and placed in the right places. There's the science and nailing that and getting your message out there and targeting the right audience. The art then that we get to do with those produced spots is we've got a great script. Now let's find the voice that matches that. And knowing that you want to, you want to nail that, you know, what goes into sourcing that voice and finding that voice and, you know, does I like to picture, I like to visually kind of see it when I'm trying to select a voice when we've worked that process and sourcing and, and seeing, you know, can I just see this person reading this in my head and, and from their samples, you know, is there anything interesting or unique about their voice? 

That's going to draw listeners in and then can we make that uniqueness? Can we tie it into the messaging we're doing? So that art all kind of goes into play to really something that we started talking about where like, this is kind of the different one in that we lose the authenticity, but it's also the shot where we really get a chance to work on creativity and, and find that artistic side to what we do. And that I think metal goes in with being outside of the box and taking something that seems mundane. And like, people are going to drone this out. Like, no, not if we do it 

 (30m 36s): Well. And I just wanted to add one final point on the creative side. It's so important to focus your messaging. Don't try to say everything about your brand in one ad. Don't try to hit every possible insight, every possible takeaway. First of all, listeners can't. I mean, no one can process all of the aspects of any brand in one chunk like that. But also what people really connect with is one key takeaway, hitting and realizing like in some creative way, you've made something land the way that I like to think of this. 

There's a term in advertising that gets tossed around is insight. But the definition that I really like is it's a surprising human truth. It's surprising and how it's presented, but it's so resonant. And you just recognize it immediately. That like, that is so true. And no one said, it's kind of like whenever you're watching comedy and you know, comedian is presenting something that is, so it might be observational. Literally they see something that we see every day, but the way that they bring it up, the way that they connect it to their, their, you know, audience it's so uniquely them and it's, but it's also so universal. 

And so when I was talking about being more creative thinking outside of the box, I'm really just talking about how you focus and how you present it. It doesn't have to be, let's just like talk about the features and the benefits we can think more broadly and think of like, how can we present those benefits, those features of this product in a more, you know, creative way. How can we make this a land without just saying it there's like the, the creative writing dictum show don't tell, but I think it's even bigger than that. 

It's like draw them in. Don't preach to them. Don't don't like, say it, let them arrive at it. That that word evoke is the one that keeps coming up. Like you want to draw it out of people. 

 (32m 39s): So I think we have a couple of key takeaways here. One being don't be afraid to be creative, or don't be afraid to really lean on ad results, medias creative team. 

 (32m 52s): Yeah. Well, I mean, it might be a little bias there, but yeah. Let us help you. If you, if you, if you feel like you want help being creative, you know, that's why we're here. 

 (33m 2s): And I think, you know, the main takeaway that I would like people to walk away with is don't be afraid of the produced ad. I know that our number one source here is, is the host read ad. This is, that is the kind of top tier, but don't be afraid of the produced ad. Like add it to your media mix. And you'll have a really powerful kind of trio here in your arsenal. 

 (33m 29s): Yeah. You shouldn't discount it. It's just a real opportunity that you could take advantage of. I would definitely say don't discount any of these options. They're all great options. 

 (33m 37s): Well, Brett, thank you so much for joining us today. I think that this has been a great conversation. I hope that our listeners have learned a little bit about the creative side, about the direction that goes into all of these different ad reads and we'll maybe reconsider spicing things up a little bit. Yeah. 

 (33m 55s): Thank you. It's it's it was really fun to talk about this particularly, you know, when we came from the past, we've had episodes where we got to see the final side of these ads and like how they played out and like what they sound like. But I think behind the scenes is always so interesting. So to be able to, to join you guys and be able to provide some backstage arm perspective was very exciting. And I, and I really appreciate being able to 

(34m 21s): Chat with you guys today. 

 (34m 23s): If you enjoyed this episode, be sure to subscribe for updates on future episodes and leave us a comment with your feedback, questions, or ideas for future segments. If you would like more information on Ad Results Media and what we do, please visit us online at adresultsmedia.com. This podcast is an Ad Results Media production.