August 30, 2022 • 19 mins
Ever wondered what happens when you play hip-hop music to cheese for 6 and a half months? Steve Keller of Pandora Studio Resonate spells it out with a partnership they did with Cheez-It.
Here’s some great reference links in regards to the Aged By Audio project:
https://spoonuniversity.com/lifestyle/cheez-it-pandora-aged-by-audio
https://www.sxmmedia.com/insights/why-emotionally-driven-audio-works
https://blog.siriusxm.com/cheez-it-aged-by-audio/
https://www.linkedin.com/pulse/cheez-it-x-pandora-aged-audio-inside-alchemy-steve-keller/
---
For more on sound in marketing, sign up for the Sound In Marketing Newsletter http://eepurl.com/gDxl6b.
For further inquiries, email Jeanna at mailto:jeanna@dreamrproductions.com
The Sound In Marketing Podcast is produced by Dreamr Productions and hosted, written, and edited by Jeanna Isham. It is available on all the major podcast channels here https://pod.link/1467112373.
Let’s make this world of sound more intriguing, more unique, and more on brand.
https://www.linkedin.com/in/jeannaisham/
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:02):
Welcometo the Sound In Marketing podcast.
My very special guesttoday is Steve Keller from Pandora's
Studio Resonate Team.
I'm your host, Jeanna Isham, owner
and founder of Dreamr Productionsand Sound in Marketing Learning.
I create, consult and educate
brands and individualson the power of sound in marketing.
(00:23):
Now on to the show.
Steve Keller has been involvedin a lot of notable sound projects
through the years, such as coiningthe term audio alchemy, writing
research papers about sonic seasoning,breaking through the sonic color line
to address bias, and lack of diversityin sound advertising.
And now he's working with Cheez-ItAging cheese to sound.
(00:46):
Welcome to the show, Steve.
Hi, there.
Yeah, I have a rather diverse, backgroundof all kinds of interesting things.
So, always thrilled to chatwith you, about them.
And this this one in particular.
It was a lot of fun.
I think it captures everybody's attentionwhen they see that.
To think that, cheesemight be aged to music.
(01:09):
So why don't you walk us through this?
Was this Cheez It came to you?
Was this something that you and studioresonate and Pandora
and all of them came up with a crazy idea.
How did this how did this come about?
This starts with science.
It starts with a study in Switzerland.
Tilo Hoon, one of the researchers,
worked with a university there
(01:31):
to take pieces of music and age
cheese to that musicthat was just playing 24 / 7.
And we'll get into whatthat's all about a little bit later.
But what they found in this studywas after six and a half months,
there were some perceptible
(01:52):
differences in the aroma.
And the flavor of the cheese,particularly, in the cheese
that was exposed to a hip hop track.
Couple of folks at Leo Burnett,
Charlie Von Arcus and Michael Shirley
saw this research that came out around,
(02:16):
2019 and, decided
that they thought this would be somethingfun to do with cheese.
So they were looking for partners
and approached Pandora originally
to help curate a hip hop playlistto play with cheese.
(02:40):
So that was where we got involvedin the course of that conversation.
One of our sales reps said, well,there's this guy at studio
Resonate named Steve Kellerwho does all kinds of weird stuff.
So more than likelyhe knows something about this.
So let's bring him into the conversation.
(03:00):
And I had a meeting with the creative team
at Leo, as well as our sales team.
Let them know that I actually was familiarwith this, research
and that, if we were going to do this,
yes, it's fun, but let's,
let's be true to the scienceand see where that takes us.
(03:22):
How did it become more about sciencethan just curating a playlist?
As is often the casein marketing and advertising, when folks
read about this kind of research,they'll hop on board with the headlines
without really diving into, well,what was the impact?
How would we duplicate this?
(03:46):
It needed to be morethan, oh, we're going to put speakers up
in a warehouse and play musicthrough the speakers.
Really needed to understandwhat was happening.
So it starts with realizingthat what we're talking about
is really the impact of sound vibrations
(04:08):
on the development of microorganisms.
So when cheese or wine for that
matter is aging, there are microorganismsthat begin to grow. They’re
good bacteria and these microorganisms
are what contribute to the texture,the aroma,
(04:28):
the flavor, of cheese as it's developing.
So what's happening
when you're playing these soundtracksto the cheese as it ages,
is that the vibrations from the music
have an impacton the development of the microorganisms.
(04:53):
And that's reallywhat's impacting the flavor
and the aromaand the texture of the cheese.
So understanding that to begin with,
there were two things that we neededto think about in terms of the science.
One was how do we make sure
that these vibrations are permeating
(05:14):
the cheese enough to make a difference?
And then the second thing was that we didwant to be true to the original science.
They played a number of different musictracks.
As I said,the one track that, seemed to have
a difference on the aroma and flavorand texture of the cheese
(05:35):
was a hip hop track,but bringing the science back to it
in terms of replicating itand understanding vibration,
it was probably lessabout a genre of music,
and it was more about certain frequencies
and rhythm and tempo in the track
(05:56):
that they used in the experiment,which was, jazz.
We got it from, Tribe Called Quest.
So what we needed to do to set upthe experiment was first
to create the audio stimulusthat we were going to use.
We had, our hip hopcurator, J1, pull together
(06:17):
a mixtape of tunesthat ultimately was going
to be pushed out to the general public,
so that they could listen to tracksthat were used,
or inspired by the tracksthat we used in the experiment.
And then we took that list,
(06:41):
looked at the tracksthat were closest in frequency and tempo
to that original Tribe Called Quest track,and selected those tracks.
And then we did two things.
One, we beat matched the tracks,which meant,
if we took the original track, which was,I think, around 92 beats per minute,
(07:04):
anything that we used, we time compressed
or time stretched the track to make surethat it was exactly the same tempo.
So if one of the trackswe use might be 96 BPMs,
we would slow it down to 92.
Or speed it up,whatever the case would be.
And then the other thing we did was tooka look at kind of a frequency analysis
(07:27):
of the track from the original experiment,
and tried to choose tracks
that were in the same frequency rangeand a few of the tracks.
We adjusted the EQ slightly to bringthe tempo and the frequency in line.
Then the next thing we needed to dowas make sure
that we had a consistent rhythmall the way through.
(07:51):
We couldn't have fade outsand we couldn't have the tracks
drop the beatfor any extended period of time.
So in addition to beat matching,we beat mixed
these tracks together,which basically meant we overlapped them.
We kept the rhythm going all the waythrough, and at the end of that process,
(08:13):
we ended up with one long track
that was a montage of these beatmatched tracks.
That was 44 minutes long.
So thatwas going to be our audio stimulus.
So that was the first thingthat we had to deal with
for the first part of the experiment.
(08:34):
The second thing was, okay,
how do we ensure that we’re maximizingthe vibration?
Again, it couldn't be thatthere was just a speaker
set up beside the cheese.
We knew from the original experimentbecause I'd had a few conversations
with Tilo, around,what what they were doing,
(08:58):
and we knew that they had actually affixed
a speaker to the bottom of the box,that each of the cheeses
that they were experimentingon were aging in.
So we decided to use transducers.
Transducer basically takes audio input,translates it into vibration.
(09:20):
And if you hold the transducerin your hand and you run a music program
through it,it'll sound like it's coming through a
telephone speaker.
If you were holding up an old schooltelephone and hearing
kind of the tinny music or soundthat's coming from it.
However, if you take these transducers
and put it on a conductive surfacelike wood or glass,
(09:43):
it actually then takes those vibrations
and it becomes sound that we hear.
So it essentially turns the surface
of whatever the transduceris placed against into a speaker.
So we used four transducers.
We went to the plant
(10:05):
that manufacturedthe cheese in Rupert, Idaho,
and the cheesewas being aged in four drums.
So we put a thin layer of plywood
over top of those drums,latched it down tight so that there was,
you know, connectionbetween the drum and the wood.
(10:28):
And then we placed the four transducers
with four amps on top of the wood.
We put our program into an MP3 playerthat then played through the amps,
through the transducers,turning the wood into speakers
and sending a really powerful vibration
through the drumswhere the cheese was, was aging.
(10:52):
So, you know, anything that was sitting
on top of the woodthat the transducers were on
was bouncing aroundbecause the vibrations were so strong.
Then we took that entire contraption
and put it into a corner of the warehouse,
and I felt, a little sorryfor the warehouse workers at the cheese
(11:15):
plant that for the next six months,we're going to have to deal with
hearing the same 44 minuteloop of hip hop music
over and over and over again.
I was going to ask how many,
weird looks you gotwhen you started setting this up.
How many people were like,are they out of their mind?
(11:37):
What is the point of this?
There were certain guysyou could tell that they weren't so sure
they were going to want to listen to that.
But then there weresome guys who were like, oh,
I want to get transferredinto the, warehouse shifts
because they heard some of the soundtracksas we were putting it together
and, and loved it again, honestly,because of the way it works
(12:00):
with the transducers.
It wasn't as if we'd filledthe entire warehouse with sound.
It was fairly isolated to the areawhere the where the cheese was.
We potentially could have wound up
with similar resultsif we'd had somebody with a hammer
that for six months
(12:22):
would pound out at a consistent rhythm,
a rhythm that would translateinto vibration,
that would translateinto an effect on the,
the liquid, and the cheese as it aged
and consequently the microorganisms.
So that was the first partof the experiment of bringing
(12:44):
sound to bear on potentially
affecting the flavor of the cheese.
Very different from other workthat I've done in Cross-modal science,
where we lookat what we're putting in your ears,
how it can actually shapeyour perception of flavor.
(13:05):
So that's more the realm of psychophysics,
kind of how our senses forma sense of reality for us.
This was more about psycho acoustics,
how the physics of sound
and in this case particularly vibration,could have an impact
on the environmentor on these microorganisms.
(13:30):
While this does seem like kind of a fun,silly, experiment,
there are actually some interestingreal world
applications for us.
In thinking about the impact
of vibration on our environment.
I wouldn't expect any less.
(13:50):
I know you don't do thingsjust for the silliness.
I know that you want to better the worldthrough sound, just like we want to.
Where we can, whenever we can.
And I'm curious too.
I keep goingback to these warehouse workers.
I wonder if if they were stationed nearby
for the entire six months,what was the effect on them?
The Pavlovian effect? Right.
(14:12):
Do they hear a certain rhythm,or do they hear
if they hear Tribe Called Quest,do they think of cheese?
Well, that's that's something we'll needto go back and revisit at some point.
It wasn't somethingwe were trying to control for
or even research for,interestingly enough.
As a sidebar,when we think about playlists,
(14:35):
in environments,particularly in retail environments.
One of the things that's oftenoverlooked brands will, you know,
pay attention to how their dayparting the music during the day,
do they want to have consumersspeed up or slow down at different points?
Well, who is their target consumer?
(14:57):
What's the musicthat they would be listening to?
How does it capture something that's,
you know, specific to a brand identity?
But often it's the workers
in these environmentsthat aren't thought about.
And so sometimes, if you're not carefulin building a retail playlist,
(15:19):
you'll have it too short so that somebodyover the course of their shift,
may have to hear the songs
looped back around againand again and again.
And that's not,that's not good for for them.
So, you know, the,the really great, companies
that provide playlists dotake that into account.
(15:42):
And that's why you, you know,you need hundreds
of pieces of musicin a playlist to avoid that.
Well, and I also I spoke, with someoneabout directional sound a year or so ago.
And we were talkingI had a specific example
where as an employee,because I worked at, Meyer & Frank,
which is a offset of Macy'sright out of college.
(16:06):
And I used to work in the fineChina area, and I hated
working the fine China areabecause it was across from the,
the home appliances.
And there was a Dyson vacuum kiosk
with a little TV across from it.
With that, with that guy with the reallysoft British voice was talking
and it was like a minute longand it just looped and looped and looped
(16:28):
and I didn't do it, but other people wouldgo over and just turn it off and right,
because it was driving the employeescrazy.
And I was just like,
this is where directional soundwould come in very handy,
because then I wouldn't have to listento that sort of thing.
But I digress. Exactly.
So so that was,that was where, we left it.
I left, Idaho said goodbye to theto the folks at the plant there.
(16:54):
And then we had to wait for sixand a half months
and I would check in from time to timeand say, is our loop still playing?
Have we had any, issues with anything?
Just to make sure that there weren't any,drop outs
or anythingthat would, would affect the experiment?
So should I take you throughto the next step after that?
(17:18):
Yes, I was curious.
And maybe you have another stepbefore this, but what was the,
the what was the response from Cheez-It?
What was the response from Cheez-Itconsumers?
Yeah, I mean, the consumers come a little
a little later in the process because the
the plan was we would age this cheese.
(17:39):
Hopefully we would see thatit did have an impact on the flavor.
And then the cheese that was agedwould be turned into Cheez It
that would be part of a limited edition
run of Cheez-Itwith the sonically aged snack.
(17:59):
As as we we called it agedby audio was the campaign.
I think you can still go to agedbyaudio.com.
To go to some of the info around this.
So obviously there was a lot ofpromotional material that went into this.
And so this was going onin the background, you know, continuing
(18:21):
to kind of tweak our consumer playlist,
which obviously was goingto be much more diverse.
You know, a lot more differences in, intempo, in artist, in the amount of tracks.
So we continue to tweak the consumer
facing playlistthat would be part of the promotion.
(18:41):
We wanted to have an artist tie in.
So Sway worked with us, on the promotion,
and then there were a whole seriesof videos,
interviews,social media, things that were all built
around the marketing of the productthat would come later down the road.
(19:05):
I hope you're enjoying the show.
Stay tuned for next weekfor the conclusion to our interview.
Don't forget to subscribeon all the major podcast channels.
Share with friends. Follow and rate.
Spread the word because, well,more people should know about this stuff.
I know you know that. Now.
For any other inquiries, you can find meon LinkedIn, Twitter and Facebook.
(19:26):
You can also email me at Jeanna@DreamrProductions.com
All links will be provided in the show.
Notes.
Let's make this world of soundmore intriguing, more unique, and more
and more on brand.
Welcometo the Sound In Marketing podcast.
My very special guesttoday is Steve Keller from Pandora's
Studio Resonate Team.
I'm your host, Jeanna Isham, owner
and founder of Dreamr Productionsand Sound in Marketing Learning.
I create, consult and educate
brands and individualson the power of sound in marketing.
(00:23):
Now on to the show.
Steve Keller has been involvedin a lot of notable sound projects
through the years, such as coiningthe term audio alchemy, writing
research papers about sonic seasoning,breaking through the sonic color line
to address bias, and lack of diversityin sound advertising.
And now he's working with Cheez-ItAging cheese to sound.
(00:46):
Welcome to the show, Steve.
Hi, there.
Yeah, I have a rather diverse, backgroundof all kinds of interesting things.
So, always thrilled to chatwith you, about them.
And this this one in particular.
It was a lot of fun.
I think it captures everybody's attentionwhen they see that.
To think that, cheesemight be aged to music.
(01:09):
So why don't you walk us through this?
Was this Cheez It came to you?
Was this something that you and studioresonate and Pandora
and all of them came up with a crazy idea.
How did this how did this come about?
This starts with science.
It starts with a study in Switzerland.
Tilo Hoon, one of the researchers,
worked with a university there
(01:31):
to take pieces of music and age
cheese to that musicthat was just playing 24 / 7.
And we'll get into whatthat's all about a little bit later.
But what they found in this studywas after six and a half months,
there were some perceptible
(01:52):
differences in the aroma.
And the flavor of the cheese,particularly, in the cheese
that was exposed to a hip hop track.
Couple of folks at Leo Burnett,
Charlie Von Arcus and Michael Shirley
saw this research that came out around,
(02:16):
2019 and, decided
that they thought this would be somethingfun to do with cheese.
So they were looking for partners
and approached Pandora originally
to help curate a hip hop playlistto play with cheese.
(02:40):
So that was where we got involvedin the course of that conversation.
One of our sales reps said, well,there's this guy at studio
Resonate named Steve Kellerwho does all kinds of weird stuff.
So more than likelyhe knows something about this.
So let's bring him into the conversation.
(03:00):
And I had a meeting with the creative team
at Leo, as well as our sales team.
Let them know that I actually was familiarwith this, research
and that, if we were going to do this,
yes, it's fun, but let's,
let's be true to the scienceand see where that takes us.
(03:22):
How did it become more about sciencethan just curating a playlist?
As is often the casein marketing and advertising, when folks
read about this kind of research,they'll hop on board with the headlines
without really diving into, well,what was the impact?
How would we duplicate this?
(03:46):
It needed to be morethan, oh, we're going to put speakers up
in a warehouse and play musicthrough the speakers.
Really needed to understandwhat was happening.
So it starts with realizingthat what we're talking about
is really the impact of sound vibrations
(04:08):
on the development of microorganisms.
So when cheese or wine for that
matter is aging, there are microorganismsthat begin to grow. They’re
good bacteria and these microorganisms
are what contribute to the texture,the aroma,
(04:28):
the flavor, of cheese as it's developing.
So what's happening
when you're playing these soundtracksto the cheese as it ages,
is that the vibrations from the music
have an impacton the development of the microorganisms.
(04:53):
And that's reallywhat's impacting the flavor
and the aromaand the texture of the cheese.
So understanding that to begin with,
there were two things that we neededto think about in terms of the science.
One was how do we make sure
that these vibrations are permeating
(05:14):
the cheese enough to make a difference?
And then the second thing was that we didwant to be true to the original science.
They played a number of different musictracks.
As I said,the one track that, seemed to have
a difference on the aroma and flavorand texture of the cheese
(05:35):
was a hip hop track,but bringing the science back to it
in terms of replicating itand understanding vibration,
it was probably lessabout a genre of music,
and it was more about certain frequencies
and rhythm and tempo in the track
(05:56):
that they used in the experiment,which was, jazz.
We got it from, Tribe Called Quest.
So what we needed to do to set upthe experiment was first
to create the audio stimulusthat we were going to use.
We had, our hip hopcurator, J1, pull together
(06:17):
a mixtape of tunesthat ultimately was going
to be pushed out to the general public,
so that they could listen to tracksthat were used,
or inspired by the tracksthat we used in the experiment.
And then we took that list,
(06:41):
looked at the tracksthat were closest in frequency and tempo
to that original Tribe Called Quest track,and selected those tracks.
And then we did two things.
One, we beat matched the tracks,which meant,
if we took the original track, which was,I think, around 92 beats per minute,
(07:04):
anything that we used, we time compressed
or time stretched the track to make surethat it was exactly the same tempo.
So if one of the trackswe use might be 96 BPMs,
we would slow it down to 92.
Or speed it up,whatever the case would be.
And then the other thing we did was tooka look at kind of a frequency analysis
(07:27):
of the track from the original experiment,
and tried to choose tracks
that were in the same frequency rangeand a few of the tracks.
We adjusted the EQ slightly to bringthe tempo and the frequency in line.
Then the next thing we needed to dowas make sure
that we had a consistent rhythmall the way through.
(07:51):
We couldn't have fade outsand we couldn't have the tracks
drop the beatfor any extended period of time.
So in addition to beat matching,we beat mixed
these tracks together,which basically meant we overlapped them.
We kept the rhythm going all the waythrough, and at the end of that process,
(08:13):
we ended up with one long track
that was a montage of these beatmatched tracks.
That was 44 minutes long.
So thatwas going to be our audio stimulus.
So that was the first thingthat we had to deal with
for the first part of the experiment.
(08:34):
The second thing was, okay,
how do we ensure that we’re maximizingthe vibration?
Again, it couldn't be thatthere was just a speaker
set up beside the cheese.
We knew from the original experimentbecause I'd had a few conversations
with Tilo, around,what what they were doing,
(08:58):
and we knew that they had actually affixed
a speaker to the bottom of the box,that each of the cheeses
that they were experimentingon were aging in.
So we decided to use transducers.
Transducer basically takes audio input,translates it into vibration.
(09:20):
And if you hold the transducerin your hand and you run a music program
through it,it'll sound like it's coming through a
telephone speaker.
If you were holding up an old schooltelephone and hearing
kind of the tinny music or soundthat's coming from it.
However, if you take these transducers
and put it on a conductive surfacelike wood or glass,
(09:43):
it actually then takes those vibrations
and it becomes sound that we hear.
So it essentially turns the surface
of whatever the transduceris placed against into a speaker.
So we used four transducers.
We went to the plant
(10:05):
that manufacturedthe cheese in Rupert, Idaho,
and the cheesewas being aged in four drums.
So we put a thin layer of plywood
over top of those drums,latched it down tight so that there was,
you know, connectionbetween the drum and the wood.
(10:28):
And then we placed the four transducers
with four amps on top of the wood.
We put our program into an MP3 playerthat then played through the amps,
through the transducers,turning the wood into speakers
and sending a really powerful vibration
through the drumswhere the cheese was, was aging.
(10:52):
So, you know, anything that was sitting
on top of the woodthat the transducers were on
was bouncing aroundbecause the vibrations were so strong.
Then we took that entire contraption
and put it into a corner of the warehouse,
and I felt, a little sorryfor the warehouse workers at the cheese
(11:15):
plant that for the next six months,we're going to have to deal with
hearing the same 44 minuteloop of hip hop music
over and over and over again.
I was going to ask how many,
weird looks you gotwhen you started setting this up.
How many people were like,are they out of their mind?
(11:37):
What is the point of this?
There were certain guysyou could tell that they weren't so sure
they were going to want to listen to that.
But then there weresome guys who were like, oh,
I want to get transferredinto the, warehouse shifts
because they heard some of the soundtracksas we were putting it together
and, and loved it again, honestly,because of the way it works
(12:00):
with the transducers.
It wasn't as if we'd filledthe entire warehouse with sound.
It was fairly isolated to the areawhere the where the cheese was.
We potentially could have wound up
with similar resultsif we'd had somebody with a hammer
that for six months
(12:22):
would pound out at a consistent rhythm,
a rhythm that would translateinto vibration,
that would translateinto an effect on the,
the liquid, and the cheese as it aged
and consequently the microorganisms.
So that was the first partof the experiment of bringing
(12:44):
sound to bear on potentially
affecting the flavor of the cheese.
Very different from other workthat I've done in Cross-modal science,
where we lookat what we're putting in your ears,
how it can actually shapeyour perception of flavor.
(13:05):
So that's more the realm of psychophysics,
kind of how our senses forma sense of reality for us.
This was more about psycho acoustics,
how the physics of sound
and in this case particularly vibration,could have an impact
on the environmentor on these microorganisms.
(13:30):
While this does seem like kind of a fun,silly, experiment,
there are actually some interestingreal world
applications for us.
In thinking about the impact
of vibration on our environment.
I wouldn't expect any less.
(13:50):
I know you don't do thingsjust for the silliness.
I know that you want to better the worldthrough sound, just like we want to.
Where we can, whenever we can.
And I'm curious too.
I keep goingback to these warehouse workers.
I wonder if if they were stationed nearby
for the entire six months,what was the effect on them?
The Pavlovian effect? Right.
(14:12):
Do they hear a certain rhythm,or do they hear
if they hear Tribe Called Quest,do they think of cheese?
Well, that's that's something we'll needto go back and revisit at some point.
It wasn't somethingwe were trying to control for
or even research for,interestingly enough.
As a sidebar,when we think about playlists,
(14:35):
in environments,particularly in retail environments.
One of the things that's oftenoverlooked brands will, you know,
pay attention to how their dayparting the music during the day,
do they want to have consumersspeed up or slow down at different points?
Well, who is their target consumer?
(14:57):
What's the musicthat they would be listening to?
How does it capture something that's,
you know, specific to a brand identity?
But often it's the workers
in these environmentsthat aren't thought about.
And so sometimes, if you're not carefulin building a retail playlist,
(15:19):
you'll have it too short so that somebodyover the course of their shift,
may have to hear the songs
looped back around againand again and again.
And that's not,that's not good for for them.
So, you know, the,the really great, companies
that provide playlists dotake that into account.
(15:42):
And that's why you, you know,you need hundreds
of pieces of musicin a playlist to avoid that.
Well, and I also I spoke, with someoneabout directional sound a year or so ago.
And we were talkingI had a specific example
where as an employee,because I worked at, Meyer & Frank,
which is a offset of Macy'sright out of college.
(16:06):
And I used to work in the fineChina area, and I hated
working the fine China areabecause it was across from the,
the home appliances.
And there was a Dyson vacuum kiosk
with a little TV across from it.
With that, with that guy with the reallysoft British voice was talking
and it was like a minute longand it just looped and looped and looped
(16:28):
and I didn't do it, but other people wouldgo over and just turn it off and right,
because it was driving the employeescrazy.
And I was just like,
this is where directional soundwould come in very handy,
because then I wouldn't have to listento that sort of thing.
But I digress. Exactly.
So so that was,that was where, we left it.
I left, Idaho said goodbye to theto the folks at the plant there.
(16:54):
And then we had to wait for sixand a half months
and I would check in from time to timeand say, is our loop still playing?
Have we had any, issues with anything?
Just to make sure that there weren't any,drop outs
or anythingthat would, would affect the experiment?
So should I take you throughto the next step after that?
(17:18):
Yes, I was curious.
And maybe you have another stepbefore this, but what was the,
the what was the response from Cheez-It?
What was the response from Cheez-Itconsumers?
Yeah, I mean, the consumers come a little
a little later in the process because the
the plan was we would age this cheese.
(17:39):
Hopefully we would see thatit did have an impact on the flavor.
And then the cheese that was agedwould be turned into Cheez It
that would be part of a limited edition
run of Cheez-Itwith the sonically aged snack.
(17:59):
As as we we called it agedby audio was the campaign.
I think you can still go to agedbyaudio.com.
To go to some of the info around this.
So obviously there was a lot ofpromotional material that went into this.
And so this was going onin the background, you know, continuing
(18:21):
to kind of tweak our consumer playlist,
which obviously was goingto be much more diverse.
You know, a lot more differences in, intempo, in artist, in the amount of tracks.
So we continue to tweak the consumer
facing playlistthat would be part of the promotion.
(18:41):
We wanted to have an artist tie in.
So Sway worked with us, on the promotion,
and then there were a whole seriesof videos,
interviews,social media, things that were all built
around the marketing of the productthat would come later down the road.
(19:05):
I hope you're enjoying the show.
Stay tuned for next weekfor the conclusion to our interview.
Don't forget to subscribeon all the major podcast channels.
Share with friends. Follow and rate.
Spread the word because, well,more people should know about this stuff.
I know you know that. Now.
For any other inquiries, you can find meon LinkedIn, Twitter and Facebook.
(19:26):
You can also email me at Jeanna@DreamrProductions.com
All links will be provided in the show.
Notes.
Let's make this world of soundmore intriguing, more unique, and more
and more on brand.
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