Ticketing Professionals Conference (25th -26th February 2016) have decided to embrace a Cyber Monday style campaign in their final week of early bird registrations for next February’s conference.
In the second of our Clout Hosting Series, John Thorpe takes a look at the basics of cloud hosting and the advantages and disadvantages.
IT Cloud Hosting Series
In today’s digital world, many organisations are looking at their in-house IT systems and wondering whether to get another organisation to manage them for them or to turn to an IT hosting provider and put them in the ‘cloud’. However, not everybody is IT savvy and understands enough about the terminology to make an informed decision.
IT Cloud Hosting Series Introduction
In today’s digital world, many organisations are looking at their in-house IT systems and wondering whether to get another organisation to manage them for them or to turn to an IT hosting provider and put them in the ‘cloud’. However, not everybody is IT savvy and understands enough about the terminology to make an informed decision.
They are the questions we get asked the most. Which is the best ticketing system out there? What is your favourite system?
Well, staying as independent as possible, we try and avoid answering the questions, partly because what one person says is the best, does not make it so and it’s important for organisations to properly evaluate all that a system offers to find what’s right for them.
A huge part of finding the right system is finding the right company and support structure or ethos, so let’s start there.
Initially available for Tessitura system users – launched at their conference this week – Baker Richards and JCA Arts Marketing are releasing what they are calling a Segmentation Engine to help arts marketers profile and segment their customers more accurately, making it “more viable for marketing, development and ticketing professionals”.
to help arts marketers profile and segment their customers more accurately
The new web tool takes data from ticketing systems transactional and donor data so it can be configured to automatically score and profile customer records on the basis of the classic ‘recency, frequency, and value’ criteria and other variables, and, if users wish, tagged with socio-economic and demographic segmentation profiles. Key factor is that this is then written back into the customer record and enables selection for direct marketing or donor campaigns based on real behavioural data. So e-campaigns can be immediately generated to targeted lists from an instant segmentation.
Their announcement says:
“The Segmentation Engine is a new web application that allows anyone to create a sophisticated audience, visitor or donor segmentation. It brings together transaction and donor data to provide a full picture of patron behavior and allows users to create and customize a range of behavioral variables. The tool then automatically generates a range of alternative segmentations, based on those behavioral variables, and creates tags which are imported back to the organization’s ticketing system to populate patron records with variables and segment information. This allows organizations to:
- Incorporate a deeper understanding of their patrons as input to strategic planning.
- Deliver more targeted communications to increase Return On Investment (ROI).
- Manage customer relationships more effectively.
The Segmentation Engine builds on extensive experience in undertaking highly detailed data analysis and consulting for hundreds of arts organizations worldwide. It is currently available for users of Tessitura® software, with wider distribution to follow.
Baker Richards and JCA are also joint developers of their Revenue Management Application, used by over 80 licensees worldwide to optimize their pricing decisions, and of the arts data warehouse that drives The Audience Agency’s Audience Finder dashboards, which benchmark customer and ticketing data across over 100 arts organisations in the UK.”
This looks to be an intriguing development in the light of the Segmentation Wars we have blogged about before. We need tools that use real data on customer behaviour and take directly into account their individual ticketing history, attendance patterns, and relationship with the arts organisation, such as whether they are Friends or donors. It will be good to see this available to more system users than just Tessitura. Tim Baker will be talking about this and all things pricing at the Ticketing Professionals Conference in Birmingham at the ICC on 25/26th February 2016.
Baker Richards say that “Segmentation is one of the hottest topics around for arts and cultural organizations seeking to improve their communications and Customer Relationship Management (CRM) strategy”. For more information:
For North America contact JCA: Susan Hornung, +1 212 981 8418, firstname.lastname@example.org
There was an under-current of discussion at the Arts Marketing Association’s great ‘Stay Curious’ conference in Birmingham this July. Kicked off by The Audience Agency’s breakfast briefing about Audience Finder and Audience Spectrum, with the former now free to UK arts and cultural organisations (previously only free to Arts Council England National Portfolio Organisations), and reinforced by the frequently repeated references to Morris Hargreaves McIntyre’s Culture Segments from the conference stage. There are pilot MHM projects in the Northeast and in Auckland, NZ and we await the results. With consultant Katy Raines also talking about segmentation, this subject is clearly rising high up the agenda.
Andrew @TicketTattle Thomas and I have wondered in the past whether in practice the application of a ‘profile’ to a customer record really makes that much difference compared with reliable factual information on the customer from their purchase behaviour. This is very much a matter of statistics. Those of us with long memories remember working with CACI in the early 1990s on what we hoped would be an Arts ACORN, combining ticketing history data with CACI’s socio-economic and demographic data. Duncan May, now at ATG, worked closely with them on building the profile. But in the end they said the results were not statistically significant and an Arts ACORN did not emerge.
Degrees of statistical significance was of course Peter Verwey’s mantra
Degrees of statistical significance was of course Peter Verwey’s mantra at the Arts Council of Great Britain about the use of the Target Group Index data at postcode sector level. As a lottery funding assessor I read quite a few marketplace analyses in business plans which were written on the basis that a small number of people in a rural catchment area were for example factually “contemporary dance attenders” when in practice such data was only a projection and unreliable in a small population at that level. One of the benefits of Audience Spectrum is to build in real attendance data from across the country to inform the accuracy of the profile – I must declare an interest as an adviser to The Audience Agency. And MHM’s Culture Segments uses some qualitative “golden questions” to get at attitudinal and motivational factors.
Just how much information did we already have on customers
At the AMA conference Andrew and I also had a few quiet conversations with honest folk who wondered why segmentation profiles were apparently so important, just what difference could it make, how should they use it, and would it in fact really make a difference for them? This took me back to 1993 and the conversations with Duncan May, Christopher Travers, John Matthews, Vivienne Moore, Jonathan Hyams and others when I was writing BOXING CLEVER. Just how much information did we already have on customers in the new computerised ticketing systems and what should we be doing with it? My late colleague Tim Roberts mused 20 years later, after two editions of FULL HOUSE, published in multiple languages, that people were still not understanding frequency of attendance or using it to segment attenders according to their behaviour, and our 15:35:50 frequency formula remained neglected (and you can refine data today much better than that simple formula).
Michael Nabarro of Spektrix has blogged about arts organisations needing to get their heads around customer data, and they and PatronBase have expanded the tools to make analysing customer behaviour and grouping people together easier. If you want to, you can directly add in segmentation profiles. Of course, going back to 1993, we knew that actually it was not the group that was important, but each and every individual customer; CRM consultant Helen Dunnett reminds everyone about the “niche of one”: they know about their relationship with your arts organisation, but do you know about your relationship with them, and do you use that data in the ticketing system to drive the tailored communications to them?
The ticketing system suppliers are mostly collaborating with the proprietary segmentation tools emerging, but in most cases these are projecting on to individual customers a profile derived from large samples. In the past when there was just ACORN and Mosaic we wanted to test out which was “better” for targeting. But Stuart Nicolle (“You can get 35 pieces of data from 7 collected in the customer transaction”) with his “Balanced Database” tool at Purple Seven demonstrated repeatedly that real data could be used to focus and sharpen marketing effort, contacting fewer people with bigger results – we know, Helen Dunnett and I helped carry out a test at Colston Hall in Bristol with him.
“just push the button” marketing
Peter Verwey joked about one day reaching the stage of “just push the button” marketing. We are not there yet, and we can watch the segmentation wars, while recommending that people should perhaps concentrate on their actual customer data for targeting until something proven to be better comes along.
His name has been inextricably central to the Tessitura message since it launched fully fledged into the ticketing marketplace in 2000, with its unique ‘not-for-profit’ business model and radical way of working with its co-owning users. I think he sees himself as a ‘pilot’ in the shipping sense, nudging with his experience and knowledge the Tessitura crew in the right strategic direction; others, including me, credit him as ‘captain’ leading and motivating the crew and keeping focus on their mission, especially good at articulating that “fitness-for-purpose” of the system as a solution and the Network as a community.
service levels in the 1990’s inhibited by the available technology
Tessitura, the system, came out of New York’s Metropolitan Opera (The Met). Like many other arts organisations, they saw their service levels in the 1990’s inhibited by the available technology, and their patience with their suppliers meant they were always behind the customer curve as the on-line wave broke. That turned to impatience, and, unwilling to wait for consultants and techies to fix it, they decided to develop their own in-house solution, creating a unified ticketing, CRM, marketing and fund-raising system. They appointed Chuck Reif as Senior VP of Technology and allocated a budget of $5M over 3 years to build their unified system. They succeeded where others failed. Chuck of course remains in charge of Tessitura technology.
Originally called Impresario, The Met wanted to achieve some return on their investment and licensed the system to a couple of other users, and even investigated the possibility of selling it. This is where Jack enters the system’s history in 2001. From a background in finance and marketing in international corporations, being involved in some start-ups and acquisitions, and having worked at Hotels.com to help take them public, he was running a venture capital backed Internet e-commerce solution, and was one of the people The Met talked to about the future of their system.
Jack was invited by The Met to facilitate a discussion with other interested not-for-profit arts organisations, leading to a meeting in Santa Fe with 35 people from 7 different arts organisations. Was there a business model that could work better for them, certainly better than the increasingly problematic investor-driven model that was causing problems for former market leaders in ticketing systems – evidenced for me by the difficult times with Tickets.com?
Was there a business model that could work better for them, certainly better than the increasingly problematic investor-driven model
That Santa Fe meeting drew up a mission statement which is virtually word for word in the Tessitura mission statement of today. There was a confluence of need, critical to their success, for arts organisations to deal with a changing world, changing communications, with Internet, email and new e-commerce models. The goal was about making arts organisations more successful by working smarter and working with an “enterprise solution”.
The seven organisations that were the early adopters of Tessitura invited Jack to form a new company with Chuck Reif, but not one that could be commercially morphed into something else. They set up a not-for-profit corporation with a Board from the users of the system, creating the co-ownership Network model. The Met saw themselves as helping benefit arts and culture while getting some of their investment returned through licensing, initially at a higher level than is now charged today.
It is worth saying that the targets for growth were modest, originally for 50 users, reflected in the Network’s decisions to be a virtual organisation, with Jack as the front man presenting the system and its business model to potential users, and Chuck and his team concentrating on keeping the technology at the leading edge. Users felt trust and confidence in the business model, but wanted the system to exceed their expectations, with core functionality as the key to meeting their needs.
The Network’s membership model is now based on variable licensing costs and annual membership fees according to turnover – in 14 years only 4 membership fee increases. Licenses are for a lifetime, unlimited, without charges per user or any transaction fees, and all Tessitura functionality is bundled in so Tessitura does not play the module game that some suppliers do (there are some add-ons available which are separately charged).
147 people on the Tessitura team worldwide, working in 8 countries
So in 2015 there are 147 people on the Tessitura team worldwide, working in 8 countries, with over 515 organisations using the system. The team did not include a marketing person until 2014. And over 200 of the user organisations in fact share their system with other organisations, such as the Wales Millennium Centre model in the UK; the largest of these has 14 regional theatres in Philadelphia sharing their system. Since 2001, retention has been over 99% for users and 85% for staff from their first employment. Tony Barnes has been regional operational director for the UK and Europe for 10 years now.
Jack reports to a Board drawn from license holders – small, medium and large – covering geographies, genres and skill-set, driven by a desire to lead innovation, provide great service, and keep costs down. That innovation is driven by a Member Advisory Committee, working with Chuck and the Tessitura development team, that prioritises the ‘road map’ for development. 70% of ideas come from users and 30% from the team, who spend their lives on the road with Tessitura users. They deliver a new release every year in a transparent process, with new code posted to a ‘sandbox’ so users can review and test, see every change, and help prioritise and identify enhancements. Some users then beta test the latest version as it goes through quality assurance. Hundreds of enhancement requests, big and small, are also submitted each year, and many of them are also added, in addition to the big road map-driven items.
by users, for users
Reflecting the co-ownership model, they chose to hold an annual conference from the beginning, driven by a planning committee of the users (apparently 200 people on it for this year’s this month) as Jack says “by users, for users”. This is now quite definitely the world’s largest arts and cultural conference, with much more than ticketing on the agenda, since it is cross genre, cross functions, cross geography, and open to all ideas. There are twelve concurrent tracks, covering all functions such as ticketing, philanthropy, web, CRM, marketing, etc. Reflecting this, American opera singer Renée Fleming will give their keynote on August 18th in Orlando on topics for which she has long been a strong advocate – audience development, community engagement and arts education.
Indeed Tessitura is becoming a TEDx of arts and culture with its free webinars sharing knowledge on a global scale with the Innovator Series and posted on a Tessitura YouTube channel.
Unusually for a ticketing/ CRM system supplier, Tessitura has a VP of Community, headed up by Don Youngberg who leads what is effectively a full time community team. Community is their “secret sauce”, since the Network has proved to be founded on sharing to help each other and make each other better. That seems to irritate other ticketing system suppliers, who see Tessitura relating to CEOs and Artistic Directors, and running a conference that attracts people from all parts of user organisations. There are also large regional conferences: in November, the Tessitura Network European Conference will be in Nottingham with likely 350 or more attendees; there will be an Australia/New Zealand conference in April 2016 in Sydney.
Tessitura has behaved differently from other ticketing systems from the beginning, since you might say it has been clear from the beginning that it is not just a ticketing system. Chuck Reif came to the UK for six months to install the first UK clients, working on localisation and specific needs. Given that users see this as mission critical, the “enterprise solution” has delivered both “out of the box” configurable functionality, and a platform on which users can build their own customer experience tools. So far they say the users have not found a technological restraint in Tessitura. And they continue to innovate to help arts organisations facing financial challenges and to enable audience development and to raise funds via philanthropy and memberships. Tessitura was designed from the onset to be equally strong for fund-raising as well. The biggest release in the history of their software is about to roll out to complete a major expansion of the system and the user interfaces.
Tessitura has added a small services division to help provide techie and database administration skills to user organisations, and now has an enterprise consulting division on marketing and fund-raising to help build the business capabilities of user organisations. Jack says their success is partly because they avoid a corporate culture and focus instead on anti-bureaucracy and on collaboration, with themselves as partners, not vendors.
Jack talks well about the Tessitura Network and his belief that the right staff with the right business model can deliver the success the users want. With strong staff retention, they have a sabbatical system, with a 7 week paid break every 7 years to help staff re-charge and re-think. Jack seems to me to have been the Network’s leading salesperson since the effective consortium was formed, and he has certainly been reticent about adding marketing people (first one in 2014) and expanding client development functions (some churn in this function in the UK), and he remains careful about the solution and how it is presented. With the team all wearing their Tessitura logo dress shirts, focussed on the corporate mission and values, and with a coherent core message, and users that all have a good word about “their” system, you can see why arts and cultural organisations sign up to join something much more than a ticketing system.
How much credit do we give Jack Rubin for what has been achieved? He has certainly made a big difference.
There will be some live streaming from this August’s Tessitura Conference, week of 17th August 2015: http://www.tessituranetwork.com/live
Education, Education, Education!
We love learning about all aspects of the ticketing industry, not just technology, but new ways of working, innovative ways to solve the oldest problems in our industry, as well as the newer ones too.
It is with great pleasure therefore that we can announce we have been working with a group of hardworking and knowledgeable ticketing professionals to create a UK educationally led ticketing conference, which will be Ticketing Professionals 2016
The name was not hard to conceive, after all, if you are reading this you are a professional either directly or closely involved in an industry that includes a ticketing function. This conference is aimed at you, encouraging your personal development and that of others in the industry through an education programme designed to do just that.
The education programme, like other respected and established International ticketing conferences will run on a multi-track basis, throughout most of the event, allowing delegates to curate their own development, whether they need to know more about regulation and compliance, technology or revenue management, there will be the choices galore.
When, Where and Who?
Ticketing Professionals 2016 will be held from the 25th to 26th February 2016 at the ICC in Birmingham, it’s a great central venue, whose support has enabled us to provide this conference at a realistically affordable price accessible to all professionals.
The conference is aimed at Ticketing Professionals, but will be supported by a modest exhibition and group of sponsors. They too want to be engaged and involved in the development of the professionals who may need their tools, advice or services as their careers progress. The commercial partners will be a part of this ecosystem of development.
Information and News
The Ticketing Institute will be a sponsor of TPC2016, namely the education programme as well as providing support for the exhibition. TPC2016 is a separate entity. As such, we cannot simply transfer your data across to them, after all, who likes being spammed about things? So, if you would like to be kept up to date with what is happening, who is booking, who is speaking or maybe even to volunteer to be one of those speakers, then simply click the link below to head off to www.ticketingprofessionals.co.uk so we can keep you up to date, or you can follow@ticketingprofs
Our industry will only advance with the development of this and future generations of Ticketing Professionals, so we both really hope you do get involved.
I am a frequent attender at the Arts Picturehouse in Cambridge. It has an audience that seems to book the majority of seats in advance online – the Box Office is rarely staffed and the few people on the door buy tickets from the bar or merchandise counters. That audience takes advantage of reserved numbered seats and the ability to take drinks into the auditoria in glasses (not plastic). There is also a very successful membership scheme which eliminates booking fees, gives some free seats and discounts on tickets, and there are wine and snack packages.
Until 2014 the Arts Picturehouses chain was independent, but was then taken over by CineWorld. At first we saw little change in Cambridge, except that operation became somewhat more chaotic and staff less informed – especially if asked about the many live relay streamings. Not knowing the actual performance time or interval details is unhelpful to audiences attending a screening due to take nearly 5 hours.
the online booking service seriously deteriorated
However, in February 2015, the online booking service seriously deteriorated. With failing bookings online, beleaguered staff when phoned said it was due to the introduction of a new website, and later that it was a change in the ticketing system. Arts Picturehouses were apparently migrating from their Newman system which had fully met their needs, to Vista, used by Cineworld, which plainly didn’t.
Now, changing systems and the likelihood of some short term disruption is possible, and this runs the risk of upsetting some customers, but surely five months is too long a time to not get it right? Especially for members. For a period, advance booked screenings of streamings could not be accessed, and tickets weren’t accessible for many events. The basics can be frustrating. Are the seating plans accurate in layout and in showing availability – apparently booked seats remain empty through a screening. And increasingly they offer only “General Admission” screenings, removing one of their core USPs. Membership numbers are repeatedly not recognised , denying access to discounts. QR codes to validate tickets have mostly disappeared. Often the purchaser will see an error message that their transaction was successful but they can’t send the tickets through. We now have to phone very often to complete/check our transaction.
I hope they didn’t think we were just “bums on seats”
The staff on the phone acknowledge the difficulties – it is as bad for them as for the public – and are endlessly patient in resolving the issues, usually satisfactorily. But the core of the business has been disrupted, and relations with customers badly damaged. Arts Picturehouse customers are not just consumers of movies, and the chain markets itself as a different and more engaged experience. So why risk alienating the audience with apparently bad technology? I hope they didn’t think we were just “bums on seats”.
What do we put customers through when we give them an unsatisfactory purchase experience? Andrew Thomas and I will be reviewing how you can use Google Analytics to help optimise the purchase experience in the Digital Hub at the AMA Conference in Birmingham, or visit us at Consultants Corner on Tuesday afternoon 21st 2-5pm at the Rep – you don’t have to be attending the conference: http://theticketinginstitute.com/consultants-corner-pre-ama/
Karl Vosper is inextricably linked to SRO as its champion in the UK since 2002. That will confuse some people from the start. SRO, from Standing Room Only, is developed by TopTix in Israel, but was originally distributed in the UK from 2002 as Artifax Ticketing under that name. Then distribution was transferred to Blackbaud, and, aligning the product name with others in their portfolio, became The Patron Edge. It was not until May 2010 that TopTix UK was formed, with Karl as managing director and SRO, now in Version 4, became the recognised name.
The route to now is interesting. Karl started out in the box office at the Central Theatre in Chatham in 1993, who were to be the first arts venue to take Venuemaster from Synchro Systems in Newcastle under Lyme. At 19 he had to go out and buy his own computer to learn about what he would have to deal with at work. This was the time of the big move from DOS to Windows in 1997 and Synchro quickly decided they needed him on their team and he joined their staff, in charge of arts venues in the south with a 360 degree role from sales to implementation and support. After migrating the Royal Opera House to Venuemaster in 1999, ROH decided they wanted him on the inside instead of working for their supplier.
Artifax brought SRO into UK
At Artifax the enterprising Timothy Nathan wanted to add an integrated ticketing product to his suite of tools for arts venue planning, scheduling and operation, and chose SRO from TopTix in Israel whose SRO Version 3 was then cutting edge leader in terms of much functionality. Karl joined the team there and they were quickly successful, securing the South Bank Centre as a user. They became a by-word, reflecting the Artifax approach, for hands on help and support.
Blackbaud wanted a ticketing system too
At this time Blackbaud in the US and the UK was looking for a ticketing system after an unsatisfactory acquisition of Intellitix, in a plan to expand its portfolio of solutions to combat the rise of Tessitura in the US. The hope was an integrated ticketing, marketing, CRM, and fund raising suite of tools would help arts organisations work smarter. They decided they wanted the distribution license for SRO and the team from Artifax was TUPed across to Blackbaud.
Karl is unwilling to talk about this period, but I know personally from my own experience and a visit to the Blackbaud HQ in Charleston that senior management were concerned about the level of hands on help and support they needed to supply for ticketing, and the continuous user’ demands for better interfaces and deeper integration. When some users in the UK asked me to help arbitrate on their behalf, I was concerned to discover that ”billable time” was a key target for Blackbaud services management, responsible for support, on which bonuses were dependent. A big change in culture from Artifax.
I knew that Karl had acquired something of a reputation as the users’ champion at this time, with a friendly approach which often meant things got fixed on-the-fly instead of at the billable rates. I was once in a meeting at which his senior managers tried to persuade me there was not a serious problem in relation to credit card processing, when Karl simply confirmed that there was. This was doomed, and in 2007 he offered his resignation. Blackbaud insisted he stay on and he became the global product manager for ticketing within Blackbaud, liaising with TopTix in the development of SRO and the new Version 4. Then Blackbaud proposed at the end of 2008 he lead on the development and release of a new ‘general admission’ (GA) alternative product called Altru, now Blackbaud’s primary ticketing product. After Blackbaud decided they would not run a pilot project to introduce SRO Version 4 to the arts marketplace, Karl resigned in 2009, required to have six months “gardening leave”.
TopTix UK launched in May 2010
John Pinchbeck had been freelancing for TopTix in the UK in the commercial entertainment sector and sport, since the distribution license for SRO held by Blackbaud was for the not-for-profit sector. So in May 2010 they formed TopTix UK led by Karl. At this time they had to work in parallel with Blackbaud, but their exclusivity for the not-for-profit sector ended and Blackbaud finally withdrew from supplying and supporting SRO in 2014. In the period before this many users realised they could switch their support to TopTix directly and many did so, with many ex-Blackbaud staff joining Toptix as a result.
I have detected here a “part of the problem, or part of the solution” dilemma for some users. Karl and some of his colleagues were seen as initially helpful, but unfortunately problems seemed to mount up during the Blackbaud years. Ironically, switching to TopTix direct support and finding these could be quickly fixed did not prove satisfactory to some people.
“part of the problem, or part of the solution”
This situation was amplified in 2014 with Blackbaud withdrawing, users wanting to migrate to SRO Version 4, and Blackbaud’s credit card processing solution Logic TPS also being withdrawn at, interestingly, exactly the same time as Blackbaud’s withdrawal. TopTix had used the YesPay credit card processing solution but unfortunately this had run into problems of PCI DSS compliance and in June 2014, YesPay could take no new customers, with 40 Blackbaud users due to lose their service in August.
By any standards that is an emergency, with just two months to find an alternative gateway supplier, to build and test interfaces, obtain approvals, and set up and test 40 separate users. For those two months Toptix staff were entirely on the road, already in the middle of a sequence of 9 go-lives for new users and migrations for existing users, and inevitably there were ”dropped balls” on the way.
SRO: “Best Kept Secret”
Where to go from here? My colleague Andrew @TicketTattle Thomas and I have thought in the past that TopTix could be described as “the ticketing industry’s Best Kept Secret”. There are now 250 users of SRO Version 4 around the world and over 40 in the UK, Including the Buckingham Palace operation for the Royal Palaces with 3.5 million tickets sold per annum through 80 points of sale. One of the advantages of Version 4 is that it is architected for large-scale, multi-user, multi-venue setups. The “Rules Engine” combined with the middleware capability gives it exceptional tools, helping provide City-wide solutions, such as adopted in Leicester. That means it can be the right system for people wanting an “enterprise solution”, providing an application that can integrate and interface with all their other software and solutions, and provide the ”database of truth” for the 360° view of the customer. If you can get your head round it, the Rules Engine delivers an astonishing configurability of functions and processing.
But that “annus horribilis” in 2014 has dented their reputation in the sector, and quite a few users still can’t make up their mind on the “part of the problem, or part of the solution” dilemma. Karl has taken a lot of steps to address this. They have stopped working virtually and opened a new office in Clapham with a new staff structure and expanded staff. In the restructuring, two people were made redundant, some left, but more have been taken on in new roles. Industry stalwarts Pete I’anson (ex The Lowry and AudienceView) and Ken Paul (ex Delfont Mackintosh, NIMAX and ENTA) have joined. In addition to their 9am to 9pm office-based support, there is a user forum and a dedicated website that is helping users to network together and share solutions on a ‘self-help’ basis. Karl worries that while many venues have got 5 or 6 users logged onto this, there are still users who do not engage, and often these are the ones who have problems that could be easily solved.
Karl says the need is for more organisations to understand that ticketing is no longer just a sales operation and, in a sense, “the system does not stop when the box office closes”. He sees the need for users to understand the up-selling and extended sales and customer service opportunities of SRO, and take advantage of the Rules Engine. Instead of just talking about making tickets available through more channels, selling tickets in the bars and cafes in venues, plugging SRO4 into facebook, recognising members, subscribers and offering them additional benefits, he wants to see more organisations adopting this philosophy with the tools that they already have available. He remains convinced that SRO is a tool to empower organisations and he wants to help them to challenge the people who interface with the customers to make a real difference.
users have to become the champions now
Karl acknowledges that TopTix had to address their relationship with their users following the events of last summer, so they come to see again that SRO is championing meeting their needs every day. I wonder if that means the users have to become the champions of SRO now?