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?