Can’t Someone Else Worry About It?

Last week’s survey asking readers if their organization uses cross-domain tracking generated some very intriguing results in that the topic generated very little interest.

The survey produced a whopping (#sarcasm) nine replies.

Nine.

This came as quite a surprise as the low engagement level runs contrary to both anecdotal evidence and a similar survey I conducted with my Venture Platform users.

Adaptistration People 136Marketing and box office professionals have a very high degree of interest in tracking ticket buyer behavior across every part of the online purchase process. The reasons are straightforward: if you know which patrons respond to an online ad or event web page but you have no idea if they converted into a ticket sale, there’s no reliable way to determine how effective your marketing campaigns and site designs are.

Anecdotally, I find arts managers tend be very interested about cross-domain tracking but most readily admit they have next to no idea about how to start the process or what it involves.

Among my own Venture Platform users, most have a similar degree of questions about the process but there was a 100 percent response rate for the interest level survey and universal agreement on the value of cross-domain tracking and learning about implementation.

Among the handful of those who replied to the survey here, the majority indicated they do not currently utilize cross-domain tracking while interest levels in implementing a solution are high.

Moving forward, we’ll revisit this topic again but until then, if you’re an executive or a board member, ask your marketing and box office directors if your organization uses an off-site ticketing provider and if so, are you using cross-domain tracking.

About Drew McManus

"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.

I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.

In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.

For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.

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