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Adrian Slywotzky no seu último livro "Demand: creating what people love before they know they want it" conta o interessante caso das orquestras sinfónicas que resolveram mudar o estada das coisas e seduzir os seus futuros clientes.
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"In 2007, nine symphony orchestras joined forces, hiring a team of researchers to analyze symphonies’ marketing challenges. The results from this Audience Growth Initiative — or, as it was informally called, the “churn project”—were presented in mid-2008 to a gathering in Denver of hundreds of musical professionals from orchestras around the country. The study confirmed that churn was a major issue for the nine orchestras in the consortium. On average, 55 percent of symphony customers changed from one year to the next — a big, costly problem. Among first-time concertgoers, the churn rate was even worse — an almost unimaginable 91 percent.
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(Moi ici: O que fizeram foi olhar para os clientes não como "os clientes" mas como "diferentes grupos de clientes") ” But when the researchers got past the average figures and started focusing on customer variation, a possible solution began to emerge. The symphony audience, they found, was divided into several starkly contrasting groups. They included the core audience — subscribers who attend numerous concerts every year for many years; trialists — first-time concertgoers who attend a single performance; the noncommitted — people who attend a couple of concerts in a given year; special-occasion attendees — people who attend only one or two concerts a year but return consistently, year after year; snackers — people who consistently purchase small concert subscriptions for many years; and high potentials — people who attend a lot of concerts but have not yet purchased a subscription. So there were at least six different customer types—dramatically different from one another."
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Depois, identificaram os constrangimentos que os "trialists" sofriam durante uma ida a um concerto e atacaram-nos.
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"The unveiling of these findings to orchestra managers from around the country has sparked a quiet revolution in the marketing of classical music. One orchestra after another has begun to adopt and test its own responses to demand variation, with initial results that are startlingly hopeful. When the Boston Symphony Orchestra tested the killer offer designed specially for trialists against a traditional ticket offer, the killer offer drew 34 percent more ticket purchases—the equivalent of 5,100 additional ticket sales over the course of a season. The New York Philharmonic found that the killer offer outperformed a standard offer by five to one. The Cincinnati Symphony offered half of its Summer Pops trialists a traditional subscription, the other half a customized single-concert offer; the latter offer outsold the subscription by twenty to one. Now more and more orchestras are adopting variation-based programs, with remarkable success."
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Lição: não tratar os clientes como uma massa homogénea.
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