Case Study: Dance Recital Ticketing with Studio Owner Becky Pinero of Elite Dance Studio

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1 Case Study: Dance Recital Ticketing with Studio Owner Becky Pinero of Elite Dance Studio Suzanne Gerety: Josh Olson: Good afternoon, everyone. This is Suzanne Blake Gerety, from dancestudioowner.com and I m really excited about the conversation I m having today with a very talented dance studio owner, and two great folks who run Dance Recital Ticketing. It is Becky, Josh, and Stephanie I have on the line. Welcome everyone. Hi. Hi. So, Becky, you ve been a member of dancestudioowner.com for a while and you are a very successful dance studio owner. Would you mind telling our listeners a little bit about yourself? Sure. My name is Becky Pinero. I own Elite Dance Studio and we re located about 25 minutes outside of DC, in Silver Spring, Maryland. This is my eighth year in business. We currently have 520 students, mainly recreational dancers but we do have a small competition team. Our dancers are involved in many different activities, in school, out of school, dance, karate, lots of different things with lots of busy parents who really just are involved in a lot, and don t have a lot of time to read anything. So, you know, we re just, you know, we re seven teachers, and eight staff members, including two managers. So, I also have three small children of my own, so I have a lot going on, a lot on my plate. Always looking for ways to delegate tasks and to outsource tasks too, so, you take things off my plate so I don t have to worry about them. That s awesome. And a part of it, you and I have had a chance to sort of get to know each other throughout these years, because it s, you know, running a dance studio is like, you know, juggling and putting out fires and you know, constantly being faced with the rising costs of doing business. But one of the places that we have found huge opportunities to save time and increase our own business is around the dance recital ticketing, which is why I ve invited Josh Olson and Stephanie Suarez, today, from Dance Recital Ticketing to join us. So, welcome, Josh and Stephanie. Can you tell us a little bit about yourselves? 1

2 Well, absolutely. I ve been in the, you know, around the dance industry for about ten years now, actually about 12 years, I guess, time flies, working with costume companies, dance publications, dance studios, and also competitions and then also because of competitions, working with the dance studio owners and directors as well. And about two years ago, we realized that there was an opportunity to help studios even more, with their online ticketing, for the recitals, and we weren t happy with some of the solutions we saw there. So we decided to open up a new, you know, a new venture to help them with their ticketing. Awesome. And that s part of why I ve got the three of, well, the three of you and myself together today, because I think we re sort of at a critical point right now, with dance studios in the recital space. Which is they know, for those of you listening who maybe are hesitant to go, like, you know, really change the way you ve done it before. Or those of you who are listening who are sort of interested in shopping around for a new service, this is going to be a really useful conversation, because I ve invited Becky to share some of her, you know, ups and downs in the process through which she made the decision to go, not only with online ticketing, but why she chose Dance Recital Ticketing as her option. But in general I really want everyone listening to walk away with some ideas as to making the ticketing process simpler for you, easier, more profitable, and really give the parents something to be excited about. Because ultimately, you know, the parents are the ones, you know, purchasing the tickets and they do help us, you know, bridge that gap from our recitals through the summer and into the fall. So, I think we should just get started, Becky, if you wouldn t mind, can you give us a little bit of background about what your concerns were, or, like, when you were going from the old method to like what made you move to this new online ticketing. What were the questions you came up with? Yeah. Absolutely, so, I had a few, two years ago, I had a few stressful breaking points for me. The first one is my staff called me and told me that they, quote on quote, lost 100 tickets. We had printed out tickets that we kept at the front desk and we would sell them. And when I got a phone call that said, we lost 100 tickets, I just knew that there had to be something easier. What really happened is that someone had dropped the pile, one of my staff members had dropped the pile and when they put them back in order, they got the numbers out of order. So we didn t actually lose 100 tickets, but it was the stressful phone call of, I can t keep track of 3000 tickets anymore. There s got to be a better way. My other thing was that everyone for the recital was buying up one hour before, because we did general admission. Yeah. So they were buying up the hour before, when the doors opened, parents would race in, throw down their jackets, save entire rows. The stress of it, and it was just very unprofessional, and I really just thought that, you know what? There s got to be a better way, 2

3 you know, there are other ticketing services out there for concerts, others, and these parents are used to doing this, why do I have to, you know, just keep 3000 tickets at the front desk all the time? Right. And you sort of echo some of the problems we had, before we get into sort of Josh answering some questions here, which is that we used to, we thought we had organized the system on a first come, first serve, you know, get your form in and we ll fill the tickets for you, and then parents were never happy with where we actually sat them, because you know, if you were first in line to get your paper in, you didn t have to wait in line. But if you got your paper incorrect, you couldn t get your seat filled and then it was never the right place, and it became, we spent our whole, every teacher s Memorial Day weekend was spent stuffing tickets in envelopes for seven different shows. It was a nightmare, so, we too said, there s got to be If I can buy a ticket for a concert online, I should be able to buy dance recital tickets. So, Josh, and me, and Stephanie Right. Yeah. and it s crazy, right? You re like, I can t do this anymore. So, I think that for Josh and Stephanie, who, I mean, you saw this too, and I would say, Josh, what are some of the top questions you hear from studio owners related to, when there s all this in our ticketing processes, it s too complicated. How can you possibly move my system online? That s an excellent question and we do receive quite a few questions from studios who have a scenario that they feel is very complicated and is there any need to that studio? And we re very fortunate, when we first started off because we encountered a lot of the scenarios right out of the starting blocks. So we were able to build a system that was able to accommodate right out of the gate about three quarters of the types of the situations that we ve seen over the last couple of years. Some of the biggest ones that we see are studios that have recital fees, where they have given two, four, maybe six tickets to families ahead of time, and we have a solution for that. It allows them to very easily manage the free tickets will still allowing the parents to buy additional tickets. We use a couponing system for that, and that works real well. They can, there s a lot of control that they can do on the coupons to say, are these completely free seats, are these buy one, get one half off, lots of different options there. We also see studios that say that they have kids in multiple shows and they do not want to have the parents have to buy a full price tickets for more than one show. Maybe they get free tickets to the second, third and fourth shows, if their kids are dancing in them, or maybe they just get 50% off, but if they want to attend multiple shows but their kids are not in those shows, do they have to pay for the tickets, yes or no? So they have this sort of situation that we actually have created a system by which they can define some parameters. We create for them these custom codes, and custom coupon codes, or if they don t want to use coupon codes, we can just make it the way that the system operates. So that when people put their seats in, the system automatically takes a look at what they have, select it and give them a reduction based upon the rules that we ve defined. 3

4 Great. And we work with the studios directly to make sure that that is implemented exactly the way that they want that implemented. Right, and I would think, and that s a good point that you make there, Josh, and, you know, Stephanie, you might be able to answer this as well, as doing a lot of the customer relations, which is, we were like, no, when we move to online ticketing, the parents aren t going to know what to do. Like, they re going to be, deer in the headlights, all confused, angry, frustrated, what have you. But, surprisingly, if you spell it out for them, they can sort of handle it, but what have you found in those cases, when studio owners say, Gosh, that sounds even more complicated, what if they give the coupon codes to someone they re not supposed to, and all this other stuff? Well, they can withdraw coupon codes that are unused. So if they give a coupon code to a family say, wasn t supposed to get one, they can pull it out. Our system is built around the same sort of methodology that you would find at any kind of e-commerce store, which is first you select your product, then you proceed to payment, and then you confirm and then download your product. So we follow the same methodology. One of the things that we really, we re proud of, is how simple and straightforward we ve made the process of actually purchasing the tickets. Great. We ve gone away with the whole process of having a system select the best seats. What we ve found is that that steps the process and we ve managed to weed it out of the system so that we pick a seat, you click it, it turns white, it s yours. Okay. If it doesn t turn white, it will say somebody else grabbed it. Our system, our screen is updated in near real time, so, if you actually sit here on the sales page and you watch it every few seconds, you ll see seats populate that were selected by other buyers. So it s kind of neat in that regard. Awesome. So, yeah, and that s helpful and I m going to make sure that those listening in go and check out, you know, at least the demo and we ll make sure they get the link to that at the end of the call. So, here s, I want to talk to Becky again for a second. Becky, you know, one of the concerns I think all of us as studio owners, we don t want to, like, you know, give up control over the process. We want to be in control, we want to know exactly where Yes. Mrs. Smith s kids, where her, she s sitting, and in the minute she calls, we need you to answer that question. You probably went through that as well, I m guessing, right? 4

5 Definitely, any dance studio owner you ll talk to, the number one thing they say is we still want control of it, they just don t want to give up all control. So, you know, I had a lot of questions, I talked to Stephanie a lot and she even let me see into what they have, that Dance Recital Ticketing has, the admin site for the studio owners to log in. And this admin site is anything that you would ever want to know about this online ticketing is going on, it just tells you every information. I can see the income that I get by show, the income that I made on one single day, how much my direct deposit will be, on Thursday, which is a great day. You ll see, you know, how many tickets were sold, how many, it was really cool to see what percentage was left of each show. So it was cool to, you know, talk to some of the parents, they re like, this show is 70% sold out, you only have 30% left. So, I know all the stats and figures, or graphs, or charts, anything you need in this admin site definitely helps me feel like I was in control, even though, you know, the stress of the actual ticketing was not in my plate anymore. Right. And was that one of the things that helped you when it came time to make a decision on what company you were going to go with, and why? And you know, really, I guess one of the questions is why did you select Dance Recital Ticketing? Was that one of the big reasons? Yeah, absolutely. I actually called and talked to, probably three or four different services before I, you know, made the decision and decided. I wanted them to be able to choose specific seats, I thought that was very important. One website you couldn t choose it, they would give you the best available, and then when they told you the best available, there wasn t even a chart on that page so you didn t know where that seat was located. So that was kind of odd to me. I didn t need printed tickets, I thought just the simple PDF for my customer would work, you know, customers would work best. I had concerns regarding like the actual day of the show. you know, how are, once I stopped the online ticketing day, how would I handle it actually selling tickets at the door and things like that. Those were the questions that I had and, you know, when I called Stephanie and talked to Stephanie and Josh, I felt like there was an answer already figured out for every single one of my questions. And I did visit their website from what the customer would see, and then also what the studio on there would see and the admin site. And I thought that, you know, this is exactly what I ve been looking for. Great. And that s sort of, and that s why I wanted you on the call because you and I both, at some level you do have to control and you do need to know where people are seating. And parents are particular, when their kid is dancing on stage left, they need to know exactly where they re sitting. So, that s important, it s not a necessarily, maybe I should rephrase it, it s not that we re control freaks, it s that that s important to us, that s where we put the value in making a decision. It s not like just a movie. Our kid is on stage, so as a mom myself, I totally appreciate that. So, Josh and Stephanie, you know, that leads me to the question of, I mean, I think Becky really said it, but what, in your opinion, makes Dance Recital Ticketing different than the 5

6 other services out there, as studio owners sort of, I always encourage them to get their questions answered. You know, what makes you guys different? Well, that s a great question and I think that there are a couple of real key factors. The number one factor is that we understand that parents are passionate, and studio directors are passionate, and thankfully, we re also passionate. But we re also a disconnected third party, so we re able to take the passion of the parents and the passion of the teachers and make sure that it works as a unit, rather than butting heads. And we love our parents, and we love our studio directors, and we love working with malls and I think that s one thing that really helps us be successful in this environment is our love for our customers. And, but the other biggest thing was, and it kind of touches back on to what you asked about, what have we seen as far as the complicated scenarios with studios? You know, I touched based earlier on a couple of the things that we see and I run down the list of the situations that we see, and our understanding of the situations I think is what really differentiates our service from some of the other services. Now, mind you, there are other studio-centric ticketing services and they ve addressed some of these, but then there are literally hundreds, if not thousands of general purpose ticketing solutions. Which some of them are very expensive, like they re really major brands. Some of them are very inexpensive, but they don t address nearly, they don t even touch on some of these concerns that are very specific to this industry. You know, we get requests about limiting the order size per show, and per order. We get questions about enabling priority access, say to the graduating seniors, their families maybe want early access to ticket sales. Yeah. Or they have done an auction already, a lottery, and then they need to have waves of families come in. Those who register early and then those who register in the second wave, and they want to have waves and we have solutions for those. Great. We also get concerns about families not being able to buy tickets until they ve paid their balances in full. And we have a couple of solutions for that, and then there s always concern about these passionate parents sneaking into the show by copying their tickets, Do we have a way to manage and control that, and facilitate that crowd control, without stepping on parents toes and without making it more difficult for the studios? And we understand that, we have solutions. They also ask for, you know, blocked seats for the staff and for the families of staff, and then also maybe for the dancers to sit between the acts, and we have solutions for that. And, you know, we also get questions about crediting students, you know, how do you attribute an order to a student, and do you have the ability to report how many tickets a particular student has sold? And we have solutions for that as well. Awesome. It sounds like that s what I was excited about having you guys on this call, is that you ve really, really listened to, like, the list that keeps us up at night worrying about, you know, the ticketing. I mean, it really does, because they are things. Like, the ticketing process 6

7 is more than just buy a ticket. It is Have you paid your down, Are you on the priority list? You know, all of those things. So, it s great to hear that. Stephanie Suarez: I was, if I could just add that, we, you know, we here, at Dance Recital Ticketing, recognized that recital time is a super exciting time, and also a very busy time, not only for the parents and the teachers, but especially for the studio directors, office managers and such. And so, but at the end of the day, we also recognize that it all comes down to running a business. So, for myself and my personality, I tend to want to appeal to the office managers, the directors, the ones who are having to keep track of inventory, the bookkeeping. With the admin system, we keep the real time reporting and the bookkeeping solved by day. Everything is transparent and is accessible to the studio owners, because, again, we realize it s all about running a business during a super busy time. That s awesome, that s really great. And I would say, and thanks for that, quite a point too, Stephanie, I can hear that from you guys, it s awesome. I think, this leads me to sort of the next question, Becky, which is, let s say one of our, you guys listening, or our studio owners, so like, But I don t know if I should do it this year, or, you know, Maybe now is not the time. But I would say, what is the biggest piece of advice you would give your fellow studio owner colleagues who might still be on the fence about online ticketing? To try either to go for it, or to try a new service, and what s your best advice? If you had a football in the room, what would you say? Right. I, you know, I worried about online ticketing and online registration, for probably, I would probably say two years. I did a lot of research, I talked to a lot of studio owners, I worried about, you know, just losing the control of it. And I just thought, you know, there s, I ve got to do what I m good at and I ve got to focus on what I m good at. And if there s services out there that are going to take care of it for me, and I m going to be able to concentrate on other things, then I just need, I need to try it. And really asking questions, taking time out to look at their websites. You know, you actually want to see what the customers see, and how it s going to work. So you go in and just see if you can buy tickets, you know, just on different sites. And what you liked about it, what you don t, and then picking up the phone and calling the people. And seriously, when I say that, every single question, I mean, Josh and Stephanie are telling you what they offer, but, you know, every simple question, like, Can I get my recital logo on my ticket? I mean, it seems so silly, but for me, the branding of it was important. And they said Absolutely, we ll put your recital logo, so I was like, I felt like every question I had, they were right there with me with an answer. And I think, really, you just have to know when it s time to just give it a try, give it a go. Yeah. And, if it doesn t work out, you can always change it the next year, you know. It s just, you ve got it, and parents are used to this. They re even doing it for high school musical productions, now, 7

8 Yes. I mean, your local high schools are doing it for their high school, so why can t we do it? Right, exactly, and I would say too, one of the things, if you re like us and maybe it sounds like you too, Becky, with multi shows and multi dates, we said, okay, you know, if we re going to switch to online ticketing, instead of opening the floodgates to 3000 seats being sold, let s do the pre-sales to work out the kinks. And we rallied up the 100 families who we know, between our dance teams and our staff, we re like, here s the deal. We re going to roll out online ticketing, you guys love us, you ll forgive us if there s any, you know, glitches or whatever. And I don t mean glitches like in the software you choose, or the service you choose. I m talking about what that feels like, as on the studio side of things. Like, what kind of questions come up? And they were great about it, and we gave them, you know, maybe, like, they were going to get a discount on their tickets anyway, because they were, as Josh said, those families that had the multi, we said we re going to test out all the coupon codes. Let s give the pre-sales for them. And if you re on the fence, I mean, that s one to do it, it s just sort of test the waters with the pre-sales, the families that you know will be upset if it s confusing for them, you know, so, good, that s awesome. So, I guess, Josh and Stephanie, I mean, obviously, if those, anyone listening, which again, I encourage everyone to, like what Becky has done. Take some time to really ask good questions, but you guys have been really awesome, great about sharing here. How long does it take, if a studio owner is listening, how long will it take them to get set up into your system and ready to use? And who, what should their first steps be, I guess? Okay, well, the first step should be to, you know, let us talk to them about the recital. That s, you know, a five to ten minute phone call where we can ask about the recital and find out about the studio specific requirements is always going to be the key to success. You know, there s no cookie cutter format for studios, and there shouldn t be. Every studio needs to have its own personality. So, a quick conversation, five, ten minutes, we can learn about your processes and see what it is that you need, will help us get ready. And then once everything is put together, which really is just that conversation, plus the seating chart from the theater, once we have that, maybe a business day or two, at most, to get started? Now, mind you, I say that presuming that we have the, you know, the workload that we have now. Sure. When you start looking into the March and April time frame, that s when you get the studios that are coming in, that are a little bit in panic mode. Right. 8

9 And unfortunately, there can be quite a few of those, so, you know, if you re expecting a one to two day turnaround time, you know, let s try to do that now versus waiting for two months. Sure. Because, you know, it might extend out. It might extend out to three days if you, you know, if you look at waiting until April. Right. And I would say, one of the things too, I just want to mention, Josh and Stephanie, and Becky you might notice that as well, and I do want to talk about, that sort of leads into the ticket revenue, that comes from selling tickets in this method. Which is that we used to be under just the sheer timeframe. We used to have to start selling our tickets to our show, you know, a solid month to six weeks out, just to manage reserving those tickets, but then it would just become, like, this one general process and all that. We still, I mean, every studio does it differently, they might want that revenue in hand earlier, but we find that parents, some of them will wait until the last minute. And some are anxious to get that ticket purchased right away, so, you know, I guess the timing, like, is there a magic number of weeks before the show that a studio owner would want to, like, open up ticket sales online, that you see? Is there a time frame? Becky, I ll let you answer from your perspective first, and then I ll chime in. Okay. Well, we did, I believe we did three or four weeks before? And I felt like it was really good. It was right after picture day, so everybody had their costumes, everybody was all excited, it was after ad sales were due. It wasn t too close to the show but it wasn t so far away that people kind of, you know, forgot about it. It was right, we explained all the directions in the recital newsletter, when we handed it out. And I think it was like a week or two after the recital newsletter that we started. I think we did it on a Friday, at noon, and let me tell you how fun it was to sit at home, drink my coffee, I was probably in sweat pants, and we sold 500 tickets in 25 minutes. Awesome. And it was so fun to just hit Refresh, Refresh, Refresh, and all the live, you know, numbers come up on the admin. I was on the phone with my staff, like, this is just, why didn t we do this, literally we said it. We said, Why didn t we do this, like three years ago? Because this is awesome. So, it seems to work for our customers, you know, finding a good time to open up the sales, that s also a challenge. A little bit of a challenge for us is, do you want to do it at night, but yet, you need to be able to have your customer service there and their customer service will answer questions. Is it fair that they re at work, or is it on their, I think that we might do it on their lunch break, this year. But you know, there s a couple of things to work out, but, it all worked itself out and it was fun. 9

10 Right. Now would you be willing to share what you charged per ticket, and how you work in, you know, the convenience fee and however studio owners want to work around it. The fee that goes in, end up in the fee. I like to say is like, the employees that works for me while I sleep, as you just said. The money that it, quote, costs us, as studio owners, to run an online service pays itself hand over fifth in terms of what it adds, personally, for our students. Yeah. Absolutely. And in service, and just the fact that the, we added up the hours we spent in payroll to get this job done before. So, can you say what you approximately charged for a ticket, and how you worked out the fees? Yeah, so, Josh can correct me if I m wrong, but I think there s two ways of doing it. You can set your ticket fee, and then have a service charge on top of that, shown separately on the check-out screen. And that money goes directly to the ticketing service. Or you can just make it one fee and have it all included. I chose to charge, we charged $15 a ticket last year. Yeah. I chose to have that listed as the ticket price, and then on top of that, on the check-out screen, per ticket there was, I believe it was around $1.65, somewhere around there, that it was a service charge fee. And that would, you know, just like any TicketMaster service host fee or anything, they were just used to it. So they saw that, and I really think we only had one or two people kind of shocked that we have a service fee, and everybody else just kind of expected it. Right, and Josh Josh, is that the way that Yeah, do you find do you find that most people, because we, the first year that we went to online ticketing, and you know, every year kind of continues to evolve, we just were like, we ll just let the convenience fee be on top of it. And parents are like, Why am I paying this? And last year we rolled it in, so they didn t see what the fee was, but the fee of the ticket looked higher. I mean, what do you see commonly done? We actually see it both ways and we encourage the studios to look at their parents and determine what way is going to work best for their parents. In some cases we see, you know, we have some studios that are with us that their ticket charge is only $5. And, you know, you would be surprised that even though those $5 which of the studios say, well, we would like to have a ticket fee, it might work out to be one price, we re only going to increase it by the smaller amount. And our system is flexible enough that we can present the fee, and of the total cost, in any combination thereof. We can either add on the entire fee and show this is one price, or add on a portion of the fee and show that as a total price and still deduct the fee. We really leave it up to the studio to tell 10

11 us what s going to work best for them. Which is why it s important for us to have, you know, the conversation one on one before we try to even set the system up. Okay. So we want to make sure we actually understand their parents and their demographics. Yeah, that s a good point, because, like you said, some people are, you know, we re, Becky, you are studio owners, and we re about the same range, you know, of a ticket price, and you know, it goes back and forth between, you know, do you raise it, or do you put a set fee per kid and then you do all these things. I think it s like you said, every studio owner has to talk it out, and see what makes the most sense, you know, for what you re paying for your venue, and what your past ticket sales have been. Becky, did you see an increase in overall sold tickets or revenue from the year that you went, like, did you sell more tickets, I guess is what I want to know. Even though I didn t sell more tickets, I did raise the price a little bit from the previous year, so that might be a factor as well. Not just necessarily changing to online ticketing, but my parents commented that, you know, so much easier for them and they didn t have to buy their entire family s tickets. They actually sent the link out, of, you know, to their families and their friends and they said, Here, you know, you can buy your tickets and pick your seats. They actually appreciated that rather than them having to buy their entire family s tickets, and then awkwardly asking for, you know, the $15 for the ticket. So Right. So my revenue is the same, but like you said, taking care of, you know, paying the staff to stand there and hand out the tickets, and long lines, it was just well worth the cost of everything. That s awesome. And I would say, so, here is my next question for you, Josh, and certainly Stephanie, we can go, we can go on for days about how to, you know, how to take the next step. So the last couple of things I want to talk about for those who are still listening and maybe are ready to, you know, ask that question, they do worry about their students getting the right tickets to the right show. If for any reason, I mean, someone purchases the wrong tickets to the wrong show, let s say you had multi shows, if the studio owner had multi shows. Stephanie, is that something that you would help them resolve internally? Like, is the customer service going to happen through Dance Recital Ticketing? Stephanie: Absolutely. We have the means to do something called just a simple ticket exchange, which we here at Dance Recital Ticketing could very well do, and actually the studios themselves, through their admin tools then they can do it too. Sometimes the studio asks that, you know, that we handle it ourselves and we re happy to do it. 11

12 That s awesome. Great. Well, I think, well, Josh, go ahead, sure. Yeah, I would like to actually add on to this a little bit. You know, we talk to the studios, you know, it kind of goes back to the whole timing of when ticket sales start. And I say that because, a lot of times, when we get a lot of calls for ticket exchange and we talk to the studios, what we found out is that they made the announcement very quickly to start the ticket sales maybe six, sometimes even eight weeks early. And in those cases, when they started that early, that s when we got the most calls about the exchanges. And it s because what ended up happening was, ticket sales started so early they were still working on the show. And they re working within the show and the parents weren t fully informed about what was going on. And sometimes the parents have been told three and four times, your kid is in this show, your kid is in this show, but sometimes it doesn t take three or four times, sometimes it takes six to eight times. So what we find is, and this, on our studios that have the least number of customer service calls, and some of our larger studios that have had obviously the most success number of years, they actually start their ticket sales later and later every single season. We ve had some shows that they started off six weeks early, then they went to four and then the last year they went to two weeks, and the reason they did this is because they realize, well, one they didn t need the cash flow. So that didn t need that big influx of money to pay for venues for whatever reason. Right. So that, therefore they could afford to wait, but what they found was, by spending extra time educating the parents on which show they re in, and are they on stage left or are they on house left, with, you know, where they re performing on stage. Spending a little bit of extra time doing that cut down the number of calls that they had to take after the sales happened. So, this is one of the things that we talk about when we re talking to studios, when they ask us the same question, When should we go on sale? We say, Well, you could spend, you can go on sale anytime that you want, we let them know that. But here are some of the things you want to consider and here s your avenues to success. And of course, if you re trying to get quick sales. Okay, but you were making a great point, which is, I echoed that too, of what we re seeing per trends that our own studio, is that that urgency to necessarily make the purchase three to four weeks in advance isn t as important from the customer basing side, and it also gives the studio owner a little bit more time to tweak things and get that info out at night. I think that s a good point to make, for anybody listening, is that if you, you know, don t panic, if you see people, with all the parents, they don t understand why, you know, yesterday they can t have the costume, you know. Or why they have to, they can just get the tickets last minute. It s sort of the age in which we re in. 12

13 So, I would say, you know, I appreciate you guys being here and all this conversation is just, once again, we really are committed to helping dance studios owners lives be easier, but also be better for your students or for your staff. And I would encourage anyone listening to go at least visit your website. So, Josh and Stephanie, where can our listeners and our members go to at least demo your product and get to know you guys and give you a ring? Where should they go? Is it dancerecitalticketing.com? Stephanie: Yes. That s correct. And about halfway down the page there s a link that says Show Me a Demo! This is Becky, and I can say, halfway down the website, what helped me was, on the right hand side there is a Show Me A Demo. And that s exactly what I clicked on, and they can show you, you know, a situation of what it s going to look like for your actual customers. What they log in to. And to see, that s where that information is. And their phone number is on their website as well. It s dancerecitalticketing.com. Awesome, great. And I know that, you know, in general I would say now is the time. I think well, there s no better time, I think, if I can give any of our listeners a word of hope. The year that we went to online ticketing, we had already publicly announced to our customers that we were going to do it the old fashioned way. And then we said, Nope, just kidding, by popular demand, we spun the whole thing. We said, So many parents have asked for this, we re getting it. You know, sometimes you can just simply say, this is by popular demand. Parents have been asking for this. They want to order tickets from the comfort of their home, at night, or at work, or from wherever. But do this for them, and you will be amazed at how awesome it is for you to then go back and focus on, you know, the bigger, important things you need to be doing. Okay, great. Anything else you want to say before we wrap up? Actually, I do think you ve done a very, you ve done a very thorough job with this phone call, and I certainly appreciate your time with us. Awesome. Well, I definitely, once again, you know, we re all about making the lives of studio owners better, easier and all that, so I appreciate you guys taking the time to be here. Thank you for having me. It s our pleasure! 13

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