Transcript

[00:00:00] Aubrey Bergauer: Hey everyone. Happy April. No. April Fools here. If you are listening the day this drops, which is April 1st, and I just gotta say, how is it Q2 already? Does anybody else think of the year like this in quarters Q1, Q2, et cetera? I do now because my business is structured with big goals or objectives, both internally and externally every quarter.

So right now we've just wrapped up our Q1 objectives and deliverables, and so that's been on the brain as well as looking forward and looking ahead to everything we're doing in Q2. One of those Q1 objectives externally was the Audience Development Bootcamp We launched for the first time this year. We just wrapped up that audience development bootcamp last week and I wanted to share some things we talked about there.

'cause I think you'll enjoy it. The whole point of the bootcamp was for organizations to lay the foundation for their audience development [00:01:00] metrics and audience development work in general. And that matches so much of what we've talked about in the podcast this season. Plus really matches today's topic too.

But I'm getting a bit ahead of myself here. So first I have to shout out to the amazing organizations that attended. We had a major symphony orchestra, a major theater company, a contemporary art museum, multiple performing arts centers at jazz festival, and several ensembles and regional theaters. Really across the whole spectrum of artistic disciplines, budget sizes, geographic locations, this crop of participants was an awesome reflection of the performing arts and fine arts landscape.

I. So what we talked about that I wanted to share here is the idea that doing this work, audience development, getting a handle on our metrics, choosing a few, a few key metrics to focus on. That's the message. Okay. It is. Okay. [00:02:00] For it to be simple, for it not to be too complicated like that is permissible and encouraged even.

And I started the bootcamp on day one. It was five days in total, an hour each day, hence the name bootcamp. And I started day one right out of the gate by saying, this week is meant to be not overwhelming. I said, my hope is that each day is simple. I want you leaving. I said this, I want you leaving thinking.

I got this. I understand the assignment. You know what I mean? There is a lot more you could do. That is true for any of us at any organization on this topic of audience development of many other arts management topics as well. And so this idea goes so well with what we were talking about in the episode today that I just really wanted to draw those parallels because what we are talking about today has the potential to transform some of your operations internally.

I am talking. Arts management, [00:03:00] administrative operations, our internal foundation, our internal groundwork, and if you get good at the simple foundation, if you get good at that for you and your organization, it can be any number of topics or things you want or need, but if you lay the right foundation, if you get good at that baseline, if you get the simple stuff right.

You will see growth in your patron and donor base. But simple doesn't mean easy. It takes an organization, meaning the people within it, the arts administrators, the arts managers, the leaders at all levels within it to develop the operational prowess, the operational sophistication, the operational machine, whatever words you wanna use.

It takes some real leadership to get that foundation right. I. So simple doesn't always mean easy for short. If it were easy, everyone would be doing it. So sometimes simple means saying no to a lot [00:04:00] of other things. Saying no to shiny object syndrome in our orchestra's, operas, theaters, museums, performing arts centers, choruses, festivals, you name it, we had all of that.

Across the board last week participating and how many times in our institutions I've been there too, how many times do we get that shiny object syndrome and we try to do this or that. Or now let's cram in this other new thing, right? Like tell me, you know what I'm talking about? Shiny object syndrome. So sometimes, maybe even most of the time, simple, definitely doesn't mean easy.

Simple means saying no simple can actually take a lot of discipline, is another way to say that. And this is true. No matter the size of your institution, no matter how many zeroes are in your budget. So how do you do this though, right? Simple is easier said than done. How do you do the simple things and stay focused?

How do you develop that operational prowess as I described it? And [00:05:00] I gotta say, I really like that word. I think as a sidebar, like I just looked it up as I was prepping for my talking points right here. And prowess as a definition can mean high skill or expertise as I'm using it here. And prowess also means says the dictionary, bravery and battle, which also feels like something our arts organizations need right now.

Bravery and battle. We have some big battles in front of us. Some big uphill battles it sometimes feels like we are facing, right? And wow. Does operational prowess feel fitting for that right now? You guys, I've literally never described our operations this way until like right now, this episode and that word just kept coming back to me.

So you heard it here first folks, but back to the point, how do we do it? How do you develop arts management, operational prowess to make sure that strong foundation is in place for your organization, even if you've been around a hundred years as an institution? Today we are talking about. [00:06:00] At least one way to go about it.

It's called the Kaisen Method, and if you are not familiar with that term, that is akay. I was not either until a few years ago. So to set this up, I know some of you listening are the OG listeners to this podcast. You have been here since the beginning, and if you are in that group, if you remember back to season one of this podcast, which was 2022, believe it or not, almost exactly three years ago, is when this podcast began.

So, wow, time flies. But anyways, you may recall that the first season was all about your questions. Literally questions you all. Meaning the changing the narrative audience, social media, followers, anyone following my work? Questions you all had sent in and that season featured really a bunch of the top arts management questions I get, or at least was getting at the time.

A lot of them are definitely still top questions and relevant today. So bringing all of this together as we were preparing for this season and [00:07:00] talking about. Everything we wanted to cover this season as we were planning, including this topic of operational muscle, how to do the simple things well, as we were talking about all of this, my producer Erin, dug up this question that had come in back in season one on the Kaisen method, and she said, you know, Aubrey, take a listen.

I think it's really relevant to what we are trying to cover here. And she was totally right. So we are gonna play that back for you today. There is a bunch more in that episode that we're not using today though, so if you want the full thing, it's all there, including some other top arts management questions.

It's all in that same episode. You can go look it up. It's episode number five, like we're on season number five, but right here, right now, today I'm gonna share with you all I learned about the Kaisen Method. When that question came in, it was an opportunity for me at the time to do some research to really learn about this topic, this method, and.

I learned a lot and you're gonna hear it, and it turns out I love it. [00:08:00] So I'm gonna tell you everything I learned and how it can really help your arts organization do the simple things that aren't always easy, but have a massive payoff when you do do them. Welcome to season five, episode six. Wow. How we have come a long way since 2022.

Folks know April fooling about it. I am Aubrey Auer, and welcome to my podcast. I'm known in the arts world for being customer centric, data obsessed, and for growing revenue. The arts are my vehicle to make the change I wanna see in this world, like creating places of belonging, pursuing gender and racial equality.

Developing high performing teams and leaders and leveraging technology to elevate our work. I've been called the Steve Jobs of classical music and the Sheryl Sandberg of the Symphony. I've held offstage roles managing millions of dollars in revenue at major institutions. Been chief executive of an orchestra where we've doubled the size of the audience in nearly quadrupled the [00:09:00] donor base, and now I'm here to help you achieve that same kind of success.

In this podcast, we are sorting through data and research inside and outside the arts. Applying those findings to our work in arts management and bringing in some extra voices along the way. All to build the vibrant future we know is possible for our institutions and for ourselves as off stage administrators and leaders.

You are listening to the off stage, Mike.

Hi everyone. Aubrey here. I wanna share a quick case study with you. About a year ago, Austin Chamber Music Center knew they needed to work on identifying prospective donors and building relationships with the donors they already had. Plus they went through a leadership transition and knew they needed to fundraise more and fast.

They came to annual fund toolkit who did a comprehensive analysis of their donor base, then developed a system for the organization to connect with those donors [00:10:00] based on their needs and giving styles. They did all of this combining in-person asks with email, social media, and direct mail. By the end of the fiscal year, their year to date, fundraising had doubled compared to the year prior.

And that's just the numbers. They now also have a streamlined process for tracking and maintaining donor relationships going forward. How did they do all this? They did it with annual fund toolkit. Annual fund toolkit is not just another consulting firm. What sets them apart is their laser focus on two critical challenges, improving donor retention and growing the major gifts pipeline.

This can be your organization too, because this is what annual Fund toolkit does every day. Their founder, Louis Diaz, is one of the most brilliant minds in fundraising I've ever met. The organizations that utilize annual fund toolkit's, advice and assistance are coming out ahead. To read the full case study, head over to get dot annual fund toolkit.com/acmc.

That's GET dot annual fund [00:11:00] toolkit.com/acmc for Austin Chamber Music Center. Trust me, your donors and your mission will. Thank you.

Here's a fun fact. A returning audience member is worth seven times more than a first timer. Yes, I am talking about audience retention, one of my favorite topics, but the problem I hear all the time from arts organizations is how to best track your own patron retention data across marketing and development.

That's why I wanna tell you about Artis. Artis has brilliantly solved this challenge. Their audience retention dashboard is the one stop place to access your audience data across every important metric. First time buyers, multi-buyers, subscribers, and donors. I've worked with a lot of tools in data management programs over the years.

The [00:12:00] artize Audience Retention Dashboard works with any CRM and it supports arts organizations of all sizes all over the globe. If you can upload a spreadsheet within minutes, you can access all your data, your key patron segments and top retention metrics. Beautifully laid out and easy to read. It's just that easy, no joke.

And their tool even makes real-time recommendations based on your patron data to boost conversion at each stage of the customer journey so you can see what's working, refine your. Approach and keep doubling down on what drives the best results. The Artis team brought me into their process and we had clients test the product with their own real data.

So let me tell you, I have seen firsthand the immense time, money, and effort this dashboard can. Save arts organizations allowing you to finally harness your data in one place. Think easier. Collaboration between marketing and development efforts, easier for presenting at board meetings. Easier to see everything in one place without running multiple [00:13:00] reports.

If you are ready to grow, retain and engage your audience with data-driven tools that are easy and fast to use. Visit aubrey auer.com/dashboard. Listeners of this podcast, save 20% and members. Of my, run it like a business academy. Save even more. That's www.aubreyauer.com/dashboard. To learn more about artize today.

Hi Aubrey, it's Ricardo from, uh. Amazing show, and I wanted to leave you a message to see if, uh, you might want to, uh, do an episode on the Kaisen process, which is, uh, a Japanese word meaning constant improvement. It seems like maybe something that, uh, the arts community can use as well. So hopefully you could do something on that.

Okay. Hope you're doing well. Hey, Ricardo. Thanks for the question. So good to hear from you. Kaisen method. So I did some studying up on this, and you're right, Ricardo, the arts community can [00:14:00] absolutely use this as well. As you said, Kaisen is a Japanese word about continuous improvement, which to me is synonymous with iteration.

And iteration is something I've become. Known for. It's something I'm very dogmatic about. I believe in, I'm about progress, not perfection. How do we do that? We iterate on it. How do we constantly get better as teams, organizations, and individuals? Well, we do something, measure our success, evaluate, do it again next time, hopefully a little better.

So one document I saw on this says the Kaisen philosophy challenges the statement of, that's just the way we do things. And I love this so much because so much in the arts really is about the way we do things or the way it's always been done. And there are reasons for that, and there's a lot of history and tradition behind that.

So I don't think there's necessarily any mal intent. Behind that, but [00:15:00] challenging the statement of, that's just the way we do things, man. Speaking my language. So I love this iteration. I think this matches also perfectly with the flywheel that I was talking about, the flywheel of how do we spin up momentum over time?

There's not one strategy alone that will bring our audiences back, that will grow our donor bases the way we need. So too often, another way to say all of this, I think is too often at art. And culture organizations. We want success right away. Of course, we want new ideas to be successful, but it's almost like the pressure is too high on ourselves, and we do that to ourselves and there are some reasons for that.

There are definitely projects where we feel like we have to demonstrate revenue growth right away. For example, grant reports. Grant reports must be framed as a success if you want a chance to get that funding. Again, there are a few exceptions, so I'm painting with a pretty broad brush here, but this is a real problem with the [00:16:00] way grants are awarded, evaluated in general.

So that's one reason or one driver for this pressure of we must have success, we must demonstrate revenue growth right away and not always allow for this idea of iteration or out of the gate of, yeah, we did a few things right, and we're happy with that, but we also see items 1, 2, 3, 4, and five, where we know we could do it better next time.

So let's give ourselves that chance to do it. Okay. Grant reports. That's one driver of that kind of pressure. Sometimes it comes from our boards. I'll be clear. This is not universally true, but sometimes our boards only want to hear success. Instead of, this is a trial, this is an experiment. Sometimes that's on us.

I've had to get much better as a leader and how do I frame things for the boards I work with, and if I frame it out of the gate as this is a trial, we're doing this for three months as a test. We're doing this for this season with a subset of our audience as a test. We're running this ad. As a trial, as an experiment.

So I have to get better at framing it that way. And when I do that, [00:17:00] that does allow for a little bit more of this idea and culture of iteration. But anyways, sometimes boards only wanna hear about success instead of to hear the bad news. That's not great either. We have to be willing to have those conversations.

So I think some of that comes from corporate culture. You know, every quarter corporations, especially publicly traded corporations, have to deliver. Earnings reports, things like that. And their pressure is greater than ours to deliver results. Success, success, success. 'cause if not, the stock price goes down, they answer to shareholders.

You know, there's a lot of that corporate culture that's then sometimes it's just built into how our board members operate and think. So it goes back to how do we frame it? How do we work together with these important people? So those are a few reasons why I think we have this sort of MO of it's always done this way or mo of we must demonstrate success outta the gate right away on projects, you know?

So those are barriers to change. Those are things we can work on and overcome. I will also say, as much as I like iteration, believe in progress, not [00:18:00] perfection, there are some things that do need to be pretty perfect, and I'm very bullish on these things. So let's talk about this one. Public facing materials, no spelling errors.

If every once in a while an email goes out with a spelling error, okay, fine. The world keeps turning. You know, these things happen. But by and large, public facing materials, we need to have a process where we have eyeballs on it and it routes the right people and we catch these things. It's, it's not on one person to be perfect.

It's a team effort here to be doing that. Okay. That goes. Really to internal processes, but public facing materials point is need to be pretty perfect. That's our brand. That's what we're putting out in the world. Performances must be great. I don't know if we'll call it perfect, but that's subjective too with art, right?

But also, how do we get to that place because rehearsals are a form of iteration. Rehearsals are a great example of the Kaisen method in many ways. That's why we rehearse. That's why we start, stop, work out the transitions, work out the balance, all these things that then when we do perform [00:19:00] it is great as our excellent musicians so often show up and deliver again and again and again.

Okay. Performances must be great. Website. Website. Oh, y'all. Here I am on the soapbox on this one. Again, website needs to be working properly. Website must display correct prices and information. This is non-negotiable. Why am I on the soapbox? Because I see these errors all the time. Just the other day, I was going to an arts organization and I had a friend buying tickets.

That person messaged me. This is somebody who is. Brilliantly intelligent in my opinion, and starts messaging me saying, why can't I buy a ticket on mobile? I'm like, well, you can. And this person's like, no, this is really challenging. I'm having issues navigating the site and on and on and on. Why is it so damn hard?

This person ended up finishing their ticket purchase on desktop. Most people don't go to that trouble, this person did because they were going with a group of friends and you know, they had extra incentive to do that. Most people, the data shows when there's [00:20:00] friction, they drop off. So everybody who asks me for low hanging fruit fixing the website is low hanging fruit.

Okay? Website needs to be working properly, needs to be. Maybe not perfect, but pretty perfect. I think that's true if we want to grow audiences and make money. Okay. Can we still iterate on our website? Yes, a hundred percent. Should we still be testing things, trial AB testing? Absolutely. A hundred percent.

So maybe these things go hand in hand is what I'm trying to say. Kaisen method and making sure things that are public facing are. At a pretty high standard. Okay. Outside of those public facing guiderails, we will do better on the whole to adopt this mentality of iteration. Again, it's test measure. Try it again to give some specific examples.

I'll use website again. AB test components on a page, this image or that image. There's more and more talk about do we. Put the image of the orchestra or the soloist, or can we put images of our audience? If you're not sure, I know my opinion. If you're not sure, test it. See what [00:21:00] gets more click-throughs to the purchase path, right?

Very easy way. That's what I mean. Test, measure, evaluate, iterate, form fields at checkout. The data shows the more information we ask for, the more people drop off. So I know this is very, very difficult for our development and fundraising teams to hear what you wanna name, email and credit card number.

That's it. The data shows that's gonna convert more people, but try it. Can we ab test it? If you can't ab test it and don't have that ability, run it one month with all the existing field to checkout. Name, address, state. Check this box if you want that. Tell us about this. How'd you hear about us? You know, whatever all those form fields are, run it a month that way.

Next month, strip all that off. Read it that way. See which version has higher conversion rates all the way through. See, these are easy tests we can run. So ads, another example, different copy, the Facebook ad tool. And by Facebook, I mean Instagram as well. I. Is more and more sophisticated all the time. You put different versions of the copy in there.

It'll optimize which one works [00:22:00] best for you. Different versions of the photo. You could totally do two different versions of the postcard. Same thing. Test those images, test that copy. Don't have too many variables at once. I'll say that as well. You know, it's not a good test if we don't have a control and a experimental group, so make sure that we can identify what the change is so that we know how to evaluate the results.

That's important. Appeal letter, same thing. I've done that before. Can we have two versions of the appeal letter? I don't mean segmentation. I do believe in segmentation, but within, you know, if we have a version going to our lapsed donors, for example, and we're not sure who should the letter be written by, who's the signer or we're not sure what language we want to use, AB test it.

Run two versions of the letter. That's fine. Split the group in half. Measure the conversion rates. So I think with all of this, this Kaisen method iteration and mentality. I think the devil is in the details for sure. Usually within any given project we have at an arts organization, there are so many little [00:23:00] variables.

I think this is why iteration, there's so much room for this. We have so many little variables in everything. We do little things. This call to action, the way we describe that program or that piece of music, or that guest artist or that stage director. It's not just marketing. It's true for our education materials as well.

It's true for our job descriptions. Who's ever thought of AB testing? A job description? I don't know. I'm, I'm just making that up right now, but there's a lot to be said on how to improve those descriptions, for example. I just was learning LinkedIn data that says job descriptions that have a remote or flexible work component get 2.6 times more applicants.

Well, I know everybody's hiring right now. People are reaching out all the time. Aubrey, can you recommend somebody for this job or that job? So many people hiring right now. Well, maybe try that in your next job description, if that's true. If you have a remote or flexible work component. C, do you get more applicants?

Okay. That's an easy way to ab [00:24:00] test that. Okay. This is true for our program book, our program notes. I'm not saying we have to ab test a program book necessarily, but we can do it one way or the usual way, you know, this month and then next month maybe we try it a little different. Maybe we present the program notes slightly differently or use bullet points instead of long form.

Pros. Let's just see. Do we get any feedback? These are very. Low bar tests we can do. And this is what I mean, so many little details. Let's just see how these things go. And that's why we need to iterate for a long time because you test a little detail here, you tweak a little detail there. Over time, you start making a lot of little change adds up to some really big debts and how we're moving things forward.

And I think that's what I love about it. Donor events, same thing. Do the debrief, see what we gotta do different next time. I feel like a lot of teams. Do that, we'll have the debrief, but then what I have noticed is the rub is then when it's time to do the event again, especially things like. Galas are big fundraising events where you do one of those a year, [00:25:00] usually.

Very rarely do I see the discipline to dig up the notes from last time before we start planning the next event. So that's the other half of it. Yes, we could have these debriefs and do the measuring, testing, evaluating, but then when it's time to do it again, yeah, we gotta go back to that and say, okay, oh right.

That was an issue. Okay, what do we do for that? We need to train our volunteers better or whatever. So, okay. Flow and content of board meetings. That's the last one popping into my brain right now. Yeah, we could totally test different flow and content of board meetings for sure. Okay. The good news is the nature of all of these things is cyclical.

At every arts organization we have seasons, especially if we're performing arts organizations, we have seasons. We do it again next year, sometimes multiple times in a year, depending on the project or the program. So the cyclical nature of our work allows us to. [00:26:00] Have this mentality, have this Kaisen method approach, a non-performing arts organization, so visual arts, visitor based, cultural institutions.

It's the next exhibit opening, those kind of things, right? So again, very cyclical. This is good news for us in terms of adopting this kind of approach. So all this is to say this is not rocket science, but it is a process and that is the whole idea of the flywheel. I'm kind of coming full circle, punny.

Alright. The idea of the flywheel is that is it is methodical, it is consistent. And I love this Jim Collins quote. He was the one who coined the term flywheel, the first person to use it as a business term. Now it's used by all kinds of. Brands and management consultants and business gurus, but he was the first and he said quote.

The signature of mediocrity in a company is not an unwillingness to change. The signature of mediocrity is chronic inconsistency.[00:27:00] 

So I think that this idea of we, it prove our quality with small incremental steps, incremental improvements, working toward being more efficient, standardizing process where there isn't. Or a process is erratic or inconsistent. Those things I think, really do help us become less inconsistent, more consistent in what we do.

And I also wanna say process is not a bad word. Process should create efficiency, not red tape. So that's the barometer. If we're adding a process, like I said, something that needs to be proofed by multiple people before it goes out the door, so that the public facing version is pretty perfect in terms of being error free.

Okay? We need a process for that. Again, all for efficiency who. Doesn't have eyes on this piece, but actually would be a good help, like another department or another person somewhere else who sees it with fresh eyes for the first time, or a whole different direction here. [00:28:00] What can we automate? Oh, this is a big one for organizations.

What can we automate? There's so many tools available now. Is there a tool to help us do that? Too often we default to. That feels like a lot of work, or I hear this a lot. Only the big organizations could do that, which is so funny because even the big organizations then go to, Ooh, that feels like a lot of work again.

And I am here to tell you that is not defacto true. I've seen it and I've seen different organizations of all sizes say, oh, you know what? There is a tool for that. Yes, there's a tool that wasn't available even a few years ago that is now that can help us. You know, do we need to have eye who, who else needs to have eyes on this before it goes out the door?

Somebody was just telling me this story the other day of STR Magazine. I don't mean to totally throw them under the bus. I think this was a while ago, but it, what I'm about to say could happen to anybody. I, I think they had. Released a cover, and I think it was maybe a cellist on the cover, and the image was flipped clearly because the cellist was bowing with the [00:29:00] wrong hand.

So clearly that means a designer probably made that choice, but somebody who is a cellist didn't look at the photo, or any string player didn't look at the photo before it was approved and went out the door. So that's what I need. Process matters, processes to create efficiency, not to create. Bureaucracy or red tape or anything like that, and there are ways to expedite these things to make it more efficient, not just feeling cumbersome or feeling like more work.

Sometimes it's work that's worth it too. Okay. All this brings me to the last point, which is, I said this before, but the world keeps turning. The caveat to all this is when something isn't perfect, the good thing about our business is nobody dies. I've said this before to plenty of teams, nobody dies. You know it's gonna be okay.

So here I am, progress not perfection. I say that all the time. Credit recruit's due. My Peloton instructor says that. So quoting my great Peloton instructors, but I'll just add to that, I cannot stand when good things or good steps are criticized. So I think that is also why I like iteration. There are good things that [00:30:00] organizations are doing, that teams are doing, that individuals are doing in their work.

And let's not let the perfect be the enemy of the good. Let's praise those things that are the good and what we do, and then figure out how to build on that. I insist on measurable results. That is true for anybody who works with me. With past teams I've run, and as a consultant, I insist on measurable results.

I think that's part of all of this. It's not what feels good. It's let's look at the data and let that be our guide. Data is our guide. I say that all the time, encouragement, empowerment. I just posted online the other day, some research about praise is. Up to 30 times more effective than criticism when empowering and motivating employees.

So let's have that environment where we do praise specifically what's good and what's working. Let's have a growth mindset. That also to me, feels very similar to this whole Kaisen method. Like we've never arrived. Like we are still working, we're still pushing, and that's part of our DNA. And we're happy for that because [00:31:00] we know we've still got room to grow.

That's true for all of us. As a caveat, I'm not saying burnout and never rest. That's important to articulate. I think it's almost just the opposite. Like to be able to do this and have this kind of approach means we have to have no ego, no ego to have a growth mentality approach, right? Excellence means achieving a high standard and identifying how to make it even better next time.

Those are my own words. I have this on a little. Note beside my desk, excellence means achieving a high standard and identifying how to make it even better next time. We're great with that artistically, so we can do that more and more in our offstage administrative roles as well. And so that to me, all of this is a culture informed by the Kaisen method.

I love that you're thinking about this, Ricardo, and including this in your work. Thanks for the question. I got to learn a little bit and it was pretty inspiring for me, so I appreciate that.[00:32:00] 

What would it be like if you didn't have to worry about making your revenue goals or what if you could go to the next board meeting? Being able to report good news? What if you were able to balance your budget at the end of the fiscal year, and what if you didn't have to program only blockbusters just to sell enough tickets?

Off stagers. I have been there losing sleep over the budget trying to figure out how we will ever make it through. So what if you had the ability to stop feeling exhausted and depleted, chasing impossible revenue goals, stop what's not working, and instead incorporate a fuse strategies that are proven to.

Increase ticket sales, expand the donor base, and grow the revenue you need to fund your mission and your art. It's not too good to be true. That is why I am teaching a free masterclass where I share my top four strategies to grow your audience and donor base. These are things you can do immediately to start seeing results.

Things that don't require a huge team, mega [00:33:00] resources or a giant budget. These are the four steps to help you start spinning up revenue immediately. Steps that led the orchestra. I ran to balance the budget by the end of my first year there, double the audience over the next four years after that and nearly quadruple the donor base.

I have now seen these exact steps work with over 200 individuals and organizations. I've taught across budget sizes, geographies, artistic disciplines, and millions of dollars in revenue later, and I will show you how to do it too. Reserve your spot for my free audience Growth Masterclass coming up very soon.

I promise it'll be packed with value, and I've got even more freebies to give you when you attend. Think about the relief and freedom that lies ahead for you when you start increasing sales and donations right away with the steps. I'm gonna show you. Reserve your free seat for this audience growth masterclass right now by going to www.aubreybergauer.com/masterclass.

Can't wait to see you there.[00:34:00] 

That's all for today, folks. Thanks so much for listening. If you like what you heard here, hit that button to follow and subscribe to this podcast. And if you've learned something or gotten value from this, please take two seconds to leave a quick one tap rating or review and return to all of you one more time.

Thanks again. See you next time on the Offstage Mic. The Offstage Mic is produced by me, Aubrey Bergauer and Erin Allen. The show is edited by Novo Music, an audio production company of all women, audio engineers and musicians. Our theme music is by Alex Grohl. Additional podcast support this season comes from Kelle Stedman.

Other members of the changing the narrative team and social media brand management, like classical content, this is a production of changing the [00:35:00] narrative.