The top transformational problem in marketing is no longer "how to be digital." Now, the most significant problem is how to coordinate and integrate fragmented activities into a coherent customer experience. In short, the new goal is orchestration. View the discussion of what we, as digital marketers managing a plethora of tactics, can learn from the idea of classical orchestration. Using analogies from music theory and examples from classical to pop, this session demonstrates how to create an integrated marketing strategy, proving that the whole of your marketing can equal more than the sum of its parts. Read this recap: https://www.slideshare.net/OneNorthInteractive/orchestration-making-your-digital-marketing-work-in-context

1. Kalev Peekna
Chief Strategist
One North
Orchestration
Conducting effective cross-channel content

2. Let’s Listen to Some Music

3. What Kind of Song is This?

4. Là ci darem la mano – Mozart, Don Giovanni
(Don Giovanni) Là ci darem la mano,
Là mi dirai di sì:
Vedi, non è lontano,
Partiam, ben mio, da qui.
(Zerlina) Vorrei e non vorrei,
Mi trema un poco il cor,
Felice, è ver, sarei,
Ma può burlarmi ancor!
(Don Giovanni) Vieni, mio bel diletto!
(Zerlina) Mi fa pietà Masetto.
(Don Giovanni) Io cangierò tua sorte.
(Zerlina) Presto... non son più forte.
(Don Giovanni) Andiam!
(Zerlina) Andiam!
(Duet) Andiam, andiam, mio bene,
a ristorar le pene
D’un innocente amor.
(Don Giovanni) There I’ll give you my hand
There you’ll say yes:
See, it is not far,
my love, let’s leave from here
(Zerlina) Should I or shouldn’t I,
my heart trembles at the thought,
it’s true, I would be happy,
I can still have fun!
(Don Giovanni) Come, my beloved beautiful!
(Zerlina) It makes me pity Masetto
(Don Giovanni) I will change your fate.
(Zerlina) Soon… I am no longer strong enough to resist
(Don Giovanni) Let’s go!
(Zerlina) Let’s go!
(Duet) Come, come, my darling,
to restore our pleasure
of an innocent love.

5. Let’s Try That Again

6. What Kind of Song is This?

7. Havana (feat Young Thug), Camila Cabello
Havana, ooh na-na (ay)
Half of my heart is in Havana, ooh-na-na (ay, ay)
He took me back to East Atlanta, na-na-na
Oh, but my heart is in Havana (ay)
There's somethin' 'bout his manners (uh huh)
Havana, ooh na-na (uh)
He didn't walk up with that "how you doin'?" (uh)
(When he came in the room)
He said there's a lot of girls I can do with (uh)
(But I can't without you)
I knew him forever in a minute (hey)
(That summer night in June)
And papa says he got malo in him (uh)
He got me feelin' like
Ooh-ooh-ooh, I knew it when I met him
I loved him when I left him
Got me feelin' like
Ooh-ooh-ooh, and then I had to tell him
I had to go, oh na-na-na-na-na
Havana, ooh na-na (ay, ay)
Half of my heart is in Havana, ooh-na-na (ay, ay)
He took me back to East Atlanta, na-na-na (uh huh)
Oh, but my heart is in Havana (ay)
My heart is in Havana (ay)
Havana, ooh na-na
[Rap]
Just graduated, fresh on campus, mm
Fresh out East Atlanta with no manners, damn
Fresh out East Atlanta
Bump on her bumper like a traffic jam
Hey, I was quick to pay that girl like Uncle Sam (here you go, ay)
Back it on me, shawty cravin' on me
Get to diggin' on me (on me)
She waited on me (then what?)
Shawty cakin' on me, got the bacon on me (wait up)
This is history in the makin' on me (on me)
Point blank, close range, that be
If it cost a million, that's me (that's me)
I was gettin' mula, man they feel me
Havana, ooh na-na (ay, ay)
Half of my heart is in Havana, ooh-na-na (oh, ay, ay)
He took me back to East Atlanta, na-na-na (oh no)
Oh, but my heart is in Havana (ay)
My heart is in Havana (ay)
…

8. Comparing Mozart & Camila
Havana, Camila Cabello
• Catchy, very danceable
• Consistent dynamics
• Common “pop” structure:
• Verse, Hook (“chorus”) X 2
• Instrumental/Rap -> Bridge
• Hook
Meaning is in the lyrics -
The rest is just fun
Mozart, Là ci darem la mano
• Full instrumentation
• Modulated dynamics & melody
• Lyrical structure tied to dramatic
moment
• Call-response duet grows closer
• Finishes in unison
Meaning is orchestrated across the
entire performance

9. What Does this Have to Do with LMA?

10. Digital Strategy in “We need to start using…”
1995
2001
2003
2004
2007
2008
2010
2011
2013
2014
2015
2016
2017
The Web
Video
Email/CRM
Blogs
Mobile App/Web
Social Media
SEO (begrudgingly)
Responsive Design
Native Advertising
VR/AR
Personalization
Data
Artificial Intelligence

11. You Don’t Need Any More Tactics
Over the years, “digital strategy”
meant assembling an ever-
expanding range of tactics.
B2B marketers now average
active use of:
• 5 different technologies
Source: B2B Content Marketing: 2018 Benchmarks, Budgets, and Trends – North America.
22%
24%
43%
55%
63%
70%
87%
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
Content Workflow System
Video Tool
Webinar Platform
Marketing Automation
Content Management System
Email Marketing
Analytics Tools
Technologies Used

12. You Don’t Need Any More Tactics
Over the years, “digital strategy”
meant assembling an ever-
expanding range of tactics.
B2B marketers now average
active use of:
• 5 different technologies
• 7 types of content
Source: B2B Content Marketing: 2018 Benchmarks, Budgets, and Trends – North America.
17%
33%
37%
56%
65%
71%
72%
73%
94%
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
Podcasts
Interactive Tools
Research Reports
Illustrations
Infographics
White Papers
Videos
Case Studies
Social Media
Types of Content

13. You Don’t Need Any More Tactics
Over the years, “digital strategy”
meant assembling an ever-
expanding range of tactics.
B2B marketers now average
active use of:
• 5 different technologies
• 7 types of content
• 5 different formats
Source: B2B Content Marketing: 2018 Benchmarks, Budgets, and Trends – North America.
24%
27%
55%
56%
79%
92%
93%
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
Print
Microsites
Webinars
In-person Events
Blogs
Social Post
Email
Formats

14. Yet We Don’t Talk About ROI
No
46%
Yes
36%
Unsure
18%B2B content marketers still
don’t talk about clear ROI,
mostly because they don’t
know how.
“Do you report on ROI for your
content marketing activities?”
Source: B2B Content Marketing: 2018 Benchmarks, Budgets, and Trends – North America.

15. Marketing Orchestration Is a Top Challenge
The top transformational problem
in marketing is no longer “how to
be digital.”
According to Forrester Research,
the top problem is about how to
coordinate and integrate
fragmented activities into a
coherent customer experience.
In short, the new goal is
orchestration. 18% 18%
17%
14%
13%
13%
0%
10%
20%
30%
40%
50%
60%
Long-term Relationships Cross-channel Experience
Which are your marketing organization’s top three goals?
First Second Third
Source: Commissioned study conducted by Forrester Consulting on behalf
of Responsys, 2013

16. Marketing Orchestration
An approach that focuses not on delivering
standalone messages, but instead on
optimizing a set of related cross-channel
interactions that, when added together, make
up a personalized customer experience.

17. So, How Do We Do That?
A typical consultant would break it
down into set of best practices
using a model like the 3 P’s.
Or is it 4 P’s?
Or is it 6 P’s?
Or is it 3 P’s?
Best practices lead to
competence, not innovation. LOL NOPE

18. Let’s Start by Exploring Orchestration
When the goal is truly innovative, or otherwise not completely clear, a different
approach often works better. Design-oriented thinkers typically start by creating
a clear vision of the future state, and then back into analysis of what it takes to
get there.
Score
Which melody
Instrumentation
What plays
Dynamics
How loud
Cadence
What beat
Audience
For whom

19. Score

20. Score is Your Brand
For a digital marketer, brand represents the core
of what you do – the score you intend to play. In
both music and marketing, the score is both the
guide and the unifying force pulling every action
into a coherent experience.

21. Music Has Changed… but Scoring Hasn’t Much
ca. 1400 ca. 1790 ca. 2018

22. …But How We Execute Has Changed
Digital hasn’t changed how we define brands, or even
the end goal of brand. But it has changed almost
everything about how we execute.
Brand Idea:
Brand Persona:
Brand Strategy:
Communications Strategy:
Tactics:
Overall Customer Experience:
Essence
and Purpose
Voice,
Brand DNA, and Actions
Activating the persona
in order to achieve an outcome
What we will say and when
Logistics of executing the strategy
The foundation of everything; the only thing that really matters

23. How Digital Has Changed Brand Activation
Digital has changed completely the contexts in which we experience brands.
New channels, platforms, and content types have all disrupted traditional tactics
by which marketers create brand experiences.
Digital is now the first, and often the most important, experience our clients and
customers have of our brand.
There are two more fundamental challenges that digital has posed to traditional
brand planning:
• Natively digital brand systems
• Brand-integrated content

24. Natively Digital Brand Systems
We know the usual visual brand
architecture of logos, colors, and
typefaces.
Digital brand systems extend that
framework to include:
• UI patterns
• Motion & animation
• Transitions
• Video
• Interactive content

25. Digital Brand Systems
Forward-leaning brands develop
expression systems that place
digital at the center of the design
language:
• BBC Global Experience
Language
• Google Material Design
• IBM Design Language
These systems are critical to
ensuring visual/UI consistency
across multiple contexts, both
digital and analog.

26. Avoiding Brand Fade
Digital has not only changed the look and feel of our brands; it has also undermined
our ability to rely solely on visuals to create brand associations.
Cross-channel “success” for digital content leads it farther away from marketing-
controlled contexts. Brand associations must be inside the content itself.

27. Brand-Integrated (Not Edited) Content
Integrating brand associations into content
requires more than sharp editing. Tone and
style are important, but so too are the
themes, formats, narrative approach, and
even target audiences – aspects decided
without marketing guidance.
TED@BCG: Though there is no “traditional” visual
brand framework, the brand associations are clear –
and apparent even as the content is shared
throughout other digital networks.

28. But: Score Is Only the Start

29. Instrumentation

30. Your Tactics Are Your
Instruments
The same notes can be played by many different
instruments. Similarly, the same content can be
deployed across a range of channels. Good
orchestrators know the voice of each instrument, and
choose which ones, and how many, to assemble.

31. New Choices Aren’t Always Good Choices
The Classical and Romantic periods saw a
rapid expansion in orchestral instrumentation,
especially in areas like brass, woodwinds, and
percussion.
But not every maestro used every new
instrument in their work. Most took the
opportunity to choose selectively depending
on the mood and intended setting.
(Except maybe Wagner)

32. Digital Marketing “Explosion”
Choice paralysis is still one
of the biggest issues for
digital marketers who are
evaluating their tactics.
We are littered with “helpful”
infographics that illustrate the
problem.
Source: Scott Brinker
https://chiefmartec.com/2017/05/marketing-techniology-landscape-supergraphic-2017/

33. Choice Expansion Continues For Digital
But real guidance is thin on the
ground.
Not even respected thought
leaders like Gartner always
succeed in clarifying the
situation.
Source: https://www.gartner.com/technology/research/digital-marketing/transit-map/transit-map-guest.jsp

34. Stable Patterns Are Emerging
We now have a better understanding of which tactics are effective for different
kinds of content. Usage of social, for example, hasn’t really changed in 3 years.

35. New Tactics Require Strategic Evaluation
Digital marketing innovation isn’t slowing down. When new tactics emerge, they
should be evaluated not just for potential reach, but also for brand alignment
and authenticity.
For example, native
advertising is an attractive
paid option for many B2B
content marketers.
But overall effectiveness
depends on more than
engagement and exposure.

36. Dynamics

37. Variety Gives You Dynamics
Dynamics refers to how musicians use loudness and
softness. Too loud or too soft leads to audience fatigue.
Good marketing orchestrators don’t “amplify”
everything – they use modulation and variety to retain
interest.

38. Amplification Is Good. Sometimes.
Marketing amplification means different
things to different “experts” (often based on
what they’re trying to sell you).
At the core, it refers to the simple desire to
ensure that your marketing efforts are heard
widely and loudly.
Musicians often feel the same way.
Enter the cannonball.

39. What’s Your Cannonball?
In B2B marketing, the “cannonball” is the Big Campaign, centered around a key piece of
thought leadership created and distributed as a “publication.”

40. Not That There’s Anything Wrong With That.
Key campaigns can be “natively digital”
and often represent the best of our cross-
channel marketing. Sometimes you need a
cannonball to get someone’s attention.
But they require work – work to produce,
work to promote, and work to consume.
And they can’t be relevant to all users at
the same time.

41. Arranging “Loud” and “Soft” Pieces Together
Most of us have the variety we need – longer articles, shorter updates, social,
infographics, etc. – but most still arrange and publish our content separately according
to type.
Arranging content according
to user-relevant topics, not
by type or format, builds
engagement for the long
term.
The “cannonballs” are still
there to help get attention,
but variety of length and
format fills in the gaps and
develops more interest.

42. Cadence

43. Cadence
The Cadence of a song can lend it a specific mood, or
mark it for a specific purpose (like dancing). But it also
is what allows multiple performers and instruments to
stay synchronized. Knowing your cadence is the key to
staying on-beat.

44. Know this Beat?

45. Pop Music Knows the Importance of a Beat
Top producers can charge, before royalties, anywhere from $50K to $300K for
just the baseline of a new hit song – without lyrics, melody, or studio
production.
This is Timbaland…
…after earning $250K for one
Aaliyah song...
This is Justin…
…after paying the bill for
“SexyBack”

46. Keeping the Beat With a Documented Calendar
Editorial calendars – tools that plan out the what, when, and where of content
distribution – are widely recognized as an important tool. Yet few B2B
marketers document any part of their strategy.
Yes,
documented
37%
Yes, not
documented
38%
No
6%
No, but have
a plan
19%
Do you have a content strategy?
Source: B2B Content Marketing: 2018 Benchmarks, Budgets, and Trends – North America.
67%
Of B2B marketers who rate themselves
as “highly effective” have a
documented content strategy.

47. Editorial Calendars Are Your Baseline
There are many examples of
editorial calendars to follow. Most
are matrices that simply give you a
plan for arranging:
• Channels
• Topics
• Formats
• Workflow
• Timing

48. Specific Timing Is an Important Part
Understanding timing begins with
knowing when to meet users on their
own terms.
This is especially important when
communicating globally.
User research shows that
constructing the proper context
drives engagement. Ignorance of
context can hurt you.
Source: Pure 360
Source: Hubspot

49. Arrange Timing to Create a Cadence
Developing a true cadence is about more than just timing individual pieces. It’s
about arranging pieces to carry key themes across time and get the most ROI
from each content investment.
PwC Annual Global CEO Survey
Pre-launch Launch Post-launch

50. Audience

51. From Audiences to Users
Digital strategists tend to talk about users, not
audiences, even when focused on marketing. This is
because digital is inherently participatory; unlike the
“audiences” of traditional marketing, digital demands
you offer your users a specific role to play.

52. Audiences Love to Sing-Along If You Let Them
Whether listening to a concert or looking at our advertisements, the traditional
“audiences” are increasingly irrelevant in digital media. Digital users want to
sing too.
In December 2017, Chicago celebrated
its 42nd annual “Do It Yourself Messiah.”
All choral parts are sung by the
audience, not professional singers. Each
trains on the music and sings an
assigned part.
https://youtu.be/aWruieoZcF0

53. User Participation Shouldn’t Make You Nervous
When someone mentions “user
participation,” marketers get anxious.
10 years ago, user participation usually
meant some kind of user-generated
content, or at least comments and/or
ratings.
And we all know comments attract the
most dreaded of all digital monsters,
the troll.

54. There’s a Reason Comments Don’t Work
There’s reason people call comments the
“bottom half of the internet.” Many media
outlets (and B2B marketers) have shut them
down altogether.
So why do comments elicit either trolls or
complete silence?
Because when you ask for a “comment” you
aren’t asking for participation.
You’re asking for a critique.

55. New Models for User Participation
As in the “Do It Yourself Messiah,” true participation depends on shared goals
and purpose. Newer models for digital user participation are more structured,
guided, and ultimately useful for both user and brand.
Medium.com Kindle iOS app

56. User Participation Can Guide More Than Output
Good marketers research their audiences. Great marketers research their
users. Extraordinary marketers invite users to help design their efforts.
Participatory Design Methods
Card Sorting
Affinity Mapping
Prototype Walkthroughs/Testing
Focus/Ideation Groups

57. Coda

58. Three things you should know about Estonia
It’s natively digital
The language is…
weird
Estonians are nuts
about singing
Jäääär
Kuuuurija
Töööö / Öötöö
Häid Jõule
NO GENDER NO FUTURE
27 VOWEL SOUNDS
14 CASES 3 LENGTHS
TUNED FOR GOSSIPING

59. Welcome to the Singing Revolution
https://youtu.be/bm4EC01u0-4
>

60. Thank You!

61. Learning Outcomes
• To understand the concept of “marketing orchestration” and how an
integrated approach can create better experiences for your target
audiences
• To recognize how various marketing tactics belong in particular
contexts, rather than as stand-alone campaigns
• To understand how great experiences integrate brand throughout,
rather than treat brand identity as an add-on
• To consider and apply the experience of the user to enhance your
overall strategy