STAGE IQ Articles

WiiM Home Audio

Over the past few years, WiiM has become a home audio standard for those who want high-quality sound without compromising on price. We review the entire range, from Mini to Amp Ultra and Sub Pro.

Theatre with DPA Microphones

How sound becomes invisible on the theatre stage. We review the use of DPA 4060, 4061, 4071, 4466, 4488 and 4099 microphones in professional theatre sound systems.

For 75 years, the German company K&M has been manufacturing stands that have become the global stage standard. Microphone, speaker, music, instrument, and keyboard stands – all stage infrastructure from one manufacturer.

Look Solutions Lithuania

German Look Solutions fog generators are used from Broadway to Hollywood. Viper, Orka, Tiny series, and Unique 2.1 hazer, officially available in Lithuania through Stage IQ.

Allen & Heath: 55 Years on Stage

A British company that has been developing audio mixers for professionals since 1969. QU, SQ, CQ series and Xone DJ mixers with 96 kHz XCVI processor.

The New Era of DPA N-Series

DPA Microphones introduces N-Series, a new digital wireless microphone system for professionals. Revolutionary transparency and reliability on stage and in the studio.

Electro-Harmonix Pedals

A guitar effects company that has been shaping the sound of rock, jazz, and electronic music since 1968. Classic and contemporary Electro-Harmonix pedals in one place.

Takamine Arrived at Stage IQ

Takamine Guitars: Japanese Quality, Built for the Stage When it comes to acoustic guitars, many first think of old American brands. However, in the professional world, Takamine has held a very strong position for several decades. This is a manufacturer whose history, philosophy, and technical solutions were formed not in marketing departments, but in the real work of musicians. Takamine guitars arose from a very specific need: to create an acoustic guitar that would sound reliable, stable, and predictable on stage. Today, the name Takamine is associated with live sound, professional electronics, and guitars that are made to be played, not just to look beautiful. From a Small Japanese Town to Global Stages Takamine's history begins in 1959 in Japan, in Gifu Prefecture, near Mount Takamine, from which the manufacturer's name originated. Initially, it was a small workshop whose main goal was not mass production, but rather the repair and improvement of instruments. This period very strongly shaped Takamine's entire mindset. Working with musicians' guitars, the craftsmen clearly saw what playing musicians truly needed. Not a collector's item, but a reliable working tool. This approach became the cornerstone for all subsequent development of Takamine. In the 1970s and 1980s, Takamine began to actively produce its own acoustic guitars and gradually made its way into the international market. The breakthrough occurred when the manufacturer very clearly focused on stage use. Why Takamine Guitars Are Considered Stage Guitars One of the most important distinctions of Takamine is that this manufacturer was one of the first to seriously invest in acoustic guitar amplification. While many manufacturers tried to simply adapt existing solutions, Takamine began to develop its own electronics from scratch. Takamine was among the first to use undersaddle piezo elements along with specially adapted preamplifiers. This allowed them to achieve what had been greatly lacking until then: a clear, stable signal without unpredictable feedback. This is why Takamine guitars so quickly gained popularity among touring musicians. They simply worked. Without complicated solutions, without constant compromises. Electronics as Takamine's Trademark To this day, Takamine electronics are considered among the strongest on the market. The manufacturer develops its own preamplifiers and matches them to the specific construction of the guitars. This is not universal electronics added merely to check a box in the specifications. Takamine preamplifiers are valued for several reasons: stable signal, clear dynamics, convenient stage control, and a reliable built-in tuner. This is especially important for live musicians who need quick and precise sound control. It's also important that Takamine has never aimed to make guitars overly aggressive or artificially bright. Their amplified sound is oriented towards naturalness and transparency, which easily fits into the overall mix. Materials and Construction When it comes to the guitars themselves, Takamine maintains a fairly classic approach, but implements it with great meticulousness. The top plate is usually made of spruce or cedar, depending on the model and intended use. The back and sides can be made of mahogany, maple, or other tonewoods. Takamine is known for its very consistent build quality. Even mid-range models feature good intonation, stability, and a comfortable neck. This is especially appreciated by musicians who play live extensively and want an instrument that won't let them down after a year or two of intensive use. Series for Different Musicians Takamine's assortment is clearly categorized according to needs. G Series guitars are aimed at beginner and intermediate musicians. This is a very popular series due to its good price-to-quality ratio. These guitars often become the first serious acoustic instrument with electronics. Pro Series is designed for professionals and stage musicians. This series features higher-grade materials, more complex construction, and advanced electronics. These are guitars that easily travel to large stages and studios. Signature models are created in collaboration with specific artists and reflect their playing style and needs. Who Plays Takamine Guitars The list of Takamine guitar users is very extensive and impressive. This manufacturer never aggressively advertised, but musicians themselves chose this brand. Among the famous artists playing Takamine guitars, you can find Bruce Springsteen, Jon Bon Jovi, Garth Brooks, members of Eagles, and many other touring musicians. The important thing is that most of them chose Takamine not for the name, but for its practicality. Stable sound, fewer problems on stage, and long-term reliability. Interesting Facts About Takamine One of the more interesting facts is that Takamine guitars were used in large arenas for a long time, even when many other acoustic guitars simply couldn't handle the sound there. Takamine was also one of the first to seriously consider how an acoustic guitar behaves when mixed with a full band. The sound of their guitars is often described as easily manageable on the mixing console side. Another interesting aspect is that Takamine has very consistently maintained a Japanese approach to quality. Even with partial production moved to other countries, quality control remained extremely strict. Why Takamine Is Relevant Today Today, with the acoustic guitar market overflowing with choices, Takamine remains in a very clear position. These are guitars for musicians who play. Not for collectors, not for display cases, but for the stage, rehearsals, and studio. Takamine doesn't offer tricks or short-lived trends. They offer instruments that reliably do their job. That's why this name has remained relevant for over sixty years. Why Takamine Is Part of the Stage IQ Assortment Stage IQ solutions emphasize a reliable, professional, and practical approach to sound. Takamine guitars naturally fit into this philosophy. These are instruments designed to work with a sound system, not against it. For musicians seeking an acoustic guitar with reliable electronics and a clear, controllable sound, Takamine is one of the most logical choices. Stage IQSound, lighting, and stage solutions Address: Baltupio g. 71A, VilniusEmail: info@stageiq.lt

DPA CORE+ Technology

DPA CORE+ Technology: Why Small Improvements Make a Big Difference In professional audio technology, it's usually not the most striking solutions that win, but those that allow for stable, predictable, and uneventful work. Most experienced audio specialists know that the difference between "good" and "very good" sound often lies not in obvious things, but in subtleties that only become apparent during prolonged use. DPA CORE+ technology is precisely such an improvement. It doesn't change the microphone's sound, alter its frequency range, or add any "character." Instead, it addresses a very specific, but often unstated problem – how precisely the microphone transmits a signal when the sound is constantly changing. In this article, we will explain what CORE+ technology is, how it differs from the previous CORE version, and why this difference is genuinely audible when working with speech, vocals, acoustic instruments, in theatre, and in broadcasting. Why Specifications Don't Always Tell the Whole Story When choosing a microphone, technical characteristics such as noise level, maximum sound pressure, and frequency range are usually considered. These are important parameters, but in practice, it often happens that two microphones with very similar specifications behave differently in real-world use. One might sound clearer and more stable, while the other might require more corrections, quickly "fatigue" the listener, or struggle with dynamic speech. These differences often cannot be explained solely by the numbers in a specification table. In practice, this relates to how the microphone capsule behaves with a fluctuating signal. Speech, vocals, or acoustic instruments never sound even – the sound constantly changes, with quiet and sudden moments occurring. It is in such situations that the microphone's accuracy, or lack thereof, becomes apparent. What CORE Technology Was CORE technology was DPA's response to this problem. Its goal was to improve the capsule's performance in dynamic situations and reduce microphone-introduced inaccuracies that arise not from overload, but from the capsule's own behavior. In practice, this yielded a very clear result: the sound became more stable, less "broken" in quiet passages, and when working with speech, the need for aggressive EQ correction or strong compression just to make the signal intelligible was reduced. For many professionals, this was already a sufficient improvement. However, when working in complex acoustic situations, there remained areas where the capsule's behavior could still be enhanced. What CORE+ Technology Is CORE+ technology is a further step in the same direction. It is not digital processing, it is not DSP, and it is not any "post-recording signal correction." CORE+ operates within the microphone capsule itself – where sound is first converted into an electrical signal. The main goal of CORE+ is to transmit a fluctuating signal even more accurately in complex situations, especially when very quiet moments overlap with sudden changes in sound. It was in such areas that previous capsules could sometimes behave less stably. CORE+ allows the capsule to work more smoothly, so the microphone "loses control" less in dynamic passages. This is not an effect you will always hear in the first minute, but it is very clearly felt during prolonged use. How This Sounds in Real-World Use Audio specialists usually describe the effect of CORE+ very simply: it's easier to work with such a microphone. The sound remains clearer, more stable, and more predictable, especially when working with speech or live vocals. This is especially important in theatre, broadcasting, and events where sound must be intelligible not just for a brief moment, but for a long time. A lower amount of microphone-introduced inaccuracies means less listener fatigue and less stress for the sound engineer themselves. Why CORE+ Is Particularly Relevant for Small-Format Microphones In small-format microphones, physical compromises are inevitable. Due to the small size of the capsule, any inaccuracy becomes audible more quickly than in large studio microphones. CORE+ technology allows such capsules to operate in a more stable zone, making them more reliable in everyday, complex situations – from theatre performances to live broadcasts or live sound events. Conclusion: Why CORE+ Is Important in Practice CORE+ technology is not a solution that fundamentally changes the microphone's sound or makes it "different." It does not change the frequency range, add character, or create an effect. Instead, it does what is often most important in professional audio technology – it helps the microphone work more accurately and stably in real, dynamic conditions. Such improvements are most valued not in short tests, but in daily work: in long performances, broadcasts, events, or complex acoustic spaces. A lower amount of microphone-introduced inaccuracies means not only clearer sound but also less fatigue for both the listener and the sound specialist. This is precisely why CORE+ technology is not designed "to create an impression." It is intended for those who value a predictable, reliable result and the ability to focus on content, rather than constantly solving technical problems. This is the main reason why such seemingly small technological improvements eventually become the standard in a professional environment. Stage IQAudio, lighting and stage solutions Address: Baltupio g. 71A, VilniusEmail: info@stageiq.lt

Sound Solutions for Schools

When a School's Sound System No Longer Meets Current Needs School events seem simple at first glance. Children prepare for performances, teachers set up the program, parents gather in the hall. In such situations, sound should not be a separate issue. It just needs to work and not interfere with the event itself. Most of the time, this is how it works. However, over time, a feeling emerges that the system requires more attention than desired. Before events, more time has to be spent on preparation, checking settings, and adapting on the spot. This is not a malfunction or a critical problem, but a clear signal that the system no longer meets current needs. This is a natural situation that many schools face. A System Designed for a Different Era A large proportion of school sound systems were installed based on the solutions and technologies available at the time. They were functional, reliable, and met the requirements of the time. The system worked and fulfilled its purpose. However, technology does not stand still. The logic of solutions, control principles change, and greater expectations for stability and simplicity arise. Equipment that was installed many years ago often still works today, but it no longer offers the predictability and comfort that is now taken for granted. This does not mean that previous solutions were inadequate. It means they were designed in a different technological context. Not a Malfunction, but Natural Aging An outdated sound system is usually not broken. It turns on, transmits sound, and allows for use in everyday situations. However, its operation becomes less stable and more dependent on manual adjustment. In some cases, the volume needs to be adjusted more frequently, adapted to the room or situation, and potential changes during the event need to be anticipated. None of this is unusual, but over time it becomes a sign that the system no longer meets current use. It is important to understand the difference between repair and upgrade. A malfunction is solved by replacing a part. Obsolescence is solved by reviewing the entire solution. The Same Systems in Different Spaces School sound systems are often used in different rooms. In the assembly hall, sports hall, or other common areas. Although the function remains the same, each space "receives" sound differently. Using the same solutions for a long time makes it clear that the system does not behave uniformly everywhere. In one room, it works smoothly, in another, it requires more adjustments. This is not unexpected, but it shows that the system was designed without the ability to adapt to different acoustic conditions. Modern solutions allow such adaptation to be foreseen in advance. When Technology Starts Demanding Attention One of the clearest signs that a system is outdated is that the technology becomes more visible. Before events, additional actions, more preparation, and more manual control are required. This does not necessarily hinder, but it changes the feeling of use itself. The system is no longer a background, but a separate element that requires attention. In a school environment, this is especially important because different people use the equipment, and not all of them work with it constantly. A reliable system is one that works predictably and does not require additional on-the-spot solutions. Upgrade as a Sequential Process Upgrading a sound system is often perceived as a major change, but in practice, it is often a sequential process. First, the current situation is assessed, then the parts that no longer meet current needs are identified, and solutions are planned in stages. It is not always necessary to change everything at once. Sometimes it is enough to review the system's logic, control, or layout. This approach allows for rational planning of the upgrade and avoids hasty decisions. The most important thing is to view the system as a whole, and not as a collection of separate components. When Sound Becomes Unnoticed Again An updated sound system, adapted for current use, usually ceases to be a separate issue. It operates stably, predictably, and does not require constant attention. Speech is heard throughout the space, music sounds even, and the course of the event does not depend on technical solutions on the spot. In this case, the sound performs its function and does not become an additional task. This is the main goal of upgrading a school's sound system. Conclusion If a school's sound system requires more attention today than before, it does not necessarily mean a problem. Very often, it is simply a sign that the system was designed according to different technical standards and different solution logic. A timely reviewed and thoughtfully updated solution allows the school to work calmly and consistently. Then the sound once again becomes what it should be – a natural, unnoticed part of school events. Stage IQSound, lighting, and stage solutions for educational institutions Address: Baltupio g. 71A, VilniusEmail: info@stageiq.lt

First Sound from Mars

How a DPA Microphone Became Part of History When did you first hear the wind? On Earth, it's an everyday sound that we take for granted. But in 2021, humanity heard the wind anew. Only this time – from Mars. It was the first time in history that any sound was recorded and transmitted from another planet. And here's what excites us the most. This historic sound fragment was captured by technology that we represent here in Lithuania, Stage IQ. These are DPA Microphones – some of the most accurate and reliable microphones in the world. For a microphone to work beyond Earth, it must withstand extreme conditions, be incredibly sensitive, and yet reliable. And DPA proved it. Hear the Real Sound of Mars This is an official NASA Perseverance recording. A filtered version without the rover's mechanical sounds, allowing you to hear only the rustling of the Martian wind. Your browser does not support the audio player. How Sound Travels on Mars: Cosmic Acoustics Sound travels completely differently on Mars than on Earth. This is not just a poetic comparison – it's physics. Mars' atmosphere is only 1.2 percent of Earth's density. It is composed mostly of carbon dioxide (about 95 percent). Sound travels at 240 m/s (on Earth – 343 m/s). High frequencies (above 2 kHz) disappear very quickly due to the lack of density. Low frequency attenuation is smaller, so the recording sounds "muffled." Temperatures from –90 to –10 degrees significantly alter sound propagation. In other words, if a voice sounds clear on Earth, on Mars it would be as if recorded through a thin filter. For these reasons, it is extremely difficult for a microphone to work there. The First Microphone on Another Planet The Perseverance rover is only the second spacecraft to have a real sound recording system. The first was the Phoenix lander in 2008, but its microphone was never turned on due to technical risks. The Perseverance microphone is the first operational sound recording device on another planet. DPA technology became the reason why this recording was possible at all. Why NASA Chose DPA Microphones NASA selected the microphone based on several key criteria: Sensitivity, allowing the capture of extremely weak signals in a thinner atmosphere. Very low self-noise. Accurate frequency response, minimally altering the real sound. Resistance to temperature fluctuations and vibration. Ability to integrate into the rover's electronics and protect from dust. The DPA 4006 capsule technology met all these criteria. NASA modified the outer casing, added dust filters, thermal protection, and a special pressure equalization mechanism, but the core of the microphone capsule remained DPA. DPA Microphones Technical Features That Helped Record Mars The specifications of the DPA 4006 capsules (used as the basis for NASA's modification) are impressive: Frequency response: 20 Hz – 20 kHz Noise level: only 15 dB(A) Sensitivity: ~40 mV/Pa Maximum SPL: about 147 dB Capsule type: true omni type, very accurate and natural sound Construction: extremely low phase distortion Stability: thermally corrected, extremely stable frequency response These features allow the microphone to accurately capture even very subtle acoustic changes. This is one of the reasons why DPA is used in symphony orchestras, the film industry, and scientific experiments. What Else the DPA Microphone Recorded on Mars Mars doesn't just sound like wind. The DPA microphone helped the rover record: laser spectrometer shots into Martian rocks; dust and sand moving around the rover; micro-vibrations during landing; rover mechanics diagnostics (sounds of engines, wheels, and tools). This helps scientists analyze both Martian geology and the condition of the rover itself. Stage IQ and DPA Microphones in Lithuania Stage IQ is the official representative of DPA Microphones in Lithuania. This means that the technology NASA trusts can be purchased right here in Lithuania. We work with: theaters and concert halls; TV and film recording teams; universities and scientists; sound engineers and creators; broadcast and event organizers. DPA Microphones stand out because their reproduction accuracy is so high that the microphone almost does not change the real sound. This allows it to be used in situations where absolute quality is mandatory – from a symphony to a space mission. Conclusion The first sound from Mars is more than a scientific achievement. It is a moment when technology, human curiosity, and professional sound merged into one story. And at its center – a microphone that can be purchased in Lithuania today. If you want to learn more about DPA Microphones, their differences, model applications, or professional solutions, we invite you to visit the Stage IQ showroom in Vilnius, Baltupio g. 71A, or contact us. We will help you choose equipment that can capture both a choir on stage and the wind on another planet.

Choosing a Guitar Amplifier

Guitar Amplifiers: How to Choose the Right Combo Amp and Understand Their Differences A guitar amplifier – often simply called a combo amp – is one of the most crucial elements in an electric guitar's sound. While the guitar itself determines the tonal direction, it is the amplifier that gives the sound body, dynamics, character, and volume headroom. Let's be honest: even an expensive guitar will sound weak if connected to an unsuitable or poorly chosen amplifier. Therefore, understanding how different combo amps work and what distinguishes them is very important for both beginners and experienced musicians. In this article, we will clearly and without excessive technical jargon explain what a guitar amplifier consists of, what types are most popular, how their construction affects the sound, and how to practically choose a model according to your needs. We will use real models available on the market for examples, including Fender amplifiers available at Stage IQ, but only as contextual examples, not promotional content. 1. What a Guitar Amplifier Consists Of Any guitar amplifier – whether a small practice combo or a large stage model – operates according to the same basic scheme. It consists of three main sound-shaping parts: Preamp (Preamplifier) This is the part that determines most of the tonal character: clean sound, overdrive, gain, EQ, and other aspects. This is where the overall guitar tone is formed. Whether you like a clean sound, a warm crunch, or a stronger drive – the preamp is responsible for it. Many amplifiers have built-in effects such as chorus, delay, or reverb, which are also considered part of the preamp section. Power Amp (Power Amplifier) This part not only amplifies the signal created by the preamp to speaker level but also influences the dynamic response. A more powerful power stage provides more headroom, allows you to increase the volume without distortion, and often gives the sound more "freedom." This is especially noticeable in tube amplifiers, but the power amp also plays a clear role in solid-state amps. Speaker The speaker is to an amplifier what an acoustic guitar is to a guitarist – it dramatically changes the tone. Different sizes provide different sounds: 8 inches – fast, sharper tone, more suitable for home and practice; 10 inches – more versatile, balanced sound; 12 inches – stage standard, deeper lows, more solid projection. Therefore, two amplifiers with the same preamp but different speaker sizes can sound completely different. 2. Main Types of Guitar Amplifiers Modern guitar combo amps can be divided into three main categories: digital, solid-state, and acoustic. Each has its advantages and most suitable uses. Digital Amplifiers Digital amplifiers are very versatile. They use modeling to emulate the character of different classic amplifiers. This is especially useful for beginners and those who want a wide range of tones in one device. For example, the Fender Champion 25 is a well-known practical solution for home: simple controls, clean Fender tones, chorus, reverb, light overdrive. Meanwhile, the Fender Champion 50XL provides more power and a deeper bass response due to its 12-inch speaker – a more robust choice for rehearsal spaces or small stages. Digital combo amps are suitable for various styles, as one device can create everything from clean to drive. Solid-State Amplifiers Solid-state amplifiers are characterized by reliability, lightness, and consistent sound quality. They require no maintenance, do not wear out like tubes, and are perfect for those who travel a lot, play in rehearsals, or want a stable tone. One popular market example is the Fender Rumble 40. Although it is a bass amplifier, it clearly demonstrates the advantages of solid-state combos: powerful, clean, light, and very versatile. Such models are favored by musicians who want a clear sound and simple operation. Acoustic Guitar Amplifiers An acoustic guitar requires a completely different amplifier than an electric one. Acoustic amplifiers are designed for natural tone reproduction, amplifying the instrument without coloring it. Many of them have two channels – for guitar and vocals. The Fender Acoustic Junior Go is a good example for performers who play acoustic guitar and sing. It has a rechargeable battery, so you can play anywhere – from a park to an event without electricity. Such amplifiers are especially convenient for mobile performers. 3. How to Choose the Right Combo Amp Power One of the most common mistakes is choosing too much power for home use. Power determines not only loudness but also sound headroom. At home, rarely do you need more than a 20–30 W solid-state or digital amplifier. 15–25 W – suitable for home and individual practice. 30–50 W – a good choice for band rehearsals. 50 W+ – for small stages, events. Also remember: a 12-inch speaker will provide more bass and projection, so sometimes even a lower-wattage amplifier can sound "fuller" than a higher-wattage model with a smaller speaker. 4. Common Mistakes When Choosing a Guitar Combo Amp Too much power for home. An amplifier will sound best when it "breathes," not at very low volumes. Too small a speaker for rehearsals. 8-inch speakers often don't fill a room. Confusing digital and solid-state amplifiers. These are different technologies with different tonal philosophies. Underfinancing the tone. Some musicians choose only by wattage, not by tone. Not trying it live. Documentation and videos cannot replace the impression from a real speaker. 5. Why You Should Try an Amplifier Live Amplifiers are not universal – two people can play the same model but sound completely different. The differences are determined by playing dynamics, guitar type, effects, and even string choice. Therefore, the best way to understand if an amplifier is right for you is to listen with your own ears. At the Stage IQ showroom, you can try various combo amps live with your own guitar or with instruments available on-site. This helps to clearly understand the real sound, not just theoretical parameters. Where to Find Stage IQ Visit our showroom and compare different guitar amplifiers: Stage IQBaltupio g. 71A, Vilnius