Nicolas Codreanu
702585
Company Project: Stageclix
Coach/ Supervised by:
Dr Albers
Prepared for:
Dr Albers
Block:
Block B 24/25
Campus Location:
Amsterdam
Date submitted:
Word Count:
1
2
Preface
3
List of Abbreviations
4
Executive Summary
5
1. Background of the Research
1.1. Context of the project
In the context of the LYCAR business project, this company project report addresses the
topic of market positioning and customer journey mapping in the wireless audio
technology industry. Jochem Welvaadt, owner of the company Stageclix Wireless
System, is the commissioner of this report. The company is a small-to-medium-size
company with a management office based in Amsterdam-Noord and a production &
design branch based in Lithuania, counting 14 employees. The company offers innovative
wireless audio solutions tailored for audio professionals, business and individual
musicians in the music industry.
Stageclix specializes in wireless connection devices designed for musicians including
wireless guitar systems, audio transmitters and receivers (Stageclix, 2024). As defined
by the owner and their business partner, these products are engineered to enhance the
performance experience by providing musicians with the freedom to move without being
tethered by cables, thereby facilitating greater creativity and spontaneity during
performances and music production (ibid). Stageclix goes by the rule: “With a global
reach, we prioritize customer satisfaction, quality craftsmanship, and seamless
integration for your wireless tech needs.” (ibid).
By working closely with Jochem Welvaadt and the Stageclix team on this business
project, the analysis of the company and its industry will offer valuable insights into the
company’s operations and customer engagement strategies.
This project will focus on analysing and identifying current marketing strategies
employed by Stageclix and assessing their effectiveness in meeting customer needs and
expectations. This analysis will involve defining the niche wireless audio technology
industry and evaluating its competitive landscape, understanding consumer behaviour
and consumer types, and ultimately exploring gap areas to leverage the position of the
company towards its customers. By addressing these aspects, this project aims to
provide actionable recommendations that can enhance Stageclix wireless System’s
marketing efforts and strengthen its market position.
Finally, this research may contribute to the broader understanding of marketing
management in the wireless audio technology sector, highlighting the importance of
adapting strategies to meet the evolving demands of both professional and private
customers.
Stageclix Wireless System - Jochem Welvaadt
6
Company Business Problem
In the following chapter, by analysing relevant literature, Stageclix’ industry will be
defined and industry-specific factors will be described to create a baseline for the
problem definition, thereafter.
1.2. Industry & baseline of research
Industry: Wireless audio technology sector
Stageclix wireless System operates in the wireless audio technology industry, subset of
the broader music industry. The industry is defined by its focus on enabling seamless
audio transmission systems and enhancing performance capabilities of musicians
through innovative wireless solutions (Tabak, 2023; Zhang, 2022; Faure-Carvallo et al.,
2022). This industry is defined as rather niche and strongly impacted by continuous
technological innovations from existing and newly entering competitors (ibid).
Digital revolution in the music industry & increased adoption of Wireless
Technologies
The arrival of digital technologies in the music industry has lead to a broader trend in
music aesthetics, liberating sound and timbre from traditional structures, switching the
needs of musicians in musical performances and production (Maes et al., 2018).
Driven by the demand of mobility and flexibility during performances, the integration of
wireless and IoT technologies is transforming the music industry by enabling
uninterrupted communication systems (Makhdoom et al., 2018).
Competitor set
7
Established Audio Equipment Manufacturers:
Cherishing of a set brand image and reputation in the audio technology sector,
competitors such as Shure, Sennheiser and Line 6 value delivering high-quality audio
solutions tailored to audio professionals and musicians (Luchmansyaroni, 2017). With a
focus on innovation and a large portfolio of wireless systems, these companies have set
themselves as market leaders. Their advantage lays in a well-established and long-term
commitment to R&D to introduce cutting-edge technologies (ibid).
Smart instrument manufacturers:
With a focus on wireless audio technology integrated into musical instruments,
companies such as Yamaha and Roland have been disruptors in the interaction of
musicians with their instruments, settling them with a long-lasting brand image
(Shibghatullah et al., 2014).
Bluetooth Technology Providers:
The competitive advantage of Bose, Sony, and AKG lie in their ability to reach a wide
audience through a strong and established brand image (Lundh, 2022). These
companies target on offering high-quality wireless Bluetooth technologies catering to the
experience of casual listeners and professionals in the music industry (ibid).
Emerging Technology Companies:
Certain emerging companies pose a threat to the competitor set of the wireless audio
technology industry by their ability to innovate and rapidly capture market share due to
large resources and focus on user-friendly products (Turchet and Casari, 2023).
However, while representing a considerable share of the market, namely Apple Airpods
and Amazon echo are seen as indirect competitors to the industry due to their
primary focus not being on high-quality products to professionals (ibid).
Potential Customer set
Professional Audio Users
According to Wang et al. (2013) professional users of wireless audio technology require
low latency and high-fidelity devices, utilized during live performances and studio
recordings (Wang et al., 2013; Hypko et al., 2010). Driven by the advent of virtual
technologies in the music industry, the ability to customize devices to ones’ needs
becomes increasingly important (Samanta et al., 2022).
Private Musicians
Ayala et al. (2021) note that the buying motivations of private musicians for wireless
audio technologies can be summarized by: “Seeking affordable solutions with no
compromise for quality” (Ayala et al., 2021). Additionally, Huang et al. (2010) discuss
how private customers are influenced by the perceived ease of use and accessibility of
technology (Huang et al., 2010).
Music production and entertainment businesses
These businesses may include event venues and music production & rental companies. Li
(2021) highlights that they increasingly adopt wireless technologies to streamline
operations and increase customer experience (Li, 2021). While necessitating a scalable
production of systems, these businesses may focus their buying motivations on
comprehensive solutions that integrate into their existing systems, hinting towards the
necessity of customization services (Pourmehdi et al., 2023).
Casual Consumers
Casual Consumers are drawn to wireless audio technologies for their convenience and
ease of use, preferring a wide range of options to choose from (Grubic and Jennions,
2018).
8
2. Problem definition
In the previous chapter, the Wireless audio technology industry was defined, and the
competitive landscape and the potential customer set of this sector were described. The
following chapter will attempt to determine major trends and threats on the company
the industry and Stageclix Wireless Systems, in order to understand the influences that
may lead to the necessity for Stageclix to address the business problem described
previously.
Business Problem in the view of Jochem Welvaadt
A first interview with Mr Jochem Welvaadt, owner, CEO and operations manager of
Stageclix Wireless Systems, determined that the company suffers from market
positioning problems.
The following chapter will analyze the trends and threats that Stageclix Wireless Systems
and its competitors are driven by in the context of market positioning.
Customer behaviour & Demographics
The demand for wireless technologies has seen a signification increase across various
sectors, primarily driven by the proliferation of mobile devices and the Io(A)T
(Makhdoom et al., 2018). Makhdoom et al. (2018) highlight that this trend is particularly
pronounced within the music industry, where the integration of high-quality wireless
communication technologies into the activities of both professional and private musicians
shape and influence their experience (ibid). This statement is supported by Wang
(2020), who indicates that the integration of IoT devices and wireless devices accentuate
the creative process and mobility of individual musicians (Wang, 2020). In fact, the
ability to seamlessly switch between different instruments in a creative procedure is
posited to foster innovation, underscoring the critical role of wireless technologies in
contemporary music production (ibid).
The necessity for high-quality support during live performances and music production is
a driving force behind the preferences of professional users, who prioritize superior audio
transmission capabilities in their wireless devices. Dharani and Manjuprasad (2019)
explain that the demand for efficiency and low latency in wireless connection devices is
increasingly recognized as a fundamental requirement among professional musicians
(Dharani and Manjuprasad, 2019; Sisson and A. Whalen, 2022). This need for reliable
and instant communication is essential for maintaining standards of live performances
and ensuring that the creative flow is not disrupted (ibid).
In addition to individual musicians, businesses have recognized the importance of
wireless technologies in their processes. Sisson and Whalen (2022) identified that the
events industry adopted mobile device applications and increased mobile technology to
create tech-friendly environments for attendees (Sisson and A. Whalen, 2022). In the
context of putting the customer experience in the centre of operations, wireless
technologies allow for more dynamic stage setups, facilitating the connectivity and
engagement between artists and customers (Van Winkle et al., 2018). Ryan et al. (2020)
add up to the argument by praising the performance of wireless audio technologies
(Ryan et al., 2020). They showed improved sound distribution across large venues,
ensuring consistent audio experiences between attendees (ibid).
Customization and tailored solutions
The professional context of music production reveals deeper levels of complexity
regarding requirements of musicians. As highlighted by Samanta et al. (2022), the
9
ability to customize wireless devices to meet specific needs is becoming increasingly vital
in the music production industry (Samanta et al., 2022). The emphasis on personalized
solutions indicates a shift towards more specialized wireless technologies that cater to
the diverse demands of professional musicians (ibid).
Van Winkle et al. (2018) identified the integration of smart technologies as a disruptor in
customizing specific needs and preferences and customers across all industries (Van
Winkle et al., 2018). Therefore, customization in wireless audio technology is
increasingly becoming a focal point for manufacturers, designers and service providers.
The ability to tailor audio experiences to individual preferences or specific operational
systems is seen as a key differentiator in the competitive market of wireless audio
technology (Van Winkle et al., 2018). Supported by Neuhofer et al. (2015), their
research highlight the enhanced role of smart technologies in creating personalized
experiences in the hospitality industry, setting wireless communication technology
manufacturers and facilitators as important suppliers of the hospitality industry for a
growing market (Neuhofer et al., 2015).
Threat from emerging Asian competitors
Due to initiatives mainly lead by the Chinese government, Asian companies such as
Huawei, ZTE and Alibaba have shifted from manufacturing hardware for wireless
communication technologies to entirely designing them. Initiatives such as the “Digital
Silk Road” aim to create collaborations between Chinese companies and their
government to develop advanced digital technologies, including wireless audio systems
for professionals and businesses (Hussain et al., 2024). Evolved from the “China’s Belt
and Road” governmental initiative, this collaboration aims to make Chinese technology
companies competitive in industries with wireless communication, (5G)
telecommunication, and smart-city technologies (ibid).
The Global Infrastructure Hub has defined
the gap between projected investment in
technological innovation and the amount
of investment needed to provide suitable
global infrastructure to $5.5 trio in 2040
(George et al., 2019). According to Gao
(2022), China and its development
initiatives aim to take advantage of this
gap by offering high-quality, innovative
and affordable technology to concerned
markets, resulting in a threat and an
opportunity for existing competitors (Gao,
2022).
(George et al., 2019)
Additionally, as European design companies heavily invested in research and
development to create proprietary wireless audio technologies, they become vulnerable
to new competitors (Hussain et al., 2024). Formerly suppliers, Chinese companies may
seek to replicate European innovations without incurring associated costs, leading to a
10
risk of intellectual property theft (ibid). Paired to large investments in R&D, Chinese
company vertically integrates the design of wireless audio products to their capabilities
of manufacturing and offer cutting-edge technologies (ibid).
Due to advantages in amount of resources, possible investments in R&D and a capacity
to offer low-cost but high-quality and innovative technology, the developing Chinese
competitors set themselves as an emerging threat for European wireless audio
technology designers (Hussain et al., 2024; George et al., 2019).
Market saturation & competition
The rather niche wireless audio technology industry, driven by constant proliferation of
wireless technologies has evolved towards a market saturation making it increasingly
difficult for companies to differentiate themselves from competitors. According to
Forenbacher et al. (2021), the wireless audio technology sector is experiencing
saturation due to numerous companies entering the market with similar products and a
decreasing evolution in innovation (Forenbacher et al., 2021; Ryan et al., 2020). This
ultimately narrows down the differences between already existing competitors and
implies low switching costs for customers (ibid).
According to Mifi et al. (2015) market saturation occurs when the volume of a product in
a marketplace exceeds the demand of that product, leading to intense competition and
limited growth opportunities (Mifli et al., 2015). Lasalle and Scott (2017) add to this
statement by linking it to niche markets, supporting that companies in this situation
need to focus on diversification strategies to break out from saturated markets (Lasalle
and M. Scott, 2017). Small competitors are both threatened by the resources and
capabilities of certain large companies and market leaders but also pressured by high
expectations from customers (ibid). Priem et al. (2023) therefore support that small
competitors must focus on continuously updating their expertise in providing innovative
products or tailor-made services (Priem et al., 2012).
Reliability of Systems
The literature around tailored solutions in the wireless audio technology sector has
identified challenges that not all competitors of the industry may be able to address. One
challenge revolving around customization is ensuring the reliability and quality of
customized audio experiences (Beattie and Cassidy, 2020). This applies particularly in
live event settings where interference and connectivity issues may easily arise and cause
impacting trouble on the customer experience (Beattie and Cassidy, 2020).
Customization services and concrete problem-solving skills may therefore be highly
important for competitors who want to set a brand images reflecting high quality
products (ibid).
Security
The reliability of wireless audio technologies is, in this case, in close relationship with the
security of customers in a private setting as well as a group environment. Alezeni et al.
(2018) highlight that the manipulation of audio signals through Deepfake technology and
other contamination attacks is a major threat to the privacy of wireless audio technology
users (Alezeni et al., 2018). Where small wireless communication technology companies
may be able to address security issues by keeping a certain over-view over tailor-made
products, the lack of standardization in the industry is a clear threat as to how security
breaches like such may be addressed (ibid). Therefore, companies offering lower cost
11
technology, ultimately cutting edges on important security barriers may be more at risk
regarding such issues (Hussain et al., 2024).
Conclusion
In conclusion, addressing the challenge of establishing a strong market position in the
competitive and saturated wireless audio technology industry is vital. In a market lead
by brands cherishing from a strong brand image and threatened by rapidly emerging
Asian competitors, a strong market strategy is a major tool for success. Overall customer
behaviour, directing itself towards needs for high-quality, customization and reliability,
demands the industry to develop in tailor-made services. Therefore, the main research
question guiding this research will be how to position Stageclix Wireless System as an
innovative company with outstanding capabilities in customization services, compared to
its competitors, to establish a strong market position.
MRQ: How can Stageclix Wireless Systems effectively market their innovative
wireless audio solutions to establish a strong market position towards their
customers in a competitive and saturated wireless audio technology industry?
3. Analysis and Diagnosis
After a first interview with Mr Jochem Welvaadt indicating “our customers do not know
what to buy”, the needs for Stageclix Wireless Systems to establish a strong market
position towards their customers was determined (Welvaadt, 2024b). Then, to identify
more accurately how this research may contribute to an already existing positioning
strategy, a second interview was conducted with Ms Gabija Juodenyte, the marketing
manager. She indicated gaps in customer journey mapping and an inexistent customer
segmentation that prevent the company from addressing customers efficiently
(Juodenyte, 2024b).
The following literature review and the following research will therefore focus on defining
important touchpoints for efficient customer journey mapping and come up with a
customer segmentation model that may suit the company. Through this the research will
attempt to answer the main research question as according to key managers it is the
largest gap in the current positioning strategy.
4. Literature Review
Conducting research on Customer Segmentation and Customer journey mapping
responds to the business problem identified by the company’s managers and integrates
in central DBR fundamentals the following way:
According to Umaashanar & Shanmugam (2019) market segmentation plays an
important role in marketing strategies and market positioning (Umaashankar and
Shanmugam, 2019). By understating needs and behaviours of specific customer
segments, companies can enhance products and service and create a clear position,
possibly increasing loyalty (ibid). Sun (2024) supports this statement by specifying the
importance of enhanced data-driven decision making in shaping marketing efforts and
product development to specific customer segments, thanks to adapted customer
segmentation (Sun, 2024).
12
Lemon and Verhoef (2016) emphasize that understanding customer experience across
multiple channels is critical for firms to create positive interactions between customers
and a brand and enhance the market position of the company (Lemon and Verhoef,
2016).
4.1. Customer Segmentation
Customer segmentation is a marketing concept used to create a customer base divided
into distinct groups based on shared characteristics, such as demographics, purchasing
behaviour and preferences (Yao et al., 2012). Customer Segmentation emerged in the
shift in paradigms from a product-oriented view to a customer-centric approach (Shah et
al., 2006; Berry, 2002). According to Hassan and Tabasum (2018), customer
segmentation is essential to understand customer needs and preferences, which aids in
decision-making and formulating a strong market positioning strategy (Hassan et al.,
2020).
The Literature agrees on important factors and steps to build an efficient customer
segmentation data base. Schallehn et al. (2019) support that a customer segmentation
needs to be guided by a set of goals to ensure alignment with the business objectives of
a company (Schallehn et al., 2019). Depending on what the goal of the segmentation is,
the data collection will be performed using different tools and focusing on gathering
different types of data (ibid). The baseline for customer segmentation includes
quantitative and qualitative data in both demographic, purchasing behaviour, service
usage patterns, and feedback from customer interactions (Ibrahim et al., 2023).
Assembled and detailed into relevant customer segments, customer segmentation
creates a data base for current and future marketing-related decision making (Hassan et
al., 2020; Schallehn et al., 2019). Bound to changes in the industry due to emerging
trends, threats and responses from competitors, customer needs and wants evolve over
time. Literature seems to agree that it is necessary to determine customer segments
based on evolutive patterns rather than punctual and fixed data sets (Harish and
Chidambaranathan, 2023; Yao et al., 2012). Gao et al. tackle the limitations of
traditional customer segmentation frameworks in capturing the complexity of customer
behaviour throughout the years putting modern data mining systems and digital tools in
the light (Gao et al., 2015). Evolutive characteristics for customer segmentation support
the adaptability of marketing and pricing strategies over time and help companies
maintain a competitive edge over the long-term (ibid).
Ieva & Ziliani (2018) enhance the importance of gathering data and giving one selves
tools to easily assemble relevant data for segmentation purposes (Ieva and Ziliani,
2018). The authors support that understanding the customer touchpoints when
interacting with a brand and its facilities is essential to support efficient marketing
decisions (ibid). Efficient customer journey mapping therefore helps to provide a view of
important touchpoints in the interaction between customers with digital channels,
customer services, and other marketing communications, resulting in various data to
exploit (ibid).
4.2. Customer Journey Mapping
CJM emerged as a result of the growing focus in both the public and commercial sectors
on comprehending and enhancing customer experience (Ludwiczak, 2021). This
marketing concept and underlying strategies are based on a paradigm shift initiated in
the 1960s to 1970s as businesses shifted from a firm-centric to a customer-centric
approach (Crosier and Handford, 2012; Følstad and Kvale, 2018). Emphasizing
13
customer-oriented marketing philosophies and placing the customer at the core of
business operations, understanding the interaction between consumers and a brand are
active factors to competitive advantage (Benz et al., 2023).
Customer Journey and Experience
The customer journey and experience model is a framework introduced by Katherine N.
Lemon and Peter C. Verhoef and describes a customer’s usual stages when going
through the process of making a purchase decision (Lemon and Verhoef, 2016; Puccinelli
et al., 2009; Santos and Gonçalves, 2021). The parts of this model can be reduced to 3
main stages: the pre-purchase stage, the purchase stage, and the post-purchase stage
(Santos and Gonçalves, 2021).
Fig. 2 Customer Journey and Experience model (Lemon and Verhoef, 2016)
Touchpoints
Baxendale et al. (2015) identified that each stage is driven by touchpoints influencing
the decision-making of consumers (Baxendale et al., 2015). The authors identified 4
types of touchpoints: Brand-owned, partner-owned, customer-owned, and
social/external touchpoints (ibid). These touchpoints are influencing factors that lead the
decisions of a customer in each stage and aim to encourage purchasing and re-purchase
(ibid).
•
•
•
Brand-owned touchpoints are controlled and managed by the brand itself. They
are designed to convey brand messaging and engage customers throughout their
journey. Such touchpoints may include websites, advertising, loyalty programs or
customer retention strategies (ibid).
Partner-owned touchpoints occur through third-party entities that collaborate with
the brand and provide customers with additional value or convenience. Examples
may include Retail Partnerships, affiliate marketing, co-branding initiatives (ibid).
Customer-owned touchpoints are interactions initiated by customers themselves.
Such examples may be social media posts, online reviews, word-of-mouth (ibid).
14
•
Social/External touchpoints include any interactions occurring outside the direct
control of the brand. These touchpoints can include the broader social
environment, media, community events, journal articles, influencers (ibid).
Pre-purchase phase
The pre-purchase phase of the customer journey is a stage that encompasses the
interactions between a customer and a brand, category, and internal or external
environment before choosing to continue to the purchase transaction (Lemon and
Verhoef, 2016). Supported by relevant literature, Lemon and Verhoef (2016) identified
the following stages of the pre-purchase phase, indicating a standard to approach the
customer journey and experience model:
In the initial stage of the purchasing decision process the consumer identifies his/her
needs and wants (Lemon and Verhoef, 2016). These needs and wants are likely to be
influenced by internal and external touchpoints including for example word-to-mouth,
social media information search behavior, and customer complaint (Puccinelli et al.,
2009; Pookulangara and Koesler, 2011). Therefore, companies must identify these
influencing touchpoints to develop fitting strategies and control the pre-purchase stage
(ibid). Then, the next stage builds up on the determined needs & wants, where the
consumer compares possible options to fill those needs (Lemon and Verhoef, 2016).
Finally, in the final stage of pre-purchase, a consumer weighs out the options sought to
make a decision that best fits their needs and wants (ibid). Factors such as product
attributes, brand image and previous customer experiences/reviews are touchpoints that
can influence these stages (Castro Lopez et al., 2019).
The authors agree that it is crucial to understand, identify touchpoints in order to lead
different consumer types to a desired outcome.
Purchase phase
The purchase stage is characterized by the actual selection of a product or service
(Lemon and Verhoef, 2016; Puccinelli et al., 2009). Lemon & Verhoef (2016) list down 2
sections of the purchase stage: product choice, and purchase task (ibid). The product
choice is the consumer making the final decision on which product or service to purchase
(ibid). The purchase task involves the actual transaction and acquisition of the product
(ibid).
Lemon and Verhoef (2016) argue that customer interactions are heavily influenced by
marketing activities and accurate marketing mix management (Lemon and Verhoef,
2016). Attributes of the marketing mix may include product, pricing, and promotions
(ibid). These attributes may be managed according to a certain service environment that
may attract a customer. The authors support that efficient marketing of touchpoints such
as brand image and utilization of certain brand features according to customer needs
positively influences the purchase decisions of customers in this stage (ibid).
Post-purchase phase
The post-purchase stage can be divided in several categories including the product use:
post-purchase services, service quality, satisfaction, word-of-mouth, and repurchase
considerations (Lemon and Verhoef, 2016; Puccinelli et al., 2009; Santos and Gonçalves,
2021). These stages expand from the moment of the purchase to the moment of death
of the consumer (ibid).
Van Doorn et al. (2013) argue on the importance of loyalty and understanding the
consumption experience of customers. The authors support that understanding how
consumers perceive the product after purchase influence the loyalty, willingness to re-
15
purchase of existing customers and influences future customers in the pre-purchase
stage (van Doorn et al., 2013). According to them a firm can enhance the experience by
ensuring that the product meets or exceeds customer expectations and by providing
clear communications and support on post-purchase services (ibid). This includes
addressing service requests and resolving issues arising in the post-purchase phase or
leveraging customer feedback (ibid).
Cyclic nature, re-entry into purchase phase and link between stages of the
model
Research has extended the customer journey model by identifying a clear link between
the stages of the customer journey for the re-purchase from already existing customers
or the first purchase of potential new customers (Lemon and Verhoef, 2016). Lemon and
Verhoef (2016) identified that the pre-purchase phase, the purchase phase and the postpurchase phase are influenced by previous customer journey (t-n) and will themselves
influence future customer journeys (t+n) (see fig.2) (Lemon and Verhoef, 2016).
Therefore, the authors support an evolutive approach of the customer journey over time
and suggest that effective management of touchpoints in each stage positively influence
the consideration to buy again or to influence the willingness of new customers to buy
the same product (ibid).
Continuous customer segmentation can be a determining factor in supporting the
understanding of needs and behavior of customer types in these stages if performed
continuously (Chang and Kwon, 2020).Therefore, Yao et al. (2012) determined that the
creation of a customer data-base by performing continuous customer segmentation
provides the decision-making process in managing these touchpoints with real-time and
effective data (Yao et al., 2012).
4.3. Conclusion
Following the literature review, to respond to the main research question and to
contribute to the current market positioning strategy of Stageclix Wireless Systems, the
research will focus on the following 4 elements:
Element 1
Segmentation of customer types: Identification of needs, behavioral patterns,
purchase decisions of different customers
Element 2
Pre-Purchase phase: Matching products and services to needs and wants of different
customer types (Problem Recognition). Development of marketing strategies specific
to different customers (Information Search + Evaluation of Alternatives).
Element 3
Purchase phase: Enrolment of customers into purchase decision.
Element 4
Post-purchase: Marketing efforts to reach out to customers in the stages of postpurchase and handle post-purchase data.
16
5. Methodology
5.1. Procedure
Quantitative Research
The current market segmentation and customer journey mapping situation at Stageclix
Wireless Systems was established by conducting first qualitative research involving semistructured interviews with key stakeholders. The reserach based itself on a structured
analysis of customer segmentation and the customer journey framework, focusing
specifically on the pre-purchase phase, purchase phase and post-purchase phase that
were identified in the literature review. Grounded in recognized models such as Lemon
and Verhoef’s Customer Journey cycle and relevant literature on customer segmentation,
this study aims to find a gap between best practices described by theoretical sources and
Stageclix Wireless Systems’ current situation.
The semi-structured interviews were conducted with key stakeholders at Stageclix
Wireless Systems. Here under an overview of the procedure of these semi-structured
interviews:
Name of interviewee
Jochem Welvaadt
Gabija Juodenyte
Eliane Siepel
Gabija Juodenyte
Jochem Welvaadt
Position of interviewee
Preliminary Interviews
Owner, CEO and
Operations Manager
Marketing and
Communications Manager
Other Interviews
Finance Manager
Marketing and
Communications Manager
Owner, CEO and
Operations Manager
Date of Interview
10/10/2024
14/10/2024
10/12/2024
11/12/2024
14/12/2024
The goal of this procedure was to gather qualitative to attempt and create a base-line for
the gap analysis between current practices in the company and the literature. The semistructured interviews were based on the 4 elements identified in the literature review.
Therefore, to align with the literature, the semi-interviews were conducted based on the
following questionnaire:
Research Element
Customer
Segmentation
Question
How does Stageclix currently segment its customer base? What
are the key criteria used for segmentation (e.g., demographics,
purchasing behavior, preferences)?
How often does Stageclix review and update its customer
segmentation approach? Is it based on evolving patterns or
more static data sets?
What are the key challenges Stageclix faces in capturing the
complexity of customer behavior through its segmentation
framework?
How is the company addressing these limitations? Does she
address those limitations?
17
Customer journey
Pre-Purchase Phase
Customer journey
Purchase phase
Customer journey
Post-purchase
phase
How does Stageclix currently understand the problem
recognition stage for its customers? What internal and external
factors are considered to influence this stage?
What strategies does Stageclix employ to support customers in
the information search and evaluation of alternatives stages?
How are these strategies tailored to different customer
segments?
How does Stageclix leverage customer complaint journey
mapping to gain insights into the pre-purchase stage? What
have been the key learnings from this approach?
How does Stageclix's customer segmentation efforts inform the
development of marketing strategies for the pre-purchase
stage? What are the gaps or areas for improvement in this
regard?
What are the key challenges Stageclix faces in matching its
products and services to the needs and wants of different
customer segments during the pre-purchase stage?
How does Stageclix currently approach the product choice and
purchase task stages of the customer journey? What factors are
considered in these stages?
How does Stageclix's understanding of customer segmentation
and the pre-purchase stage inform the strategies used in the
purchase phase?
What are the key touchpoints and interactions that Stageclix
focuses on during the purchase phase to ensure a seamless
customer experience?
How does Stageclix monitor and evaluate the effectiveness of its
strategies in the purchase phase? What metrics are used to
measure success?
What are the main challenges Stageclix faces in enrolling
customers into the purchase decision, and how is the company
addressing these challenges?
How does Stageclix currently approach the post-purchase stage,
including product use, post-purchase services, customer
satisfaction, and repurchase considerations?
What strategies does Stageclix employ to maintain engagement
and build loyalty with customers in the post-purchase stage?
How does Stageclix leverage customer feedback and data from
the post-purchase stage to inform its product development,
marketing, and customer service efforts?
What are the key touchpoints and interactions that Stageclix
focuses on in the post-purchase stage to enhance the customer
experience and drive repeat business?
What are the main challenges Stageclix faces in the postpurchase stage, and how is the company addressing these
challenges to improve customer retention and loyalty?
To build up on the qualitative research, quantitative desk research was conducted to
identify touchpoints of the already existing customer segmentation and customer
journey mapping processes.
Desk research – determine touchpoints
Desk research – comparison against best practices
18
Data analysis & data coding
Relevant data was extracted from the semi-structured interviews with the following color
coding:
Customer Segmentation
Pre-purchase phase
Purchase phase
Post-purchase phase
Touchpoints
In order to identify recurring patterns and measurable trends, a cross-interview
comparison was conducted.The analysis
5.1.1.
Project Boundaries
Following the recommendations from the marketing manager the focus was made on
customer segmentation and customer journey mapping to attempt to improve the
market positioning strategy of the company. According to literature,
5.1.2.
Ethical Data Management
The research was conducted together with key stakeholders of the company Stageclix
Wireless Systems, putting private documentation to the disposal of the research and
occasionally discussing confidential data during interviews. Therefore, ethical and
confidential data management was essential for this research and the data was only
shared with assessors involved and stakeholders directly connected to the investigation.
Interviewees and other stakeholders were involved in the research only after discussion
and/or appraisal from company executives.
Finally, after the finalization of this research, solutions, relevant data and resulting data
will be shared with other stakeholders with the approval from the company CEO and
owner, Mr Jochem Welvaadt.
5.1.3.
Limitations
The research relies on quantitative data gathered from interviews with key stakeholders
in the positioning strategy of the company and data available for investigation. This
research therefore heavily relies on the insights given by 3 key interviews with Eliane
Siepel, Gabija Juodenyte and Jochem Welvaadt, creating a base to understand the
current customer segmentation and customer journey mapping processes (Babu et al.,
2023). While the stakeholders provide valuable data from their perspectives as finance
manager, marketing manager and communications manager, their input may not fully
represent the entire organizational perspective. This implicates that certain aspects of
customer segmentation and the customer journey may remain unexplored (ibid).
The analysis of documentation heavily relies on available internal documents such as
META reports, sales reports and other marketing materials provided by the marketing
manager, Gabija Juodenyte. If these documents are outdated, incomplete, or selectively
provided, the findings could reflect an inaccurate of customer segmentation and
customer journey processes, only partially answering the main research question (Babu
et al., 2023). Furthermore, as the research attempts to include undocumented informal
practices within the organization by gathering opinions from key actors, this aspect of
data stays incomplete (ibid). As quoted from the preliminary interview with Jochem
Welvaadt: “We do not really document everything we do” and “I think that Gabija may
have something for you. She arrived 1 and a half year ago so she must have something
19
for you.” This indicates that the research may suffer from limitations involving the
analysis of only recent data and potentially incomplete documentation.
Due to limitations involving confidentiality and availability of data, the input from
external stakeholders stays limited (Boone et al., 2011; Babu et al., 2023). The study
includes a desk research on direct customer surveys but fails to explore focus groups,
interviews from customers or interviews from sales partners (ibid). This involves that the
customer perspectives on their experience across the stages of the customer journey are
mostly inferred from internally issued data rather than collected from directly affected
parties. While the customer perspective is thoughtfully included in the research, the
ability to fully validate assumptions and fully answer the main research question may
remain incomplete (ibid).
5.1.4.
Biases
The main biases influencing this research may be the following:
Availability Bias and Recall Bias
Following certain citations from key stakeholders, it seems that the research depends on
the availability of documents. Information gaps may have led to the findings of the
research to rely too heavily on the most accessible data. The availability bias also applies
to the data issued from interviewees. Due to a seemingly large extend of undocumented
processes, the interviewees potentially relied on most memorable thoughts to answer
questions of the interview (Groß and Bayen, 2021).
Confirmation Bias
This research may be at risk for a confirmation bias, as findings may have been
inadvertently emphasized to align with assumptions resulting from theoretical
frameworks described in the literature review (Boone et al., 2011).
Additionally, the research was conducted by one person. Conducting semi-structured
interviews, potentially involuntarily leading interviewees to an expected outcome, leaving
relevant aspects of the research unexplored due to a biased perception of the business
problem (Boone et al., 2011). The study attempted to reduce this bias by including two
preliminary interviews, following a pre-defined questionary and including a desk research
involving a comparison against best practices in the industry and an analysis of
quantitative and qualitative data of the company (ibid).
Due to these biases, the research attempted to expose the potential flaws of the
investigation in the methodology. Furthermore, the project attempted to identify
boundaries to manage expectations of the solutions resulting from this study.
5.2. Fieldwork
In order to address the main research question properly, the current customer
segmentation and customer journey mapping processes were established based on the 4
elements: Customer segmentation, pre-purchase phase, purchase phase, and postpurchase phase. Relevant touchpoints were also identified to attempt to help improve
the market positioning strategy of Stageclix Wireless Systems.
Therefore, the insights from key stakeholders was collected and relevant data was
analysed. The research process was guided by the following Fieldwork questions (FQ):
20
Fieldwork Question
Method of data
collection
Data type
Source
1. What is the current
state of the customer
segmentation at
Stageclix Wireless
Systems?
Semi-structured
interviews, Desk
research
Qualitative
Organizational
data, scientific
literature,
stakeholders
2. What is the current
state of the customer
journey mapping at
Stageclix Wireless
Systems?
Semi-structured
interviews, Desk
research
Qualitative
Organizational
data, scientific
literature,
stakeholders
3. Which touchpoints of
the customer journey
mapping were
identified by the
company?
Semi-structured
interviews, Desk
research
Quantitative,
Qualitative
Organizational
data, scientific
literature,
stakeholders
4. Is there a link between
the stages of the
customer journey
mapping?
Semi-structured
interviews, Desk
research
Qualitative
Organizational
data, scientific
literature,
stakeholders
5. How does the customer
segmentation affect the
customer journey
mapping stages?
Semi-structured
interviews, Desk
research
Qualitative
Organizational
data, scientific
literature,
stakeholders
6. What are the best
practices in the
industry?
Desk Research
Qualitative,
Quantitative
Organizational
data,
Competitor
analysis,
scientific
literature
21
7.
Results
7.1. Semi-structured interviews
7.1.1.
Customer Segmentation
Current State
The customer segmentation process at Stageclix Wireless Systems seems to be informal
and based on restricted evidence as identified by Gabija Juodenyte "So I do not do
segmentation, I just follow what this, what the orders that I get.” (Siepel, 2024;
Juodenyte, 2024a). The interviews conducted with the key stakeholders reveal a
fragmented approach of customer segmentation practices in the company and a lack of
structured organization to collect and analyze data (ibid).
Demographic segmentation
The primary focus of Stageclix’s targeting is on professional musicians and musicians on
the road. Gabija Juodenyte identifies this focus as stemming from product quality and
pricing considerations. However, this targeting does not seem to be supported by any
structured segmentation:
“Our systems are high-priced and high-quality, so we orient towards professional
musicians. It’s not just a basic wireless system; it wouldn’t appeal to a garage band. Our
focus is on serious musicians who value reliability." (Juodenyte, 2024a; Juodenyte,
2024b),
"I can see data on ad clicks and purchases, but I cannot understand the relationships
between customers. I can’t effectively group them or target them with tailored
information." (Juodenyte, 2024a).
Other segmentation
The marketing manager identified that the segmentation is heavily driven by regulatory
constraints and legal issues. Operating primarily in Europe thanks to matching
regulations, the company tries to expand to the US with mitigated results due to FCC
certification, not yet acquired:
"Legally, we are limited to Europe due to CE certification. FCC certification would allow
us to expand into the US, but we are not there yet. This creates a natural segmentation,
but it’s not a strategic decision." (Juodenyte, 2024a).
Additionally, with informal relationships, built on trust rather than formal transactions
with clear data-sharing agreements, the marketing manager and the finance manager
identified the following data-sharing issues:
“a lot of these reseller relationships are built on personal trust and informal agreements.
We don’t have structured insights coming from them." (Juodenyte, 2024a).
"We do not collect data from resellers, and I don’t know if they collect any data
themselves. If they do, we have no access to it." (Siepel, 2024).
Eliane Siepel also adds the threat from having reseller relationships that represent a
competitive risk:
"Resellers like Thomann have copied our products.” (Siepel, 2024).
22
Data-mining and data analysis
The marketing manager describes a certain inefficiency in the current marketing
processes as due to a lack of structured segmentation, they turn reactive rather than
proactive. With difficulties to extract valuable insights from Facebook ads and Shopify
ads, the current marketing performance indicators are lack efficiency, supported by
Eliane Siepel’s point-of-view:
"I rely mostly on visible patterns from Facebook ads and Shopify purchases, but we lack
tools and frameworks to create actionable customer segments." (Juodenyte, 2024a).
"We’ve tried running ads on Facebook, but it’s hard to tell what works and why. There’s
no structured analysis to identify if certain customer groups are more responsive than
others." (Siepel, 2024).
7.1.2.
Pre-purchase phase
Strengths
Stageclix’s current pre-purchase stage appears to appeal to a clear target audience
being professional musicians and musicians on the road:
"Our systems are high-priced and high-quality, so we orient towards professional
musicians. It’s not just a basic wireless system; it wouldn’t appeal to a garage band. Our
focus is on serious musicians who value reliability." (Juodenyte, 2024a).
Gabija Juodenyte also identified word-to-mouth, Facebook ads and the Stageclix website
as effective channels for Stageclix’s sales. With reviews and recommendations, products
sold seem to be heavily recommended:
"Word-of-mouth has been one of our most effective pre-purchase touchpoints.
Customers who are happy with the product often bring in new buyers." (Juodenyte,
2024a).
"We rely heavily on Facebook ads to create initial visibility." (Juodenyte, 2024a).
"Our website is where most of the purchases happen." (Juodenyte, 2024a).
Limitations
The most prominent challenge facing the pre-purchase phase is the absence of
structured customer segmentation to support efficient management of touchpoints
described previously (Juodenyte, 2024a). This lack of segmentation implies a
dependence from quite superficial patterns in social media results. While social media
advertising generates a certain visibility, its effectiveness is inconsistent. Finally, as
resellers play a major role in implementing Stageclix in the US market, the lack of datasharing and insights from customers limits the capabilities to manage touchpoints and
stages of the pre-purchase phase:
"I rely mostly on visible patterns from Facebook ads and Shopify purchases, but we lack
tools and frameworks to create actionable customer segments." (Juodenyte, 2024a).
"The results are inconsistent because we don’t have enough data to refine our
targeting." (Juodenyte, 2024a).
"We do not collect data from resellers, and I don’t know if they collect any data
themselves. If they do, we have no access to it." (Juodenyte, 2024a).
23
“We don’t have structured insights coming from them." (Siepel, 2024).
Additionally, Jochem Welvaadt criticised Stageclix’s major trend of word-to-mouth and
trade show demonstrations:
"Trade shows used to be great for interacting with potential buyers, but we’ve reduced
our presence at these events." (Welvaadt, 2024a).
Identified Challenges
Gabija Juodenyte highlighted the lack of clarity over needs and wants of customers and
what may motivate them to pursue to the purchase phase:
"Maybe the challenge is to know the needs and wants... I don’t have a lot of knowledge
in here." "I don’t have any strategy related to decision-making and what encourages
customers to buy." (Juodenyte, 2024a).
7.1.3.
Purchase phase
Strengths
Key stakeholders identified that the Stageclix e-commerce website served as the primary
platform for direct purchases and financial transactions. While the website allows
customers to make purchases efficiently, the process lacks data gathering and analysis
mechanisms.
"Our website is where most of the purchases happen. But we haven’t optimized it
enough for customer segmentation insights." (Juodenyte, 2024a).
Jochem Welvaadt mentioned a discount system based on post-purchase feedback,
communicated through than you cards included in product packages. While this approach
has shown occasional positive outcomes, the owner acknowledged its limitations.
According to him, such processes stay underutilized and their performance is mitigated:
"Sometimes musicians will contact us and ask for deals. We might offer a discount if
they promise to provide feedback after receiving the product." (Welvaadt, 2024a).
"Sometimes musicians will contact us and ask for deals. We might offer a discount if
they promise to provide feedback after receiving the product." (Welvaadt, 2024a).
"We are giving away money, but it might make sense if it helps build better feedback
and relationships with influential customers." (Welvaadt, 2024a)
Limitations
The interviewees identified a lack of direct communication with customers during this
phase. According to them, the communication is initiated by customers regarding
product specifications, compatibility questions or delivery timelines:
"Sometimes customers reach out mid-purchase for confirmation on product compatibility
or delivery timelines.” (Juodenyte, 2024a).
Eliane Siepel, Gabija Juodenyte and Jochem Welvaadt criticise the missed opportunities
in initiating communication by failing to communicate post-purchase opportunities,
unique after-sales services, product deals, future discount opportunities and product
warranty details.
24
"We don’t inform customers about what happens after they buy. There’s no consistent
follow-up explaining the services they can use, like warranty support or how they can
get discounts on accessories." (Juodenyte, 2024a).
"There’s nothing in place to encourage repeat purchases, no loyalty programs, no
communication about ongoing services or how customers might benefit from follow-up
care." (Juodenyte, 2024a).
"No, I don't think we communicate anything about after-purchase services.” I don’t think
we communicate strengths effectively at this stage." "We rely on the quality of the
product to keep customers happy, but we do very little actively to ensure they buy
again." (Welvaadt, 2024a).
Identified Challenges
The Interviewees identified the lack of communication of potential services related to the
transaction:
"Maybe they would be interested in getting a discount for their old system and buying a
new one. But we don’t have a structured approach for this." (Juodenyte, 2024a).
7.1.4.
Post-purchase phase
The major strength of Stageclix’s post-purchase phase is the highly efficient and unique
technical support and after-sales services initiated by customers facing issues, adding up
to customer satisfaction and understanding of the customer experience:
"We are good at solving customer issues when they reach out. Technical problems,
replacements, or repairs are typically resolved quickly." (Siepel, 2024).
With initiative such as the Thank you card the company seeks to initiate a customer
review system, however showing mitigated results. The company seems to be relying on
insights from customers who actively seek for support to understand the customer
experience:
"We don’t have a structured way to follow up with customers after they buy. It’s mostly
when a customer reaches out to us first." (Juodenyte, 2024a)
The marketing manager criticises the failure to communicate such strengths to
customers. Jochem Welvaadt explains his concerns regarding the content of the feedback
issued from current communication processes of the purchase and post-purchase phase.
He describes this feedback as issued from customers that seeks for support, therefore
incomplete and not fully representative of the customer experience:
"We don’t have a structured way to follow up with customers after they buy. It’s mostly
when a customer reaches out to us first." (Juodenyte, 2024a).
"Without asking, we would get very positive feedback from, you know, happy customers,
and that's pretty rare, I would say. But you know, I also understand that you're not
getting completely honest feedback, obviously, because people understand that when
they get a free system and they need to provide some feedback, you know it's impolite
to say it sucks, right?" (Welvaadt, 2024a).
Identified Challenges
The staleholders identified the lack of structured approach towards building customer
loyalty and initiating potential repeated business:
25
"There’s nothing in place to encourage repeat purchases, no loyalty programs, no
communication about ongoing services." (Siepel, 2024).
7.1.5.
Touchpoints identified
By analysing the semi-structured interviews, the touchpoints mentioned by the
interviewees could be identified. Their utilization, integration in current systems and
performance stays however variable.
Stage
Ownership
Touchpoints
Description
Brand-Owned
Social Media Ads
Paid
advertisements
on platforms like
Facebook
targeting
musicians.
Primary source
for product
information and
direct purchases.
Customers inquire
directly via email
or contact forms
for details.
Resellers facilitate
initial customer
interactions,
primarily in USA
and EU.
Customer
recommendations
and informal
endorsements.
Customer reviews
and occasional
live
demonstrations at
trade shows.
Primary platform
for direct
purchases
managed by
Stageclix.
Live assistance
during the
purchase process.
Transactions
facilitated via
reseller websites.
Resellers handle
inquiries during
the purchase
process.
PrePurchase
Company Website
Direct Inquiries
(Email/Forms)
Partner-Owned
Reseller
Interactions
CustomerOwned
Word-of-Mouth
Social/External
Online Reviews,
Trade Shows
Brand-Owned
Purchase
phase
Partner-Owned
Stageclix Ecommerce
Website
Direct
Communication
During Purchase
Reseller Purchase
Platforms
Distributor
Support Channels
Citation
Gabija
Juodenyte
Gabija
Juodenyte
Gabija
Juodenyte
Eliane
Siepel
Eliane
Siepel
Gabija
Juodenyte
Gabija
Juodenyte
Gabija
Juodenyte
Eliane
Siepel
Eliane
Siepel
26
CustomerOwned
Peer
Recommendations
Social/External
Trade Show
Demonstrations
Brand-Owned
PostPurchase
Customer Support
(Email/Direct
Contact)
Follow-Up Emails
Replacement and
Repair Services
“Thank-you”
cards
Partner-Owned
CustomerOwned
Social/External
Brand-Owned
Reseller Support
Customer
Feedback and
Reviews
Online
Testimonials
Social Media Ads
CrossPhase
Partner-Owned
Reseller Channels
CustomerOwned
Word-of-Mouth
Social/External
Industry Events
Recommendations
from peers and
previous
customers.
Influence
purchasing
decisions through
live demos.
Handling
customer
technical issues
via email and
phone.
Occasional followup emails after
purchase.
Repair and
replacement
services for
defective
products.
Cards including
promotional
promises of
future discounts
for leaving an
online review.
Support provided
by resellers postpurchase.
Customer reviews
and feedback left
online.
Testimonials
shared on social
platforms.
Ads across prepurchase,
purchase, and
post-purchase
phases.
Reseller platforms
facilitating
customer
interactions
across stages.
Informal
endorsements
influencing all
stages.
Trade shows and
industry events
creating multistage
touchpoints.
Eliane
Siepel
Jochem
Welvaadt
Eliane
Siepel
Gabija
Juodenyte
Eliane
Siepel
Jochem
Welvaadt
Eliane
Siepel
Gabija
Juodenyte
Eliane
Siepel
Gabija
Juodenyte
Eliane
Siepel
Eliane
Siepel
Jochem
Welvaadt
27
7.2. Desk research – Identification of touchpoints &
performance indicators
7.2.1.
Stage
Touchpoints
Ownership
Touchpoints
Description
Brand-Owned
Social Media
Campaigns, Online
Advertisements
Email Marketing
Campaigns
Partner-Owned
Distributor
Communication
Channels
Industry Events and
Demonstrations
Product Reviews,
Influencer
Endorsements
Website Live Chat
Advertisements and
promotions on digital
platforms.
Email campaigns
targeted at specific
customer groups.
Communication between
resellers and
distributors.
In-person engagement
at industry events.
External influences
through influencer and
customer reviews.
Real-time assistance on
company website.
PrePurchase
Social/External
Brand-Owned
Purchase
phase
Partner-Owned
Reseller Platforms,
Trade Partnerships
Reseller Sales Portals
PostPurchase
CustomerOwned
Peer
Recommendations
Brand-Owned
Technical Support and
Follow-Up Emails
CustomerOwned
Customer Feedback on
Social Media
Post-Purchase Surveys
Social/External
7.2.2.
Customer Loyalty
Programs
Forum Discussions,
Third-Party Reviews
Purchase portals and
communication channels
via resellers.
Transactional interfaces
on reseller websites.
Customers
recommending products
to peers.
Technical issue
resolution and product
assistance.
Direct customer
interaction on social
platforms.
Customer satisfaction
surveys post-purchase.
Incentives for repeat
customers.
External forums
discussing product
performance.
Performance Indicators in place
Performance Indicator
Description
Website Traffic
Tracks the number of visitors and
sessions on the website.
Source
(Appendix)
Appendix 14
28
Ad Performance
(Facebook, Instagram)
Social Media
Engagement
Customer Acquisition
Rate
Customer Retention
Rate
Conversion Rates
Geographical Insights
Sell-Through Rate
Monitors click-through rates and
engagement levels from social media
campaigns.
Analyzes likes, shares, and comments
on posts to measure customer
interaction.
Measures the number of new
customers acquired during a specific
period.
Tracks the percentage of returning
customers compared to first-time
buyers.
Tracks the ratio of sessions or
checkouts that result in purchases.
Provides data on customer locations
to identify key regions and optimize
targeting.
Analyzes the proportion of products
sold relative to inventory levels.
Appendix 16
Appendix 14
Appendix 15
Appendix 15
Appendix 15
Appendix 14
Appendix 17
7.3. Desk research – Benchmarking & comparison with
industry best practices
Audio-Technica
Stage
Aspect
Channels
PrePurchase
Customer
Segments
Shure
Utilizes a multichannel
marketing
strategy with
digital ads,
strategic
partnerships,
and engaging
educational
content. Social
media
campaigns are
integrated with
influencer
collaborations to
reach diverse
segments
(Kohler, 2016).
Targets both
professional
musicians and
casual users,
tailoring
messaging and
campaigns to
each group
using insights
from structured
Sennheiser
Leverages
global digital
campaigns with
a focus on
audio
professionals
and
enthusiasts.
Strategic
collaborations
expand their
market
presence
(Lighthouse
Independent
Media, 2021;
Kohan, 2023).
Clear focus on
professional
and casual
audio markets,
with insights
drawn from
robust data
analysis and
strategic
targeting
Implements an
integrated approach
using PR campaigns,
influencer
partnerships, and
social media
engagement to
maximize visibility
(lotus823, 2022;
Audio-Technica,
2024).
Focuses on
professional audio
users and consumerlevel buyers with
tailored messaging
across digital
platforms (lotus823,
2022; AudioTechnica, 2024)
29
segmentation
strategies
(Kohler, 2016).
Content
Marketing
Purchase
Process
Purchase
Communic
ation
During
Purchase
Incentives
Extensive
content
marketing,
including
detailed blogs,
video tutorials,
and
downloadable
product guides,
creating value
at each
customer
touchpoint
(Shure Inc.,
2016).
Offers a highly
optimized ecommerce
experience,
enhanced by
reseller
partnerships.
Real-time
purchase
analytics ensure
smooth
transaction
(Kohler, 2016).
Provides live
chat assistance,
interactive
FAQs, and
customer
support hotlines
to ensure
transparency
during
transactions
(Shure Inc.,
2016; Kohler,
2016).
Frequent
promotions,
bundle deals,
and seasonal
discounts are
implemented to
encourage
higher-value
purchases
(Shure Inc.,
2016; Kohler,
2016).
(Lighthouse
Independent
Media, 2021;
Kohan, 2023).
Detailed
product
knowledge
content,
technical
manuals, and
expert blog
contributions
establish
thought
leadership
(Lighthouse
Independent
Media, 2021;
Kohan, 2023).
User-friendly ecommerce
platform
integrates
purchase
analytics for
smooth online
transactions
(Lighthouse
Independent
Media, 2021;
Kohan, 2023).
Proactive
customer
support during
transactions,
with chatbots
and live agents
ensuring
smooth
processes
(Lighthouse
Independent
Media, 2021;
Kohan, 2023).
Strategic offers,
occasional
promotions,
and bundled
deals are
deployed during
high-traffic
sales periods
(Kohan, 2023).
Content-rich
campaigns deliver
technical knowledge,
product
demonstrations, and
insights into industry
trends (lotus823,
2022; AudioTechnica, 2024).
Modern UX/UI design
ensures seamless ecommerce
experiences and
reduced checkout
friction (lotus823,
2022; AudioTechnica, 2024).
Multi-channel
communication
during purchase,
including email
updates and live chat
features. (lotus823,
2022; AudioTechnica, 2024).
Strategic exclusive
deals, bundled
packages, and
seasonal promotions
drive customer
engagement (AudioTechnica, 2024).
30
PostPurchase
Follow-Up
Communic
ation
After-Sales
Support
PostPurchase
Loyalty
Programs
Touchpoints
Integration
Across
Stages
Touchpoints
Reseller
Relationshi
ps
Automated
follow-up emails
include product
registration
reminders and
satisfaction
surveys for
continuous
engagement
(Shure Inc.,
2016; Kohler,
2016).
Comprehensive
warranty
services, access
to global service
centers, and
technical
support hotlines
ensure
satisfaction
(Shure, 2024).
Structured
loyalty
initiatives
reward repeat
customers
through
exclusive access
to offers and
early product
releases (Shure
Inc., 2016).
Omnichannel
strategies
connect
websites, social
media, and
resellers for
seamless
communication.
(Shure Inc.,
2016).
Formalized
reseller
agreements
with defined
data-sharing
protocols
ensure
transparency
and insights
into reseller
performance
(Shure, 2024;
Structured
email
campaigns
provide
updates,
surveys, and
reminders for
ongoing
engagement
(Kohan, 2023).
Automated postpurchase
communication
ensures ongoing
engagement and
satisfaction
(lotus823, 2022).
Extensive aftersales support
includes repair
services,
extended
warranties, and
customer
service teams
(Lighthouse
Independent
Media, 2021;
Kohan, 2023).
Loyalty
programs focus
on long-term
relationships,
rewarding
returning
customers with
exclusive
benefits
(Kohan, 2023).
Effective after-sales
service includes
technical support,
repair services, and
assistance hotlines
(lotus823, 2022;
Audio-Technica,
2024).
Cross-channel
integration
ensures smooth
transitions
between
reseller
platforms,
social media,
and websites
(Kohan, 2023).
Collaborative
agreements
with reseller
networks
facilitate
smooth data
sharing and
transparency
(Lighthouse
Independent
Media, 2021;
Kohan, 2023).
Unified messaging
across social media,
websites, and
reseller networks
ensures consistency
(Audio-Technica,
2024).
Exclusive loyalty
initiatives offer
discounts, early
access, and premium
customer
experiences
(lotus823, 2022;
Audio-Technica,
2024).
Strong reseller
partnerships include
clear protocols for
communication and
periodic performance
reviews (AudioTechnica, 2024).
31
Shure Inc.,
2016).
32
8.
Solution
8.1. Framework for Customer Segmentation and
Response modelling
To attempt and breach the gap in the current customer segmentation process at
Stageclix Wireless Systems, one visual representation of customer segmentation was
chosen. With a modern look into such practices and based on evolutive patterns over
time the Customer Segmentation and Response modelling framework is presented (Yao
et al., 2012). It differentiates from traditional customer segmentation frameworks as it
gathers and details data to make it comparable and readable utilizing two main analysis
tools: Normalization of data, Visualization of the evolution of data over time (Yao et al.,
2012).
1.
1.
2.
3.
Fig.1 Customer Segmentation Model and Response Modeling (Yao et al., 2012).
8.1.1.
Functioning of the Framework
The framework is designed to provde a systematic approach to understand customer
behavior and create a data-base for marketing-related decision-making (Yao et al.,
2012). The Framework compares relevant customers data during different sales
campaigns of a company, normalizes them and creates clusters to create accurate
customer segments. It consists of a number of interconnected steps that facilitate the
process of customer segmentation and response modelling, offering physical touchpoints
for data collection and outcomes that evolve over time (ibid).
Data Collection (1): Data is collected from 3 main sources serving as a foundation for
future analysis and segmentation. These sources are: Customer demographics,
purchasing behavior, and interaction history. Being varied, processing techniques such
as normalization and missing values handling are applied to the data (Yao et al., 2012).
33
Response modeling datasets are reaction data from customers towards pre-campaigns
and marketing campaigns that will allow marketing professionals to identify patterns and
gaps (Yao et al., 2012).
Customer Segmentation (2): The prepared data is input into clustering algorithms and
grouped according to shared characteristics and behaviors. Visual representations such
as scatter plots or heat maps help for identification of the distinct segments (Yao et al.,
2012).
Response Modeling: Response modelling is conducted on the different segments to
identify the responses and behaviours towards marketing events, comparing reactions to
pre-event data/event data and identify a gap (Yao et al., 2012).
8.1.2.
Application to Stageclix’s current situation
Data collection
According to the results, Stageclix currently gathers a large amount of data but does not
utilize it for customer segmentation or other marketing processes (Juodenyte, 2024a;
Siepel, 2024). With existing touchpoints and data-gathering processes, Stageclix
Wireless Systems has a base in collecting basic information from customers.
While Stageclix currently collects data from campaign interactions, the data collection is
mostly based on data provided by customers who seek for support (Juodenyte, 2024a;
Welvaadt, 2024a). Pre-campaign data, however, does not seem to be gathered by the
company (ibid).
Benchmarking contributed to the research by suggesting potential touchpoints that can
be integrated in each stage of the customer journey to inform the customer
segmentation system. Based on these benchmarks, best-practices involve the integration
of pre-campaign surveys through emails and social media polls to analyse the interest in
new product lines (Lighthouse Independent Media, 2021; Kohan, 2023). Data resolving
from these touchpoints are interest in specific products, preferred channels for future
campaign communication, and willingness to purchase during discounts (ibid).
The visual framework adds up to the current needs of data collection of Stageclix by
building up on the current base (Yao et al., 2012; Juodenyte, 2024b). Based on
organized touchpoints in the stages of the customer journey map, it will also add an
organized and pro-active approach to the data collection system as demanded by the
marketing manager and CEO of the company (Juodenyte, 2024a; Welvaadt, 2024a).
Visual Representation of Solution
34
8.2. Framework for Customer Journey mapping
35
Appendices
Appendix 1: Preliminary interview with Jochem
Welvaadt – Identifying the business problem
Interviewer: Good afternoon Jochem, thank you for coming to Paris for this interview. I
am very happy to meet you talk about our business project. May I offer you a drink?
Jochem Welvaadt: No thank you I already ordered something. It is fun to talk about
these things, I hope we can find something nice to work on.
Interviewer: Alright, so I made a summary of how the business project will be
constructed and will send it to you shortly so you can get an idea of what you can expect
from me. In short, the pitch of this business project is: “A company has an urgent
business project that they cannot tackle or solve for timely, availability, capability, or any
other reasons. The student offers their help to make a research on this project and come
up with in an implementable solution to the situation and capabilities of the chosen
company. The academic level of the research is bachelor’s level.” This is why I am
coming to you: To ask you if you have an urgent business problem that you may need
help to solve?
Jochem Welvaadt: Well, you told me already a few days ago and I had some time to
think about what we need help on. I had 2 thoughts. As we have a dutch management
branch and a Lithuanian production and design branch, the communication tends to be
difficult. On the other hand, we have a large customer leaving us. So that may be a
problem.
Interviewer: Which one would you judge as more urgent?
Jochem Welvaadt: You see this cultural gap between us and our branch in Lithuania is
quite hard to define but we manage to work something out. However, we had this talk
with our large Swiss customer some time ago. Due to a management shift in our
company, one of their employees, a French guy pretends he can do what we do, better
and cheaper. He tells our customer to leave, I know it is not possible, knowing the
competitive landscape and prices but I know why he pretends this.
You see he wants to take cheap hardware from China and design products himself.
Additionally, Chinese companies that used to only make hardware for designing
companies like us, they started also making design. They offer cheaper solutions and are
threat for our intellectual property in Europe, and in the Netherlands. So our customers
seem to be switching to Chinese companies because they think it is better.
Interviewer: Does this mean that you would like to focus efforts on retaining this
customer or understand how to convince customer to come to you rather than Chinese
companies?
Jochem Welvaadt: Well our major concern is, how do we make local customers come
back to us and how do we make Chinese customers come to us rather than their local,
Chinese, design companies?
Interviewer: Alright, so if I understand it right, you feel threatened by local competitors
and by emerging Asian competitors and would like to know how to position yourself
better in the market to attract customers? Could you define your goal?
37
Jochem Welvaadt: So the goal would be: How do we position ourselves in the market,
how do we attract new customers and how do we tell customers exactly what to buy?
Our largest threat comes from competitors and new competitors but I also know that
companies don’t always know what they are buying from us. There are markets that we
can reach but they simply don’t know what to buy. We need to make sure that people
know how exactly we are different from competitors, how we fill their needs and
eventually what to buy from us.
Interviewer: Can we then define the Goal of the client as: “Stageclix wants to establish
a clear position in the market and enhance its marketing efforts to customers to retain
customers and attract new ones”.
Jochem Welvaadt: Yes, this is it. Then the threat from other competitors, Asian
companies growing and the low switching costs is basically the reason why.
Interviewer: Would it be possible to talk to your marketing manager on this to define
exactly a GAP and see where exactly I may conduct a research?
Jochem Welvaadt: Yes no problem, I will tell her to email you today.
Interviewer: Finally, for my research I may need documentation and data to analyze
your current processes and potentially compare them to best practices in the industry.
Do you have marketing and operational data that I may use?
Jochem Welvaadt: You know, we are engineers. We do not really document everything
we do because we don’t really like to do that. I think we could do better on that and we
definitely lack some documentation but I think that Gabija may have something for you.
She arrived 1 and a half year ago so she must have something for you.
Interviewer: Thank you for your time.
Appendix 2: (Preliminary) Interview with Marketing
Manager Gabija Juodenyte – Identifying the business
problem
Appendix 3: Interview with Finance Manager Eliane
Siepel
Interviewer: So my first question is, would be on segmentation of customers. My first
question would be, how does StageClicks currently segment its customer base? And
what are the key criteria used for the segmentation? So demographic, purchasing
behavior, preferences, etc.
Eliane Siepel : I don't really think there's a real segmentation. We focused on the USA
in the beginning. I think you heard of Ernie in the USA. And in the beginning, when they
started, they went to some shows, music shows to introduce StageClicks.But it took a lot
of time and effort. And we tried resellers in Europe, and also Adrian from Ernie is also a
reseller. And it's everything is going slowly.So I also wonder what's the best way to reach
our clients. I always think mouth to mouth is the best way. That if one great musician is
telling about it, then it can go fast. But find your path in the music industry, where there
are a lot of distributors and a lot of suppliers who all say they are the best. I don't think
it's easy to enter that industry.
38
Interviewer: From the information from customers that you already had, do you gather
certain types of information to understand how you could reach them better? Do you
monitor those information?
Eliane Siepel: Well, Gabija has now a few months of putting ads on Facebook and I
think we had some buys out of that. But not really much. Because I don't know if you
are still on Facebook, because it's really crappy. And there are a lot of ads on Facebook.
Yeah, I think for your age, it's old school. But the musicians may also promote
themselves and you can place ads, really focus on musicians and things like that. So we
sought something out of that, but not enough to be profitable.
Interviewer: You're talking about resellers, for example, about Ernie. If I understand it
right, he's sort of a big participant in how you reach out to customers. Am I right?
Eliane Siepel : Yeah, in the beginning. And I must be careful. I think there's a lot of
talking. But without a result in the end. Do you think he may have identified customers
or customer types that you might be able to reach out to? No, it was more like he knew
the industry and he knew people in the industry and he knew people who wanted to
promote stage clicks. But I don't know. You can look at his website. It's A-Trend.
Interviewer : A-T-R-E-N-D. USA. And his position would be reseller?
Eliane Siepel : Yeah, in the USA. And Gabia is really struggling with another reseller,
City Music in Denmark. And they also promised a lot, but don't deliver. And the worst
reseller is Tomann in Germany, who did sell, well, quite a few stage clicks products. But
they also made a copy out of it. And now have their own stage clicks. So they stopped
being a reseller. They copied our product and brought it to the market. So it's the new...
Jochem told me it was waiting for it. He was waiting for it, that some other one would
look really well at his product and would copy it.
Interviewer : So I'll try to summarize just this little element quickly. You identify
resellers as your best way to market your product, I suppose. Now with the new arrival
of Gabia, you are more present on social media, but resellers stay the main reach out
branch, let's say. And it is potentially where you might get the most data from
customers.
Eliane Siepel: But the limitation, the threat is this copying threat. Am I right? Yeah, we
saw this one. And we also had another one in former Yugoslavia. I don't know which part
of this now, I think Bosnia. And they started but they didn't show either. So I don't think
the reseller thing is working. Ernie is something different, because Ernie is in the music
industry. And know with the music industry, but in you don't want as being part of
Europe, try to sell something in the USA without knowing their people. It doesn't work.
Interviewer : If it's not word to mouth, you mean? As in you know people so you can
sell?
Eliane Siepel: Yeah, yeah. And they know how it's working in the USA. Because every
country is different in trading. If you look at it in trading few. Yeah.
Interviewer : All right. So that's clearly something to address. How to reach out to
customers in which country.
Eliane Siepel : Yeah.
Interviewer : All right. So two limitations identified. Thank you very much. I think we
should go on to the next element. So the next element will be the pre-purchase.So the
pre-purchase phase would be basically what influences make a customer buy from you
39
rather than somebody else. And I think you've identified already the word to mouth. And
my first question would be how the stage clicks currently understand the problem
recognition stage for its customers. What are the internal and external factors that can
influence this stage? So the problem recognition stage is what do I need? How can a
product or service fill up my need?
Eliane Siepel: I think the main thing and that's with all the products from Jochem's
company is quality. We have a real high quality. If you know the people in Lithuania and
Jochem, they are really dedicated to get it 100% well. If it's not 100%, we don't sell it,
we don't deliver. And that's not like if it's mass production, and that's what a lot of
companies do this, they buy it in China, they make mass production, and you have to
risk that not all the products work well. And it's also the frequency is different from
others. So there's not a lot of interferences. it's the right channel, the maker hurts
channel, it's built on. So they don't have a wire on their guitar, and they don't have
interference on it. So there's a lot of quality in the product. But it's Yeah, that's the main
issue. We have a really good product, but can't find to bring the message to the potential
clients.
Interviewer: So you're working on quality, and how would be, for example, the battery,
the battery lifetime, for example?
Eliane Siepel: That's good. And we also have a deal for that to change the batteries.
And also with if, if there are issues with it, they can send it to us, we offer them, they
can buy a new one, and we keep the with some extra money, and they can have a new
one, or we repair the old one. So with current customers, they, I think they are really
happy with it. I sometimes see the emails coming, coming by, and they say, Oh, it's not
working. Oh, I'm so can you please help me and I need it right now. And so that we
always find a solution for them. And I think in the past, because I'm also from finance
for your home. They were too kind, because everything costs money. So you can't give
everything away for free. But I think always when the client reach out, we really try to
help them. So I think the service is really personal, and really working towards a
solution. And that's, I think, the best thing when it's not a big company you go into, it's
a small company with really dedicated people and focused on really high quality. And I
think that's the main message that people need to know when they are looking for a
really good component for the guitar.
Interviewer: so from what I understand, please correct me if I'm wrong. You have
identified your strength as a company, but also for your product, and for your service,
because you seem to be very well aware of complaints, etc. Do you set the position,
knowing your strength, saying we have quality, we can replace, we are available to
trade? And then customers will come up to you and use your services? Or do you try to
understand the needs of your customers? And do you try to make your services and
products specifically to them?
Eliane Siepel : I think it's the first thing. It started with, but Jochem knows better than
me. Jochem also plays the guitar. So it started for him with thinking about it, that all
things can be made better. Jochem also plays the guitar and Jochem is always thinking
of how he can create things to make things better. And that can be stage clicks for a
guitar, but it's also with the senses we deliver for another client. And it's also with a
current project we don't deliver right now, but he's still working on drones. How you can
be on the right frequencies to make those things better.And it's really funny because we
in the last months we had a few new clients and it pays back because those were clients
they have heard of us by other clients and they say, oh, we're here, you can solve
problems on the technical issues we have. So we have now three clients, they send their
40
products to us and we look at it and we tell them that now this is wrong, that can be
better, that can be better.
Interviewer: You're telling me a lot about how you seem to have a very clear position
in the market of being very qualitative. So over time it will become even more quality,
but also people come to you because you make tailor-made experiences basically. Does
your company control this word to mouth to some extent? Do you know where it's
going? Do you know what are the key actors in making that someone will know about
you or not?
Eliane Siepel: No, I don't think we really know because the last few clients came
through other clients or through people I knew or Jochem knew in personal life. So it's
really different. We now have Hoffman Fördertechnik in Germany who have a machine
for in a warehouse and that they had a lot of issues with it and they couldn't find the
course of it and we have another company in Holland for deep sea measurements and
they also had troubles with the right frequencies and with the measurements and so if
they are looking for it and they hear about Jochem, they're all like, ah, can you help me?
So I think it's rare that there are not that many specialists at small companies who can
help you on a special detail. I think bigger companies will do like that, okay, that's too
small for us or that's too special or we don't do that but if I see now like those
companies they are really thankful that we can help them and they will pay for it.
Interviewer : Do you know competitors that do the same as you?
Eliane Siepel : Not really here, no. There are a few, I don't know if it's really
competitors, they are all different. I started working for Jochem in 2019 and I was
always looking like, oh, you do this and you do that and you do that, it's more like, oh,
that's basically fun. We started with sensors and we do this and we do that. I feel like
this word-to-mouth thing is a clear strength in the marketing. I really think that, yeah. It
is not controllable right now, it is very difficult to, you cannot really make a marketing
strategy out of word-to-mouth.
Interviewer: Alright let’s go over to the purchase phase, it says it, the customer pays
for a product or service and acquires the product. So my first question would be, how
does StageClicks currently approach the product choice and purchase task of the
customer journey? What factors are considered in this stage? So, basically, what stages
does the customer go through to buy a product? Is it long? Is it not? Does it demand
long discussions?
Eliane Siepel: No, we have the Shopify eShop and Kavya can tell you more about it
because she's doing that part and we have a follow-up with it one day. So Kavya is
always thinking about doing some promotional things like now for Christmas.And so I
think when the client finds us on the eShop, on the StageClicks website and orders, then
the follow-up is really quick.
Interviewer: All right. Do you manage the interactions that you have with them to
create an experience for the customer to make it specifically tailored for them or
potentially not so forgettable?
Eliane Siepel: I think maybe we can do better, but I think the best way to find out the
right answer to this question can be given by Kavya. All right. Then I will conclude this
phase as Kavya seems to be the person to... She's on top of it, so I don't follow it in
every detail.
Interviewer: I think you may be able to help me out with the understanding of what is
the stage of a customer when they buy a product from StageClicks. Are they a customer
41
that will stay a customer? Are they a one-time customer and then no backup will be
done on him and his product? As in, will you upsell other products? Do you have any
processes in that sense?
Eliane Siepel : No. I saw some, but that's from the financial side, I saw some recurring
clients in the invoices and if they have an issue with it and it's not always the cause is in
the product, it can also that they send the email, I dropped it or I stood on it or things
like that. Can you have a look at it or fix it or can you send me a new one? So, the
upselling happens when they send something back to us and we try to sell them a new
one because the new ones are always better compared to the old ones.
Interviewer: And this usually takes a little time, I suppose.
Eliane Siepel : Also a little time, yeah. Gabija is always on top of it, she's really good.
All right. Well, then let's jump straight away to the post-purchase stage because we're in
it and you've mentioned it several times.
Interviewer: Can you explain the processes that you use to make sure that customers
are aware of what you offer after they purchase products or services? How do you
monitor their satisfaction and after, for example, a certain discussion with customers, do
you analyze or monitor the repurchase considerations?
Eliane Siepel: No, I think we can also do better on that part.
Interviewer: So, people will just email you and you will respond to it? But you do not
reach out to them to telling them this is how you can reach out to us, this is what we
offer?
Eliane Siepel: No.
Interviewer: Are customers aware that your services are extremely open and very
unique in helping them out basically after they bought a product or do they do it
naturally?
Eliane Siepel : I think the second part...Yeah. They naturally come to us.
Interviewer: So, in your processes, there is something that tells customers that you do
high quality, that you do tailor-made and that you will follow up, but you don't tell them
specifically?
Eliane Siepel : No we do not tell them. I think you're right. I understand you're asking
a question, but I think it's... It may make a difference. Yeah, I want to say something
different, but it's not like that.
Interviewer: Last element. So, what strategies does StageClicks employ to maintain
engagement and build loyalty with customers?
Eliane Siepel : I think that's also a question for Gabija. I saw some emails coming by
last week to Jochem about some suggestions. And she's there mainly for that purpose in
the Lithuanian office to promote and to handle StageClicks. She also does some other
things. She also does a promotion on not only Facebook, but also we have LinkedIn. So,
if the marketing part on the website and on LinkedIn and Facebook is done by her. I
think Gabija is really good. Because last Friday, Felice went to a seminar, and he
promoted that we can do CE certification. You know, all technical call parks have the CE
on the sticker. And a lot of companies are looking for quality company who can do that
those for them.
42
Appendix 4: Interview with Marketing Manager Gabija
Juodenyte
Nicolas Codreanu 2:00
My first question would be how does stage Stageclix currently segment its customer
base?
What are the key criteria used for segmentation? For example demographics,
purchase behavior preferences.
Gabija Juodenyte 2:17
OK.
So I do not do segmentation, I just follow what this, what the orders that I get. But
the first thing it would be legal thing.
We have CU license I mentioned too.
There is C and then FCC.
So C only allows to sell to the European Union, to the Europe, not Union, but to the
Europe.
So the first thing that how we segment customers is that we cannot sell outside the
Europe.
So.
This is kind of a legal requirement, so this would be demographics.
Yeah. And also I know if this is, this is probably not.
The not the segments that we actually you know consciously do, but what I try to do
so to target the specific audience which is professional musicians and musicians on
the road.
And like the whole copywriting and.
Whole message is you know based for for this segment and if this answers your
question.
Nicolas Codreanu 3:56
Do you?
Do you monitor the data, for example from?
Because you you do have professional customers and you you do have.
Customers of like musicians on the road, but I'm also aware that you that vendor
approached you some time ago.
43
To work with you, which would be neither of both and it would be a high scale, high
quantity company.
How would you monitor data to? How would?
How would you and do you monitor data?
To possibly make a segmentation or is it not in your?
Gabija Juodenyte 4:41
Understand the question, sorry.
Nicolas Codreanu 4:43
So you identify 2 customer types.
Professional customers and customers on the road.
Sorry, musicians on the road.
Gabija Juodenyte 4:51
Musicians, yeah.
Nicolas Codreanu 4:54
In the example now where Fender, you know Fender.
Gabija Juodenyte 4:58
Yeah, I know, but I don't know that they reach out to us.
Nicolas Codreanu 5:03
Well, then, let's say hypothetical.
Let's say Fender approaches you or a big touring company because in the industry
there is a certain amount of customers, customer types and those are big customer
types that create a lot of volume.
Gabija Juodenyte 5:08
Yeah.
44
Nicolas Codreanu 5:19
Do you have a process in place to monitor or research?
Their criteria in case there is a different kind of customer. Do you conduct research in
the in the?
In the literature to identify all the customer potential customer types that you could
have.
Gabija Juodenyte 5:43
Personally, I don't, and I don't know whether Stageoulos ever done that.
Because, well, I work here for like a year and a half. So I I came here and then I I did,
you know, the shop for Europe and then I know that we're working on FCC.
So potential USA customers.
But whether it was done before, I don't know that.
Nicolas Codreanu 6:14
And so you're talking about this Europe segment and about this America segment.
Gabija Juodenyte 6:18
Yeah.
Nicolas Codreanu 6:19
Are you?
Have you identified the the same customer types for the USA?
Gabija Juodenyte 6:25
Yes.
Well, because it's high.
Well, it's these systems are high-priced.
That's why we Orient to professional musicians.
They're also high quality, so you know it's we cannot market them as you know by
wireless system because it's not just wireless system and probably wouldn't be the
best choice for you know.
45
Group Well boy band that are playing in the garage, you know? So that's why it's
professional musicians.
Nicolas Codreanu 7:10
Apart from the from the process of segmentation, there's also the process of
gathering data before that.
What are the key challenges stageclicks faces in capturing the complexity of
customer behaviour or demographics or other types of criteria?
Through its processes.
What are the limitations in? How do you address them? For example, what are
missing channels? What are?
Missing processes or there you were talking about legal?
Problematics. Are there others?
And do you address them?
Gabija Juodenyte 7:53
I guess what I can see right now is the actual segmentation part and that.
The customer that we are, you know, trying to target, we don't know very well what
are the other possibilities.
So we know that there are professional musicians and they're, you know, somewhere
in Germany and Netherlands, most of them where we target. But others. I believe
that that would be one of the.
Missing point and.
Oh, for me there are limitations.
I don't know how to catch those customers, you know. Well, I can see data.
I I can see what watches are as and what clicks on them, and I can see what
purchases from us, but I cannot find the.
You know the relations between those people.
And how to better group them and how to say well, this is one, this is 1 segment and
this is another.
And we can, you know, target one with one information and other with others.
Yeah. So I believe for me this is if that's that answers your question.
46
Nicolas Codreanu 9:23
So for you a possible solution.
Please rectify if I'm wrong or.
Gabija Juodenyte 9:29
Mm hmm.
Nicolas Codreanu 9:31
A possible solution would be that.
You would need.
Sort of a framework.
A scheduled framework with directives and with.
An organization on how you can.
Segment those customers and how you can group them together.
Based on the base that you already have, because you already have quite of a sort of
a solid base with all the documents that you sent me and that you have from your.
That you have declined from your from your processes.
Gabija Juodenyte 10:08
Yeah.
Nicolas Codreanu 10:11
With an advance on what are the possibilities towards the future amorit.
Gabija Juodenyte 10:17
Yes, yes, that's right.
And also you know.
How do you see this? Whether you target you know those segments by location or
maybe by?
Their.
How to say actions?
I don't know how to say it but.
47
Nicolas Codreanu 10:39
Buying behavior.
Gabija Juodenyte 10:41
Behavior. Well, not. Not entirely buying, but behavior in general.
Maybe like, you know, active social media users or, you know, chronically online.
I don't know how to say, but you know just.
Just to give you an example.
Nicolas Codreanu 11:04
Just as a little, you know, twist.
Eliana.
Gave me the example of.
Resellers being the biggest threat to your intellectual property, but also being your
biggest reseller in or basically your seller in in product and also potentially the
biggest.
Gabija Juodenyte 11:23
Mm hmm.
Mm hmm.
Nicolas Codreanu 11:34
Potential data collector do you collect data from them and do you know if they do
have collected collected data in any way?
Gabija Juodenyte 11:35
Pretend it.
Nicolas Codreanu 11:44
This is basically how why I want to, you know, get to them because they might have a
solution that you already have.
48
Gabija Juodenyte 11:54
When you say the sellers, you mean American guys?
Nicolas Codreanu 11:58
I'm talking about what's his name.
Ernie I I know you have Tolman, et cetera, but I know you have some bad experiences
with them.
Gabija Juodenyte 12:01
Ernie.
Yes.
Nicolas Codreanu 12:06
I'll take Ernie for now.
Gabija Juodenyte 12:10
OK.
Well, we do not collect data from them.
I don't know whether they collected it.
This is one question.
You know, also you can ask them if you if you speak with them.
Whether they see that, whether they have a motivation to collect data for stage clicks
because they sell a lot of things.
So how does you know stage clicks?
Whether it's important for them to to spread more or they just see as that we sell
them and they sell to whatever comes.
Nicolas Codreanu 12:51
Do you know the name of the company or of the website?
Gabija Juodenyte 12:54
49
I.
Trans 8I trained.
And I'll I'll just read the chat.
Nicolas Codreanu 13:06
Trent.
OK.
Then we can go over to the next element element to the pre purchase phase if you
want.
So the segment segmentation of customer effects, all three stages of the customer
buying behaviour because it.
Gabija Juodenyte 13:17
Yes.
Nicolas Codreanu 13:30
Affects their influences in each stage.
And how you we can predict their.
Their their decisions.
Gabija Juodenyte 13:42
Are you here?
Nicolas Codreanu 13:44
So.
First question for the pre purchase phase would be how does Stageclix currently
understand the problem recognition stage for its customers?
The problem recognition stage was what internal and external factors are considered.
To influence.
This gap that the customer wants to fill product my need.
Gabija Juodenyte 14:09
50
Hmm.
Stitch Fix.
So the question is, how understand?
Your question is how stage looks understands the question the the problem.
Nicolas Codreanu 14:24
The problem recognition stage and what are the internal and external factors that
you consider to influence them?
Gabija Juodenyte 14:31
OK.
So so my question, my answer should be factors that we see in the market.
Nicolas Codreanu 14:39
It can be.
Eliana, for example, identified that you do not have any internal external factors, but
she is quite stranger to the marketing strategy.
I suppose so.
Gabija Juodenyte 14:52
OK. Yeah.
Nicolas Codreanu 14:53
You might be able to give me.
Gabija Juodenyte 14:55
Yes. So we understand at least some of it.
Can you specify internal what is?
What are internal factors?
Nicolas Codreanu 15:10
Internal factors may be.
51
The product.
Capabilities.
Might be the product strength or weaknesses, or in this case more strength.
Gabija Juodenyte 15:27
OK.
Nicolas Codreanu 15:27
External maybe?
For example, a brand association.
Gabija Juodenyte 15:30
So it's like strength, weaknesses, opportunities, threats, that's what.
Of stageclix.
Nicolas Codreanu 15:37
Not only.
Not only because it's about the problem recognition.
What is the problem of the of the customer?
Gabija Juodenyte 15:46
OK.
Nicolas Codreanu 15:46
A problem?
A customer might customer might want the quality that your product offers because
you have quality, but they might be looking for something else in the same product.
Gabija Juodenyte 15:57
OK.
So there's so many questions.
OK.
52
Well, I don't know if I should start from that, but well, the problem. The main
problems that I see that customer might look for solution.
So there's this playing with wires.
They do not want to play with wires, and second, they do not want interference when
playing with wireless system.
So these are the main, I believe selling points that we offer.
So it's wireless system, but it's also on the 5.8 gigahertz, which is Clear Channel and
that's why it does not interfere with Wi-Fi or Bluetooth.
And it's a reliable system and also one additional point that it's robust and built for
Rd.
So it's very easy to set up, very lightweight.
You can, you know, just back in the backpack and and go.
Yeah.
I don't know.
Maybe you can ask more from that.
Nicolas Codreanu 17:15
Yeah, there's a second question that involves the information search and evaluation
of alternative stage think.
Gabija Juodenyte 17:17
Hmm.
Yes.
Nicolas Codreanu 17:22
Pretty self-explanatory.
And you've given me a good comparison of what our competing product, what
strategies does stage clicks employ to support customers in the information search
and evaluation of alternative stages?
And how are they tailored to different customer segments?
Gabija Juodenyte 17:46
Not very taller than.
53
I don't know there is a specific strategy for the information for the comparison.
Well, we are trying to highlight that is 5.8 gigahert, but you know.
That that's basically it.
Nicolas Codreanu 18:10
Do you make overall strategy of marketing where you give the basically the strengths
of your your product or do you try to understand what different customers?
May like may be looking for and.
Your product that may have, let's say one or two strengths marketed in the right way
might be.
Reaching out to a different customer that is looking for something different in the
same way, but differently.
Gabija Juodenyte 18:48
No, we don't have that strategy and this would also, I believe, just like in addition.
What we already talked about, you know customer segments and how to reach them.
So this is just additional point if you have segments then maybe you have like unique
selling points for that segment that could that could you know.
Better.
I don't know how to say, but better solve their problem well. The specific setting
problem.
Nicolas Codreanu 19:24
Then so how does Stagecs leverage customer complaint journey mapping to gain
insights on the pre purchase stage for example?
Because customers will always be looking for review. For example similar people.
Do you have a customer journey?
A complaint journey mapping or?
Strategy involving.
Sorry, complaints.
Gabija Juodenyte 19:54
No.
54
Nicolas Codreanu 19:57
You have you tried to monitor the the for example patterns in the complaints or in
the what complaints can also be positive?
Reviews. Yeah. Complaints, reviews, anything.
Gabija Juodenyte 20:14
We have reviews we don't have, like particular strategy for that.
Nicolas Codreanu 20:16
Hmm.
Gabija Juodenyte 20:21
But we have reviews and this is one of the post purchase things, but like this is the
other state the the last stage of the purchase. So the.
Also like.
Customer retention, I believe it's called like that.
So to to get a review. And you know, if that's a negative review or it's not that good
review to to always ask whether how can we improve, but it's not a strategy, it's just.
No. From time to time we do that.
Yeah.
Nicolas Codreanu 21:04
Right. How does stage fix customer segmentation efforts?
Inform the development of marketing strategies for the purchase stage. So in this
case, do you use the data that is at your hand?
To potentially understand the customer over time.
Gabija Juodenyte 21:29
Well, it's difficult to say because we don't have.
We have dated not for a long time, so it's difficult to say.
That we, well, I cannot say that we're making decisions based on the overtime you
know.
55
Evaluation of the data.
One maybe action that I do.
Is.
Well, I try to.
See what are the countries that we have most customers and well it's based on the
purchase rate. So from which countries purchases are the highest and then target
those.
Locations and do not spend, you know.
Other well, money for the other locations.
Maybe it's not the best approach, but that's what they do. But.
I believe this is the only thing that we do based on data right now.
Nicolas Codreanu 22:43
But that's the sort of customer segmentation.
Who does that?
Do you do that?
Gabija Juodenyte 22:48
Yeah.
Nicolas Codreanu 22:50
Did you send?
Did you send me by any chance already a document on this?
I know you have given me demographic and also amount of product sold, but do
you have any document related to that? So I can like you know refer and like
understand a bit.
Gabija Juodenyte 22:56
I believe.
Well, I have from this Shopify platform so I have like report and you can see based on
countries how many products are sold.
I believe I sent you that, but I can send you once again.
56
And if that helps you, I can try to.
Filter not only by how many products sold, but what products sold because.
Nicolas Codreanu 23:34
On it.
Gabija Juodenyte 23:36
For example, like maybe.
If there are sets so.
The average order value is higher and you know.
So yeah, by country.
Nicolas Codreanu 23:50
Yeah, well, that's that's a great base of customer segmentation.
Gabija Juodenyte 23:54
OK.
Nicolas Codreanu 23:57
Last question on the pre purchase phase, what are the key challenges stageclix faces
in matching its products and services to the needs and wants of different customers?
Gabija Juodenyte 24:11
Maybe the the challenge is to to to know the needs and wants.
Well, I know.
Have you spoken to to Jochum about this like the the 1st?
The the initial idea.
How did they start to, you know?
Well, I know.
How did they start stageclicks but?
What? What was the?
Why they chose Germany and Netherlands and you know to to target the most so.
57
I believe you could ask could answer you the best.
What are they?
Their needs and wants and well for me, I believe I don't have a lot of knowledge in
here.
Nicolas Codreanu 25:07
Right. So the basically your challenge is clear, understanding the needs and wants.
Gabija Juodenyte 25:14
Yeah.
Nicolas Codreanu 25:17
Yep, I I won't ask more.
Because you know, Jochen might know.
But if Jochen knows but you don't, it's not embedded in the in the processes.
So you know, there's a bit of a, there's a bit of a of a gap here.
Gabija Juodenyte 25:32
Yes.
Nicolas Codreanu 25:34
Element 3 and then we have two more than I leave you alone.
Thank you very much for your time, by the way.
Gabija Juodenyte 25:40
It's alright.
Nicolas Codreanu 25:41
The purchase rates, so basically onboarding the customer into the decision making
of buying the product.
How does stage clicks currently approach the product choice and purchase task
58
stages of the customer journey?
Basically choosing a product and acquiring the product.
Gabija Juodenyte 26:02
You give me an example.
Nicolas Codreanu 26:05
What are the processes involved in?
Giving the opportunity to the customer to choose a product from amongst others
and how long how is the process scheduled to make sure that he can buy it quickly
or not or can buy again over time?
Now pull this together.
Can you describe the the process?
Gabija Juodenyte 26:31
Process. Do you mean like you know, customer comes to our website and then
chooses product and then?
Nicolas Codreanu 26:38
If if that's. If that's how you sell it, yes.
But if you sell by sending them emails, this one, if you sell by resellers, this one you
know.
Gabija Juodenyte 26:48
OK.
Yeah. So, but we sell by from resellers, but I don't have a lot of knowledge there.
But I believe resellers.
Well, well, you should speak to them.
I don't know about.
I believe they just. They also have the workshop.
We do have workshop as well and.
I already mentioned that we run ads, so one of the source that customer comes to
our shop is from the paid ads.
59
The other source is Google search. I mentioned you SEO.
So it's search engine optimization.
We target some keywords and if customer searches those keywords then they could
find stageclicks.
And yes, by when when they come to web shop, it's just the.
Well.
The goal is to make this process easy and you know.
How to say it?
So that intuitive.
Just to buy the product.
I don't know whether that's an answer you're looking for.
Nicolas Codreanu 28:13
Yeah it does.
But what are the channels that give the opportunity for the to the customer to
choose between product? So you have Google, you have.
Ads, but once they have, they are in comparison website.
Which comparison websites are there?
Gabija Juodenyte 28:38
I don't understand, sorry.
Nicolas Codreanu 28:40
The do they buy on your website?
Do they buy on resellers websites?
Do they buy?
Does the app.
Does the advertisement tell them? Oh, you can buy this, this, this and this, and then
they choose in this moment.
Gabija Juodenyte 28:54
OK.
So we they buy usually from our website.
60
We do not.
Hmm. How to say it?
Right now.
We have resellers for those markets that we do not sell from our webshot.
Is it?
Is it clear?
For example, we have older systems stageclix and they're sold in USA. They're not
sold in our website.
And from our website we sell newer systems.
We work on the FCC so we can sell in the USA.
But currently this is like resellers are for the market.
That we are not in to better enter the market.
So it's not like we like the customer can buy from the same product from, you know
all the resellers and our because it's only our web shop.
Nicolas Codreanu 30:04
Right. So the resellers?
Gabija Juodenyte 30:04
For.
Nicolas Codreanu 30:07
Website Sends the customer to your website.
Is that what you're saying?
Gabija Juodenyte 30:12
No.
Resellers sell only what they have.
I don't see. OK.
It's like let's imagine.
Better example is that some resellers have.
Stores physical stores. We don't have physical store in Europe.
Anywhere. So we sell online and then resellers for example in USA they have store
61
and they sell in that store. The products they have. But we do not have those
products.
At our store.
Nicolas Codreanu 30:54
'Cause you don't stop.
Gabija Juodenyte 30:56
Yeah, but we don't have in the web shop also.
Nicolas Codreanu 31:00
You mean you don't?
Oh, so it's it's exclusive to them.
It's exclusive to the resellers.
Gabija Juodenyte 31:05
Yes, yes.
Nicolas Codreanu 31:07
Do you have product that you sell to that the resellers sell but that yourself don't
sell?
Gabija Juodenyte 31:15
With the USA, yes.
Nicolas Codreanu 31:18
Well, what would be those products?
Gabija Juodenyte 31:21
'Cause older systems.
That have FCC and we do not sell them because all this is another.
62
Whether a strategy is the good word?
But let's let's use it another strategy to, you know, to sell new systems and to cover
the market with new systems.
But in USA there are older systems that are sold right now.
But we do not sell them in EU anymore.
Well, we have them and we can, but it's the it's the open share, it's not.
2.
Nicolas Codreanu 32:02
Older product.
Gabija Juodenyte 32:04
What?
Nicolas Codreanu 32:05
Why do you sell older products?
Gabija Juodenyte 32:08
Why we do sell older products?
Nicolas Codreanu 32:10
Yeah.
Gabija Juodenyte 32:12
We don't. USA does.
Nicolas Codreanu 32:15
Yeah. Why does. Yeah, but you give. Yeah, OK. Why does.
Gabija Juodenyte 32:18
Yeah, yeah.
63
It's the same legal thing.
They have them in stock and this and they have FCC for those systems.
Since new systems do not have FCC.
All we got for one, I don't know how how we'll go from there, but let's say we don't.
We do not have FCC, have you have your research FCC?
Crystal this is.
Nicolas Codreanu 32:50
The basic basically the.
Regular multi assume.
Gabija Juodenyte 33:00
Regulation.
Nicolas Codreanu 33:01
Legal. Yeah, the legal regulation for selling.
Gabija Juodenyte 33:02
Yes.
Electronics.
Nicolas Codreanu 33:06
Audio communication and electronics.
So basically you say that the old products have this.
Are OK with the regulation, but the new ones are not.
Gabija Juodenyte 33:18
So that's why we cannot sell them in USA.
Nicolas Codreanu 33:25
Is there?
Is there a A? Is this a reason for construction for innovation? Or is it because you
64
have problems with? I don't know, legal issues or what made this twist?
You know that.
All of a sudden you don't have the regulation anymore.
I don't know.
Gabija Juodenyte 33:42
We we don't have them yet.
I know how to say we're working to get them.
Nicolas Codreanu 33:46
Huh.
Gabija Juodenyte 33:50
And yeah, but the going back to the question.
So basically, our resellers well in USA they are we can you know we can also sell from
our store if if it would be possible in legal way.
We could but it's.
Way easier to enter USA market when you have people in USA that already know the
market and that there are other things like warehousing and.
Warehousing and other.
Other challenges that you is just better overcome having reseller not and not selling
our like ourselves.
Nicolas Codreanu 34:46
Once you have, when do you plan on receiving the ffcc?
Gabija Juodenyte 34:51
We have for one system for another.
I don't know, and I believe you're is the the one to answer this because it's very
difficult process and then they do testings for a lot of time.
And and then, yeah, and if something's not right, then you have to fix. And then you
have to retest it again. And I so.
65
It's not.
That, you know, we can change.
Nicolas Codreanu 35:27
OK, how does now stageclicks understand you have some kind of cluster
segmentation, so I will say customer segmentation and a pre purchase stage to help
out this purchasing strategies and afterwards the post purchase strategy.
Gabija Juodenyte 35:36
Yeah.
New to face?
Nicolas Codreanu 35:51
Excuse me.
Gabija Juodenyte 35:53
Can you?
Can you repeat the question or maybe to try to ask specific specific you know?
Nicolas Codreanu 36:00
How does stageclix?
Utilize the stages.
In the pre purchase phase you know all the data gathered. All the you know trying to
match the product needs and the products and the services with the needs and
wants.
Gabija Juodenyte 36:21
Mm hmm.
Nicolas Codreanu 36:22
Understanding what customers are influenced by before choosing your product over
somebody else's.
66
How do you use these information or these processes to?
Inform your strategy in the purchase phase and in the post purchase phase.
Gabija Juodenyte 36:45
So this is not based on data.
At all.
Nicolas Codreanu 36:49
OK.
So there's no link between them, OK?
Gabija Juodenyte 36:49
So yeah, we we do not understand if I can say that.
Nicolas Codreanu 36:56
OK.
That's good. That's a good.
Do you try to create?
Key touch points.
And interactions between Stageclix and the customer in the in the purchase phase,
right when they buy it to make their experience, to enhance their experience to
make.
Seamless customer experience.
Gabija Juodenyte 37:21
When buying product.
Nicolas Codreanu 37:24
Yeah, and reaching out.
For the product.
Purchase.
67
Gabija Juodenyte 37:34
I'm not sure if I understand, but is call to action one of them.
Nicolas Codreanu 37:40
Call to action. What do you mean by that?
Gabija Juodenyte 37:41
Yes.
OK.
So this is called.
You can research more on this. This is like.
Something that encourages.
Customer.
To buy, and this is usually.
Used on buttons.
Or there is, you know, one sentence that gives this Russian adrenaline and
something. For example what I use.
I don't know if that's good, but in stage clicks the main page.
You can see button that says find your gear.
And this is.
I know this is a good example, but I I want to think that this.
Better way to say it than shop now, but you know to say find your regards.
This maybe relates more to the musician and also encourages action so.
Today is usually used to click on something you know, you say, or you know if there's
sale and you say.
Do not miss the chance and then click on that so.
Yeah. So if it's clear for you, what is CTA?
I don't know if this one of the things.
To make the experience better or similar.
Let's start. Yep.
Nicolas Codreanu 39:18
68
If it yeah, it definitely enhances the customer experience to some extent.
Do you? Is this the only the?
Only process process that you have identified.
Gabija Juodenyte 39:35
Book.
Again, I believe it's not based.
Any data?
It's just.
What I try to follow is the best practices you know in the web shop.
So what you can do is to write engaging copy and to have niceta copy is the text.
Used on every page of the workshop is basically the text that, well, the whole shop
should.
Guide the customer to the purchase so everything that you say on the website
should encourage in one on or or another way to make this decision.
So this is.
Yeah, what?
What I'm trying to do but.
It's not based on any data or any customer.
Or I don't have to say, but it's not like I.
Notice that customers need that or you know they better respond to one than the
other.
So yeah, there's also my big app here.
Nicolas Codreanu 40:58
Potentially yes.
Is there a way?
Do you have documentation on the customer experience?
The customer experience when buying.
Gabija Juodenyte 41:12
Probably no or not something that I could.
Yeah, probably no.
69
Nicolas Codreanu 41:22
How does stageclix monitor and evaluate the effectiveness of its strategy in the
purchase phase?
Gabija Juodenyte 41:30
It's there are no, you know, keep your eyes.
Nicolas Codreanu 41:36
It is fine.
Gabija Juodenyte 41:36
Anything.
Nicolas Codreanu 41:38
What are the main challenges stageclix faces in in rolling customers into the
purchase decision, and how does the company address those challenges?
Gabija Juodenyte 41:50
Purchase decision is the actual purchase, right?
Nicolas Codreanu 41:54
Yeah. Or the product choice.
Gabija Juodenyte 42:00
I don't understand when you say product choice.
Nicolas Codreanu 42:03
Your choices. You choose a product over another one.
70
Gabija Juodenyte 42:08
But from our web shop or from any different, OK.
Nicolas Codreanu 42:12
Any anything that sells?
Gabija Juodenyte 42:15
So OK.
Probably is the the the biggest challenge is to recognize.
That any of the customer decision and you know.
On what they're making their decision and what encourages them to buy because,
well, I already said that I probably don't have any strategy.
That's related with.
Decision making.
And what encourages them to buy so?
Nicolas Codreanu 42:57
Alright, can you elaborate?
Gabija Juodenyte 43:01
Leverage and what?
Nicolas Codreanu 43:05
And the challenge that you have identified.
Gabija Juodenyte 43:10
Yeah.
OK so.
I'll just. I don't know how to elaborate, but the challenge would be.
To better understand the customer, what encourages customer to buy from us and
what encourages to buy?
71
Well, what would be a best way to guide the customer through our website or
through this process?
Nicolas Codreanu 43:46
Print.
Gabija Juodenyte 43:47
Maybe through this process?
Nicolas Codreanu 43:50
Basically utilizing the pre purchase phase for the purchase phase.
Gabija Juodenyte 43:54
Yes.
Nicolas Codreanu 43:55
OK.
I'll conclude that element 3 and then the last element, which should be quite quick.
Eliana specified that you were really good in the post purchase phase because you
monitor a lot of of complaints and also you help out in the in the, you know, tracking
emails or messages from customers that need replacement.
I need help with their.
With their product.
So how does STAGECLICK scan to approach the post for purchase phase, including
product use?
Gabija Juodenyte 44:28
Yes.
Nicolas Codreanu 44:36
Post Purchase services, customer satisfaction and repurchase considerations.
72
Gabija Juodenyte 44:46
So you're asking about the ways we're trying to implement this post purchase.
Nicolas Codreanu 44:54
Yeah. And how do you monitor how they use it?
Their what services do you have for after they bought it?
Their satisfaction and also if they will buy again or not.
Gabija Juodenyte 45:10
So we I don't know.
We do not monitor it like specifically we have.
This implemented automation that after purchase after some time they get a
notification.
So they for review and we also have.
Well, it's not a monitor.
It's. I wouldn't say that's a monitor channel, but we have just.
Contact form where usually customers write to us whether they have some problem
or they you know they want a replacement part or.
Anything considered that so?
We do not.
I wouldn't say that we monitor them, we just get.
Some no inquiry and then we.
Are we have procedures?
What we what we do in House?
To set to, you know to.
This satisfied the customer, but.
It's not like we have this from the customer side.
I wouldn't say it's very good from the customer side, but.
But we do offer.
A very quick customer support.
Well, we answer really quickly them and we're trying our best to, you know, to make
them happy and to replace the parts. And you know we we offer some warranty
which could be also considered by.
73
After purchase.
Service. Yeah.
Nicolas Codreanu 47:08
Who those customers come to you, naturally. And do you take it from reviews, for
example?
You know, satisfaction. Do you take it from reviews that are naturally posted on there,
or do you have something in the purchase or post purchase phase that encourages
them to do so?
Are they aware that you have such a good post purchase service?
Gabija Juodenyte 47:34
No, they're not.
Nicolas Codreanu 47:37
So it is quite natural for them to come up to you, right?
Gabija Juodenyte 47:40
Yeah, yeah.
Nicolas Codreanu 47:42
Have you?
Gabija Juodenyte 47:42
This is actually a good idea to to, but I know how to implement this honestly.
This would be really good to implement to what I believe this is one of the could be
one of the selling points that we do offer very good you know after purchase service
but.
For me it's a bit difficult to think what would be a good way to.
To tell a natural way to tell customers that because what I experience is that our
customers usually do not read our mails especially after purchase.
Which comes from just, you know, company e-mail.
74
Of course, when they when they need some service and they write to us, of course
they read them. But but.
Speaking about.
The.
The amount of reviews, notifications sent and notifications opened.
It's a very low percentage, so yeah.
This is one of the challenge to tell them.
Nicolas Codreanu 49:04
Eliana has identified.
The position of stage clicks in the market, so between.
Your competitors.
Maybe because the because the brand image is so good.
I've also on my side without knowing.
Anything about stage clicks from Eliana's side.
I've also identified the same position.
How would you identify the strengths of the company?
Compared to its to its competitors in the.
In the.
In the market in the in the competitor set, what do you do that others don't?
Gabija Juodenyte 49:53
The.
Products features.
Maybe generally products features.
So.
I mentioned that 5.8 gigahertz usually customers don't have wireless systems in in
this range.
Well, but basically features that.
Are different from the competitors.
I would also say that.
We do offer a good customer support and.
And we do offer quality and you know, buying from.
75
Made in Europe somewhere. Something something not made in China.
So yeah.
Nicolas Codreanu 50:42
Liana has identified Stageclix as being the only company that does technology
driven, innovation and quality. So basically, she said several times that the product
that you use is over and over better and better. So when you replace a product by a
product that doesn't match with the custom.
You sends it back because e-mail you.
You send a better product, you send a product that is updated, et cetera.
And then she talks about tailor made experiences or products or products.
So basically it is tailored to your needs.
And all the post purchase services are tailored to the needs of the customer.
Is that? Is that right?
Gabija Juodenyte 51:27
How to say it?
No, it's it might be, but there is no clear strategy.
I believe in here.
Well, if you're saying that, oh, for example, if we say that customer comes to his own
unique problem and we solve it and then it's tailored to, it's to one's needs, then yes
it is.
I am not sure about the thing you said that.
We.
The the products is the product is better and better with time.
Because I believe.
There, it's not quite true because we, for example, we offer new systems and.
They are not compatible with older systems.
The good practice, I believe, should be that systems should be updated.
Then older systems should be updated and be as the new system.
So I am not sure about this that it is.
All technically it is better and better, but you have to purchase another product, not
just update the software or you know.
Because updating software is a possibility and I don't know whether competitors do
76
but.
There are from, well, other.
Yeah.
I would say from.
Different markets and different products, but they do this thing that you just send
your system and they update some software and they send you the same system, but
it's better.
So we don't do this.
Nicolas Codreanu 53:32
So you're talking about it?
You would be better doing standardized the product.
Gabija Juodenyte 53:38
No, I'm. I'm just saying that I don't know if that's if eliana's a point about.
Us improving systems over time is that accurate because.
Because.
You have to buy different product, so yes it is improved but.
It's just you have, you know, it's like having iPhone 10 and then buying iPhone 15
and then saying it's improving.
Yes, it's improving, but.
You have two products.
I don't know if you understand what I'm trying to say.
But.
It's not like I sent my old phone and they.
Put put all the new features in that phone and send me the same phone but with the
new features.
Nicolas Codreanu 54:36
Yeah, they send a new product.
Yes, that's what she said.
Gabija Juodenyte 54:39
77
So it's a new product.
So yes, it is improving, but.
In.
This.
I believe in audio production we could offer even better solution.
So this is.
This would be having the same product but with updated software and only the
software changes, but the product the hardware, the actual, the physical product
remains the same.
So I believe this would make even better experience for the customer to, you know,
not to buy.
2nd or the 3rd or 4th product?
But to have the same product, but it would be, you know even.
It would be better.
It would be with new features, but we don't do this. But what I'm trying to say is that
I'm not sure whether this.
This point is very accurate.
But yeah, it is evolving. From what one point, but from the other, you know, I believe
there are other companies that do the same.
They just make another product and this better.
Nicolas Codreanu 56:01
As possible I'll I'll monitor Jochum's answer on this.
Gabija Juodenyte 56:07
OK.
Thank you.
Nicolas Codreanu 56:08
And then we'll see the match or the mismatch.
My last question would be what are the main challenges? Sorry.
Gabija Juodenyte 56:14
78
You can see, but you can.
You can ask him why he chose to not do an updated software, but to make a
different product that it's not compatible with older systems.
And this is what I noticed. This one is one of a downside of these new systems that
customers already have.
Older systems and they're happy with them, but then they want to, you know, buy
one spare part or.
There is transmitter and receiver and they want to buy transmitter and.
When they buy transmitter, I always have to ask them whether they bought an older
system or the newer system because they're not compatible. We cannot send newer
system transmitter for them.
So if they have older system, So what from?
From what I notice.
Like communicating with customers, this is one of.
Inconvenience for them because they need to change the whole system to, you
know, to.
To, well, yeah, they have better system, but they're happy with their older systems,
yeah.
Nicolas Codreanu 57:39
OK.
So you think sometimes replacing might not be necessary.
Gabija Juodenyte 57:44
Yes.
Nicolas Codreanu 57:45
Not possible.
OK.
Last questions last question.
What are the main challenges stageclicks faces in post purchase stage and how is the
company addressing these challenges to improve customer retention loyalty?
And repeated business.
79
Gabija Juodenyte 58:11
Well, this is very personal for me because I usually struggle with post purchase and
then I think whether it's the strategy that's lacking or whether it's the product that,
you know it could be used for 10 years and you don't need to buy other system
because it it.
Works for 10 years.
You know, so.
How to monitor this?
For me, this is a challenge.
How to monitor whether?
Customer did not buy because he did not want to or whether he did not need to.
So this is one with a customer attention.
And another challenge is how to reach the customer because emails is not the best
channel channel.
So yeah, what could be better channel to reach?
The.
Musicians in particular.
Nicolas Codreanu 59:20
Do you build a loyalty strategy towards your product?
And repeat the business.
Do you try to enhance repeated business pieces business?
Gabija Juodenyte 59:35
We don't have.
Any strategy for that? No.
This is, you know, what one thing is and I.
Was kind of prepared, but I believe.
Not published it yet.
Yeah, we have upgrade program.
This is kind of related with those new systems and old systems and so upgrade
program.
Offers for customers that are already using stageclick systems, but they're older to
80
trade in.
In newer systems, the new systems that we have, this new features that we have on
on website.
So we have this program.
And but it's for now. It's just when customers write to us that they need.
They they want to.
They want like a spare part for for their systems and I usually offer to upgrade their.
Gear. But one day I believe it will be live and we'll see how this goes because.
You know what I notice is that customers are more likely to.
Get their system fixed, but not to buy new one.
So if there's something wrong with their system, they.
Are more likely to send in for the repair, but not to change the system itself.
Because they're happy with what they're what they have. And you know, then they've
been using it for like 5 and over years, so.
Nicolas Codreanu 1:01:34
I don't really know how to take the this.
Miss View between you and Ileana, because I couldn't tell who is more right because
one wants to drive the the image of the company and the other one wants to drive
the sales.
I suppose.
But I'll take it and I'll ask Jochen.
I would love to ask the branch manager if he do you know if he saw the message or
the e-mail or.
Gabija Juodenyte 1:01:58
Yeah.
I don't know, but I can write to him.
Well, it's just is probably also very busy like in December in general.
So if it's not too late for you to do the interview after like after New Year's, then.
Nicolas Codreanu 1:02:21
81
If I could, yeah.
After New Year's No 2627, I could, but not after New Year's.
Gabija Juodenyte 1:02:29
Oh, OK.
I'll ask about 27th.
He should work that day, but yeah.
Nicolas Codreanu 1:02:37
Is it possible to be in contact with Ernie also?
Gabija Juodenyte 1:02:41
OK.
I I'll I'll write that same e-mail to to branch manager and.
Nicolas Codreanu 1:02:46
You so much.
Gabija Juodenyte 1:02:48
No worries.
What do you mean when you say the the difference between me and?
Nicolas Codreanu 1:02:57
Because you just have two different point of points of view because she is very she
seems to be quite happy with the fact that you are able to offer.
Gabija Juodenyte 1:03:00
Yeah.
Nicolas Codreanu 1:03:06
82
A better product to give them a better product product, but you identified a problem
with this and with possible better approach.
Gabija Juodenyte 1:03:17
Mm hmm.
Nicolas Codreanu 1:03:18
But in my view, and I think in both of your views, it's not really possible to know right
now which one is the best.
So I think asking people who are related to production Jochum and the branch
manager possibly also Ernie, who might also say, well, Americans are super happy
that there's new products.
Gabija Juodenyte 1:03:36
A different.
Yeah.
Nicolas Codreanu 1:03:39
Well, then, maybe she's right.
Maybe you're right.
I.
I couldn't tell, you know, so.
Gabija Juodenyte 1:03:44
We're we're happy that we have new products.
It's just what I I'm trying to, you know, to see.
It's not like what I think it's what the customer thinks and I could think that we have
the best products in the market. But if the customer does not buy it, then there is
probably a problem with with the best product in the market, you know, so.
Yeah.
My my opinion is based on what I see and what I hear.
From the customers it I don't have a lot of technical knowledge so I cannot, you
know, say this is a very good well. I can say this and I believe that this is very good
83
system but I could not say this from technical point of view I could.
Say just for the from the customer point of view. So.
Nicolas Codreanu 1:04:37
For feedback, yeah, that makes sense.
Gabija Juodenyte 1:04:37
That's what I see.
Nicolas Codreanu 1:04:42
All right.
Thank you very much for your time.
I've taken quite a lot of time from you and it was way shorter.
Gabija Juodenyte 1:04:47
It's alright.
Nicolas Codreanu 1:04:52
I'll leave you to your.
To your daily things, I will also try to find out what I can do with both interviews and
thank you very much.
Gabija Juodenyte 1:05:06
Yeah. So you want from me, filtered by country products sold, right?
Nicolas Codreanu 1:05:14
If you if you can, yes, I.
Gabija Juodenyte 1:05:16
Yeah, I can.
84
Nicolas Codreanu 1:05:17
Mean.
Gabija Juodenyte 1:05:18
And and I will try to write this e-mail today to branch manager and to Ernie. And also
I'd you to see and yeah hopefully this will go.
Best way possible?
Nicolas Codreanu 1:05:35
It will be probably.
I think it will.
Gabija Juodenyte 1:05:37
Yeah.
Nicolas Codreanu 1:05:38
OK.
Thank you very much.
Gabija Juodenyte 1:05:40
Thank you.
Nicolas Codreanu 1:05:41
Have a nice day.
Gabija Juodenyte 1:05:41
See you. You too.
Nicolas Codreanu 1:05:42
85
Bye. Thank you.
Oh wait, I'm just gonna.
Gabija Juodenyte 1:05:43
See you. Yep.
Nicolas Codreanu 1:05:45
I'm just gonna see about.
Appendix 5: Interview with owner, CEO and operations
manager Jochem Welvaadt
Nicolas Codreanu 0:09
So my first question will be on.
I will take it off so we can. So you're not biased.
Jochem Welvaadt 0:17
Mm hmm.
Nicolas Codreanu 0:17
Over the response.
So my first segment element will be on customer segmentation and my first question
would be how does stage clicks currently segment its customer base and what are
the key criteria used for the segmentation.
Jochem Welvaadt 0:40
Good question.
I think we we aim at musicians and then we aim at the professional musician.
So.
And professional musician can be a performer, but can also be somebody like a
sound engineer.
Or.
86
Some person buying, you know the stuff for a theater.
So we are not focusing on the hobbyist, which is a huge market.
But we're not focusing on that our.
Idea and if it's valid or not, we do not know which was just something that we that
we decided at some point. If the professionals start buying the product.
Then you know serious hobbyists who can afford it will start buying it also.
And the hobbyists with no money or limited.
Money.
Will not buy it anyway, because then it would be more expensive than some Chinese
knockoff product, which also works, right?
So that was that was our idea.
Nicolas Codreanu 2:09
If you have.
General.
Panels from which you gather this kind of information.
Jochem Welvaadt 2:22
Well, this kind of.
What do you mean by this kind of information?
Nicolas Codreanu 2:28
So you have determined.
Your target customer type.
How did you?
Jochem Welvaadt 2:37
Come up with it.
Nicolas Codreanu 2:38
Reach. Yeah. And do you evolve this information over time?
87
Jochem Welvaadt 2:49
Well, you know, basically it was.
It was an assumption based on.
People that I know and talks I have with, you know, people in the market.
And you know the the background of the product, how how it was developed and
the the idea behind it.
But it's not like something that we reevaluate from time to time and you know the
the channels from which I get my information.
I'm mainly talks I have with people, basically the the old fashioned way.
Nicolas Codreanu 3:28
You identify those channels.
Jochem Welvaadt 3:31
Yeah, sure.
So distributors.
And basically you know.
Identify channels. People I know from the music industry.
Nicolas Codreanu 3:46
So that would be for example, a trend.
Jochem Welvaadt 3:50
A trend is one.
But I have various sound engineers who work, for instance for rental agencies, and
they usually have a pretty strong opinion about what is good and what's not good.
So those are usually pretty helpful. The only drawback from.
For from using that kind of information is.
Guys in in the rental industry are pretty.
How do you say that?
Conservative maybe in their choices.
Because they don't want stuff to fail on stage, right?
88
Because everybody's looking at them, so they tend to choose not something that's
really an innovation because they see risk.
So I mainly talk to the rental guys about, you know what, what kind of features do
you want?
What's important in a product?
But I still don't think.
I mean they they take a lot of convincing before they start buying it.
'Cause they they they see risk.
Nicolas Codreanu 5:11
So the people that you get your information from, also the people that you're selling
to.
Jochem Welvaadt 5:20
No, because the I have had zero interest from.
Rental companies yet?
And what we mostly sell to is the professional musician.
And so basically at this point these are two different channels basically and we we
also have customer feedback, right.
So there's also source for information, of course.
I don't know if you received that as a source of information.
But that's about it.
Nicolas Codreanu 6:06
And then regarding this gathering of information.
What are the key challenges for stageclix in capturing the complexity in customer
behavior?
Jochem Welvaadt 6:21
What's the challenge for Stageclix 2?
Nicolas Codreanu 6:25
To to to capture the complexity of customer behavior, all this data.
89
Jochem Welvaadt 6:32
Oh.
Nicolas Codreanu 6:40
Because it does evolve over time.
Other stakeholders.
So Ilian and Gaby in this case have.
Jochem Welvaadt 6:47
Yes. So so I mean the especially in the beginning there will be some.
Let's say.
Bad behaviors of the product that you need to identify and and you know that that
only.
Shows itself when you're actually selling a product.
Like, I don't know, certain moving parts that are that that break too easily or
something like that.
So it's it's changing.
That has always been quite positive.
So is it hard for us to?
Nicolas Codreanu 7:39
My behavior.
Jochem Welvaadt 7:39
Complex.
Nicolas Codreanu 7:40
My behavior I mean.
Jochem Welvaadt 7:42
Yeah.
90
Nicolas Codreanu 7:43
Needs of of customers, for example, that change with trends that may want to buy
something for a different reason.
The same product for a different reason, or that may want to, let's say for example
switch to a competitor because he does something and you might want to answer to
their change.
Jochem Welvaadt 8:05
OK.
I get it.
Nicolas Codreanu 8:13
If you do not have an answer, that's completely alright.
Jochem Welvaadt 8:17
Well, yeah, I'm trying to find this.
This specific so we we had some discussions about.
The batteries for instance.
So some competing systems will work with, you know, replaceable batteries.
But then again, this feedback was also positive. So we we decided to not do.
Just replaceable batteries because we we don't like the environmental impact and we
didn't even include the option.
So some.
Systems will say, well, we give, we give the consumer the option they can put in, you
know, throw away batteries or they can put in a rechargeable batteries.
But we decided not to do it and.
Some people have said, you know this this.
Gives me an uneasy feeling because if I just before a performance I put in new
batteries, then I know for sure that they will last throughout the gig.
And that was, you know, that was when we started doubting a little bit, you know,
should we?
Did we do this with with the batteries?
91
So that kind of thing can be complex and problematic because you usually in the
feedback.
When somebody is is is happy with your choice, like in this case the battery thing.
You only hear the people who have a problem with it, right?
So the people who are happy and and get what you're trying to do, those who
usually do not hear.
So it's it can be.
Sometimes it can be quite dangerous to look or to to listen only to the feedback
you're getting on the on the negatives, right?
Because sometimes you think, OK.
But if this is the negative feedback, then we should change that and you're forgetting
all the people that that were happy with the decision in the 1st place, right? So.
Yeah, so this is, this is one example I can.
I can remember.
So the discussion about the batteries, yeah.
Nicolas Codreanu 10:42
It's a.
It's a good topic for the post purchase phase.
For the last one, I'll come back to it afterwards.
Jochem Welvaadt 10:47
Mm hmm.
Nicolas Codreanu 10:48
Should we go over to the prep purchase phase of the customer case?
Jochem Welvaadt 10:52
Sure.
Nicolas Codreanu 10:53
So prepurchase phase is involving influences that the customers may have in
choosing your product or not. And my first question would be how does Stageclicks
92
currently understand the problem of?
Recognizing your product and other products and trying to find what their needs are
and how you can breach that need.
Jochem Welvaadt 11:26
OK.
Those are a lot of questions in one.
Let's start.
Nicolas Codreanu 11:33
Me to refrain.
Jochem Welvaadt 11:34
Yeah, let's start at the beginning again, yeah.
Nicolas Codreanu 11:37
So customers identify their needs and they identify how your product or other
products can breach that need.
Jochem Welvaadt 11:41
Yeah.
Yeah.
Nicolas Codreanu 11:48
How do you identify?
What makes them choose you over somebody else?
Jochem Welvaadt 11:55
No.
Oh ****.
93
Nicolas Codreanu 12:00
They may include reviews, advertisements, the blogs that you have.
Jochem Welvaadt 12:07
Well.
I I think if if you look at it.
From from a professional musician's point of view, yeah.
So basically their need is to improve their performance.
That's that's what they were worried about.
So.
They are busy with how it looks and how it sounds.
And how it makes them feel.
If it I mean if I summarize it in in more or less.
How do you call it?
Measurable, subjective things, right?
So they're not.
They're not exactly looking for a wireless system.
I mean, why are they looking for a wireless system?
They're not. So they wanna run around the stage.
Because it looks cool, right?
They don't wanna trip over a wire or they don't wanna when they move forward that
it unplugs in in their spanning.
And also it looks professional, right?
So they see that lead guitarists in in bigger stages.
They don't have a wire.
They're playing wireless, of course. Almost right.
So they wanna emulate this, this this image also but.
They wanna do.
This with confidence because they don't wanna.
When they're playing, they don't wanna worry about this thing, so it's should just
work and.
The sound should be OK of course, because that's more or less.
No, it's almost secondary thing because now it's more important how something
94
looks.
But still, they're worried about their sound, of course.
So those will be the things that a professional musician is worried about. And I think
that that the hobbyist is concerned about, you know, the price.
But I don't really think that this is.
That this is a major obstacle.
The obstacle could be when, when we are talking about price.
Is that if if they buy?
Let's say Senhai's was set.
It's a major brand and they're known for making good stuff, right?
So you cannot really go wrong.
And I don't think.
They might not have the same confidence.
When buying our stuff.
No, that's that's a challenge, I think.
No, it's not. It's not specifically the the the price point itself, I think because it's, if you
look at what the performance is, it's reasonably priceless, let's say.
Nicolas Codreanu 15:27
To.
Jochem Welvaadt 15:41
But do do they see the? Do they see the?
See the value action.
That's that's that's more of the question.
Nicolas Codreanu 15:50
To guide a bit, the sort of information I'm looking for in this question.
I'll give you for example the answer of.
Other interviewees.
Jochem Welvaadt 16:02
Mm hmm.
95
Nicolas Codreanu 16:02
Umm.
Customers are influenced by things that they see online. In your case, which would
be the opinion of an artist, that is the ambassador of your.
Jochem Welvaadt 16:09
Yeah.
Nicolas Codreanu 16:16
Company. It could be reviews. It could be post on this Instagram, on Facebook or on
LinkedIn.
Jochem Welvaadt 16:25
Mm hmm.
Nicolas Codreanu 16:26
Do you know what?
The touch points are.
For a list of these things that make influence your customers.
Jochem Welvaadt 16:33
Yep.
It is online.
I mean, of course, I would almost say.
But still, I mean, professional musicians are when they're on the road and they they
play in all kinds of different bands.
So still, there's there's also.
This old fashioned, let's say.
Communication between musicians.
It's still happening because you know they're on the road, they don't have anything
to do.
They're in this hotel room, right?
96
And.
So that's also still happening, but obviously you know Instagram.
And Facebook and the whole thing, which I'm not really an expert on, you know this,
right?
But that's that's a that's a huge influence, of course.
But still they they're they're talking and it's in this in this like micro cosmos of
musicians, there's, there's always people who they think.
Are.
Experts.
Nicolas Codreanu 17:58
You're talking a lot about worth to mouth, I suppose.
Jochem Welvaadt 18:01
Yes, but also that.
That's that.
They're influenced.
Not necessarily by everyone, right?
So.
They're influenced by by people that they respect in the business.
So I had a lot of.
Contact with with Thomas Nordeck and this this person you do not know because it's
not like a performer, but this is a is like.
Somebody who will?
Produce the sounds he travels with the group.
And he makes sure that all the right equipment is there. And when he says this is
something that you have to have, then they're buying it. They don't care, right?
So it's it's also pretty important that.
Who is?
Who is saying it?
Nicolas Codreanu 19:01
97
Is he an ambassador of your brand?
Is he associated to you?
Jochem Welvaadt 19:04
Yes, yes.
Nicolas Codreanu 19:06
Right. So it would be according to you word to mouth and.
An of view to ambassadors to your company, I suppose.
Jochem Welvaadt 19:16
Yeah, I think that that's that's pretty important also with with this with with the notion
that that a lot of it is online but.
These musicians, they, they also care about who is posting it.
They are not necessarily very interested in if it has a lot of followers, let's say or
something if if a lot of people are saying it but the right people should be saying it.
Nicolas Codreanu 19:46
I think I understand.
Where you want to go to, it's about knowledge in this industry.
Jochem Welvaadt 19:54
Well, knowledge and and confidence, I think.
And a lot of a lot of musicians don't know, right?
Nicolas Codreanu 19:59
No.
Jochem Welvaadt 20:03
And it's Even so for for instruments.
They do have an opinion of their own, of course, but they always ask other people
98
who know who they think know better.
So I think for our product, the the ambassadorship is pretty important.
Nicolas Codreanu 20:27
Going over to what you identified already for your product, I have documents stating
all the strength and weaknesses of the products that you offer and I would like to
know if you and your strategy.
Jochem Welvaadt 20:38
Mm hmm.
Nicolas Codreanu 20:45
You wait for customers to come to your product to make sure to match their needs.
So for example, they're looking for quality, so they will buy your product or do you
try to understand what the need is of your customers?
Try to adapt the strength of your product to their needs.
Jochem Welvaadt 21:05
Yeah. I think the last one so.
Trying to identify what what they want.
And then start building that.
And hope there's there's there's this connection there.
So it's not like.
They have come to us because they they assume that the market is like static.
You can buy.
You know, whatever.
But that's it.
So they don't have the idea or the initiative to come to us, let's say to say this is what
we want.
That's not not how it works.
That's usually more for oh, sorry, yeah.
Nicolas Codreanu 21:50
99
How do you hook up?
Where's my money? Where's?
My money.
Jochem Welvaadt 21:56
Well, what?
I'm what I was saying.
You you see that more in the business to business market, right, that you have some?
Design that they want to have done and they will say this is what we want and then
we will do it.
And I mean, then we'll we'll sometimes add something extra or say, you know, did
you think of this?
Did you think of that?
But that's more like for our business to business products for stage leaks, it's it's that
we try to.
Guess. Let's say what they want.
And then build it.
Nicolas Codreanu 22:32
And why? How? What kind of data do you gather to understand what the needs are
from those customers?
Is it word to mouth or do you take refuge?
Jochem Welvaadt 22:46
Oh, it's more based on on what.
What my experiences and talks with people, but also what I what I see in the market
and what I don't like about those products, but that's that's like a personal personal
thing and what I what I hear you know.
The same people say about other products in the market.
That they don't like.
So.
That kind of makes that I started to design a product in, in in this way.
So.
100
Yeah, it's, it's not like.
A very solid research.
I would say it's it's like there's a lot of assumptions there.
Nicolas Codreanu 23:38
Understand.
Should we go over to the purchase page which is in line with what with this last
question?
Jochem Welvaadt 23:43
Sure.
Nicolas Codreanu 23:48
So the customer will decide to choose your product and will decide to buy it or its
strength supposedly.
Jochem Welvaadt 23:57
Mm hmm.
Nicolas Codreanu 23:59
I was under the impression by making my analysis that Stageclix has a strength that
other customers do not, but that other competitors do not have, which is the
customer service.
Jochem Welvaadt 24:09
Mm hmm.
Nicolas Codreanu 24:13
Do you communicate strength?
Involving the the product.
During the transaction of buying the product.
101
Jochem Welvaadt 24:31
You mean do. Do we kind of sell the product while they're buying it?
Nicolas Codreanu 24:39
What do you communicate them when they buy it or they aware that you offer a
good customer service, that it's unique?
Jochem Welvaadt 24:51
No, I don't think so.
I mean it's.
I left that over to to Gavia to to arrange the store in a way that that that she thought
was, you know, constructive.
So.
I I have to get this from from memory.
What I think that she did was was just.
Use a standard Shopify thing, right?
And I don't.
I I think it's just.
We're not saying anything about the product or the customer service while they're
there buying no.
Nicolas Codreanu 25:41
Then I will jump on that by asking.
Jochem Welvaadt 25:43
Mm hmm.
Nicolas Codreanu 25:44
So this was one example of trying to make the experience of buying a product more.
102
Jochem Welvaadt 25:49
Mm hmm.
Nicolas Codreanu 25:52
Better, are there other touch points like this one that make the experience better?
Jochem Welvaadt 25:53
Mm hmm.
It could make it better, yeah.
Nicolas Codreanu 26:03
Do you have other touch points or items that you sell or that you do to make the
experience better?
Jochem Welvaadt 26:09
Well, this is a good question.
I don't think so actually.
We we never thought about it. I think that's that's that's the shortest answer we did
think about, you know, but we'll probably get to that.
But Gabya added some.
Thank you. Card to the, to the, to the box.
Where?
Customers could get some refund on the next purchase or.
I think in in the purchasing space, I don't think we do.
You do anything?
Basically, we didn't think about the necessity of that. So what?
I what I wanted to make sure.
Is that the actual payment would be easy because from my own experience some
web shops make this.
So hard that you'll just give up at some point and think you know I'll, I'll buy it
somewhere else.
I don't care, but I'm not buying here.
103
So it should be easy, but then.
Apart from that, I don't think we did anything.
Nicolas Codreanu 27:30
And now the last thing considering this.
What is currently the main challenge in trying to enroll the customers in the purchase
space?
What do you do to make sure that they will buy?
Jochem Welvaadt 27:48
Yeah. So that's that's an excellent question. So I know that.
Gabby I was doing.
How are you?
How are you calling it? Where you buy some Google things.
And she asked for a budget and I gave it.
Buying clicks or something?
This shows.
This shows how much I know about this, which is nothing.
Nicolas Codreanu 28:18
Being referenced first in the Google search, right?
Jochem Welvaadt 28:21
Well, yes.
And we have some some ads. So at some point I got feedback from, I think, Quinton.
So he's he was saying, you know, I was.
I was on Instagram and all of a sudden there was this ad thing about stage clicks.
And he was.
He was commenting on the on the slogan.
He said my slogan suck.
So, but she she did things like that.
So that's that's how we try to to get clicks to our website.
And I said to her, you know, it might be a good idea.
104
To.
Do some some upgrade surface so people who who bought the system. I mean we're
on the market for.
Some 10 years, I think now.
And I thought maybe it's a good idea to.
Invite people.
Who already purchased a product but years ago?
Maybe they have the the old type of batteries or they have, you know, but they like
the product, but it's now.
Or maybe they're even.
They're still using it, but maybe they would be interested in getting a discount for
their old system and buy a new system. That's that's. That's something else that we
did.
Nicolas Codreanu 29:53
So those are touch points.
Those are actually things that you do, so you do not do nothing.
Jochem Welvaadt 29:59
No, it's it's it's. But it's limited. Yeah, yeah.
Nicolas Codreanu 30:02
And so, apart from that, what would be the challenge?
What would be a challenge?
Something that you have difficulties with.
Jochem Welvaadt 30:10
Well, Gabby is saying that.
It's that that she's seeing that people are clicking.
But they're not buying.
So obviously something is not not going completely right there.
So, but what exactly this challenge is?
Well, you know that that's that's a good one, I don't know.
105
Nicolas Codreanu 30:34
Well, that's a.
That's a that's already a challenge.
Jochem Welvaadt 30:36
That's, that's enough, yes.
So I mean this, what she was saying, right?
So people are coming to the website apparently.
But not buying huge numbers anyway.
So not not in numbers that are justifying this this app campaign because you know
it's it's it.
Well, it's it's not like a huge sum, but it's some €1000, you know.
So, and given the fact that we make maybe.
Well, depending on how you calculate this, but.
You're making maybe €300.00 on a set, so or three, maybe a little bit more, but this
means that.
If you spend €1000.
For every €1000 you spend you have to, you know, sell at least three extra systems
just to break even.
So if that's, that's not happening and it was not thousand, it was like, I don't know.
Four or five or something.
Nicolas Codreanu 31:52
Yeah, I've I've received the sales report, but it's clear that the weakness is clear and I
would like to jump to the post purchase face regarding that because I'm interested in
the touch points that you've identified. Again, the touch points are what are the
influences that will influ.
The customer.
So how do you currently approach this post purchase phase?
How do you?
Make sure you understand how the customer experiences your product.
106
Jochem Welvaadt 32:27
Well, that, that's that's that's a a A also.
Again, I think we we don't really.
So there's there's a weakness.
So, but what does happen?
OK.
I'm trying to make this a coherent story, so we have to thank you card. That's one
obviously.
But what we also do?
But maybe this is this is not.
But I totally forgot it, so I will tell it.
And you you can say where it fits. What we do is sometimes musicians will contact us
and say, you know, do you have like a deal for me?
Because I have a lot of influence and you know they will.
They'll just try to get a free system, right?
And sometimes it depends on we we try to figure out what's the best way to deal
with this.
So what we do now is gabya is is is checking out.
This musician.
Can be you know any any any type of musician.
And then we we we check how much followers she has.
And then on that, we we we get back and say you know you can get the discount for
the system.
Providing you give us.
Feedback after you got it.
So that's one way, of course, of getting feedback.
So and I so gabio was very insecure when I said this because she said we, you know,
how can how can I I said you know, just try to get a feel for it.
I know we are giving away money because that was was was really worrying her, I
said.
You know it's going to cost anyway, so we might just.
Do better if we.
Let's say give a discount of 100 and €200, but still make some money.
It might make sense.
107
So we are.
We are doing that at this moment.
But The funny thing is also that.
Without asking, we would get very positive feedback from, you know, happy
customers and that's that's pretty.
Rare, I would say.
That's the story.
So we we do, we do something with, with, with.
Nicolas Codreanu 35:14
Yeah. So I.
Jochem Welvaadt 35:19
With this customer feedback.
So I hope that that gabya is doing it in this way now.
But you know, I I also understand that you're you're not getting completely.
Honest feedback, obviously, because people understand that when they get a free
system and they need to provide some feedback, you know it's impolite to say it
sucks, right?
So you you get colored feedback then, but we we are getting you know.
Nicolas Codreanu 35:55
It is a.
It is a definitely a touch point.
I don't think it is to ignore and I don't think I have an opinion to on this.
I would be interested in knowing.
So now you try to get feedback so you can adapt your production, your way of
marketing, et cetera, I suppose.
Jochem Welvaadt 36:13
Mm hmm. Mm hmm. Yeah.
Nicolas Codreanu 36:15
108
What do you do to maintain the engagement of the customers over time and
potentially make them buy again?
If you do not have anything, that's totally fine here.
Jochem Welvaadt 36:27
What do we?
No. Again, what do we do too?
Nicolas Codreanu 36:32
What do you do to maintain their engagement?
Jochem Welvaadt 36:33
Hmm.
Uh huh.
Nicolas Codreanu 36:36
And potentially make them buy again later.
Jochem Welvaadt 36:41
OK.
So we try to to keep in touch after Dubai especially, you know the the, the, the
people who we think.
Have an.
Have an influence on the on the market.
And then.
You know.
I hope that they it sometimes happens that they will will buy some other systems for
other people.
But what do we do exactly?
Well, this thank you card has has some discount you know for for the next order.
So we do that kind of thing.
And I think what what we also do is.
But that's that's that's a passive thing.
109
But when people are asking questions about, you know, using multiple systems
because you know, for most wireless systems, this is this is a problem. And for our
system it's not.
But you know, people are still.
Thinking you know, now I have one system.
Or what if what if what if I have 3 right?
Will will they interfere with each other?
So we try to get if if we get questions like that we we try to do our best to reassure
those people that it's not a problem and also.
We say and it's their right.
So it's not like a present we're giving, but if if they try it and it doesn't work.
Just send it back, right?
It will work, so they won't send it back. Never happens.
But that's something we say as well.
But what do we do actively to make sure that they are? I think again.
We do very little.
We just rely on the quality of our product and it I mean.
We still think that a good product is the best way to keep a customer happy and
keep them buying more.
So yeah, that's about it.
Nicolas Codreanu 39:04
I will ask my last question.
Jochem Welvaadt 39:06
Sure.
Nicolas Codreanu 39:08
So again, what would be the main challenge Stageclix faces in this post purchase
stage?
Want me to elaborate?
Jochem Welvaadt 39:21
110
No, no, no.
Just thinking.
Well, these these are pretty good questions, but it's it's for me, it's it's not the easiest
to answer.
What's the main challenge?
Well, keeping in touch is the main challenge.
I think keeping some dialogue going.
You know, if I if I try to see myself as an example.
Companies who keep emailing me with with nothing.
You know that that for me it's it's, it's annoying and I don't want to be that company.
But still I understand it's important that you keep in touch some way, right?
So that's that's, that's for me that if if we have to.
Nicolas Codreanu 40:17
Mm hmm.
Jochem Welvaadt 40:23
Define a challenge there.
I think it's is keeping in touch without being annoying.
Because the these guys are not like the normal.
Customers and and their their world is noisy and chaotic.
And you don't want to add to that.
You want to really.
You wanna communicate only when you have something to communicate, not just
making more noise.
I think that's that's the challenge basically.
Nicolas Codreanu 41:01
So you are scared of killing the retention of customers rather than actually retaining?
Jochem Welvaadt 41:09
Yes, I think I think that's that's that's an actual risk.
Because you can ask yourself, right?
111
Maybe maybe it's more effective to just have a product that's so good and they use
on a daily basis that you maybe you don't even need it. And if you start
communicating and bugging them that they will think, oh man, leave me the ****
alone, right?
So that's a challenge. How do?
How do you keep a a a good diet, good dialogue?
Going right.
Nicolas Codreanu 41:51
Can you address it?
How do you address it?
Jochem Welvaadt 41:57
No, we don't, basically.
Nicolas Codreanu 42:00
So we may be missing a touch point. OK, that's very clear.
Jochem Welvaadt 42:03
Yeah, yeah.
Well, it's it's it's, you know, it's good to.
Even if you do nothing.
Then at least you you should.
So that's why it's it's for me. It's very informative, but also difficult to talk about these
things.
But it's it's pretty important to at least.
Make a conscious decision, right?
I mean.
Sometimes you can say, well, we're doing nothing because we thought about it and
we we, you know, seemed like the best option.
But for some things, we just we should be doing something and think about it.
So I think this is very, very useful for us, especially this the thing about.
What you said about.
112
What do you do in the selling process?
I think you know that's that's something that you could do quite easily.
Yeah. All right.
So thank you for that.
Appendix 6: Competitor Analysis & SWOT Analysis
113
114
115
Appendix 7: Marketing_usp – outline of key value points,
customer benefits, and competitive edge of Stageclix
Key Value points:
•
Freedom Without Sacrifices:
o
Feature: Wireless System. Benefit: Ditch the cables and their chaos.
Move freely on stage, connect with your audience, and keep the
energy high without tripping over wires or missing a beat.
o
Feature: 5.8 GHz Frequency Band. Benefit: Are you tired of battling
with Bluetooth or Wi-Fi routers? With 5.8 GHz, enjoy a clean, stable
signal so you can rock out without dropouts or static.
o
Feature: Zero-Latency Technology. Benefit: Move across the stage
and play with no delay. Your sound stays tight and instant, so you can
keep the energy high, and your audience fully hooked.
o
Feature:
Flexible
Frequency
Hopping
Technology.
Benefit:
Experience a noise-free performance every time. With technology that
hops to cleaner channels automatically, you can stay in the groove
without any annoying distractions.
116
o
Feature: High audio quality. Benefit: Your music deserves to be
heard in its purest form. Enjoy sound that’s crisp, clear, and exactly
as you intended—no loss, no changes.
•
Worry-Free Touring:
o
Feature: Easy Plug-and-Play Setup. Benefit: Hit the stage faster.
With a setup so smooth, you’ll be spending less time fiddling with your
gear and more time owning the spotlight.
o
Feature: Portable Power Supplies with Multi-Head Compatibility.
Benefit: Stay powered up wherever the road takes you. Multi-head
compatibility ensures you’re always ready to rock, no matter the
venue or country.
o
Feature: Built for the Road. Benefit: Tough enough to handle touring
yet compact and lightweight enough to slip into your gear bag. Enjoy
pro-level durability and mobility, letting you conquer any stage,
anywhere.
•
Eco-Friendly Commitment:
o
Feature: Sustainable Packaging. Benefit: Every little choice counts,
and yours helps keep the Earth greener. With eco-friendly packaging,
you’re playing your part in protecting the planet (pun intended).
Customer Benefits Summary:
•
Flawless, Cable-Free Performance: Experience the stage without limits—
no cables to trip over, no dropouts to disrupt your flow. Just flawless, instant
sound, giving you the freedom to move and perform with complete
confidence. Total freedom without sacrifices.
•
Sound So Sound: Wireless system that keeps your sound as pure and true
– as it should.
•
Stage-Ready in Seconds: Just plug in and you’re ready to own the stage.
•
Streamlined Touring: Travel lighter with gear that’s compact, durable, and
ready for any region—forget the bulky equipment and extra adapters for
good.
Competitive Edge:
•
Advanced Technology: StageClix isn’t just wireless—it’s your freedom on
stage. With 5.8 GHz technology, flexible frequency hopping, and zero latency,
you’re set for interference-free performance. Say goodbye to dropouts and
delays, and embrace pure, reliable sound every time you hit the stage.
117
•
Professional Design: With StageClix gear, you own the stage. Built for pros,
our systems are rack-mount ready, durable, and equipped with multiple
channels. It's gear you can count on to keep up with every move you make.
•
Customer-Centric Features: We get what it’s like out there on the road.
That’s why our gear combines rugged durability, compact design, and global
charging—so you can handle fewer hassles and focus on delivering an epic
show.
Appendix 8: Customer review/ feedback 2023-2024 on
Stageclix website
Star system from 1 -5 stars. 1 star = Low satisfaction; 3 stars = mitigated satisfaction:
5 stars = high satisfaction
Helmut Moser 5*
A loyal and reliable companion
I have been using the Jack V3 Set for almost 8 years at several hundred gigs, sessions
and rehearsals. And not once - not even for a second - has it let me down.
And not only that. The Jack doesn't sound great, no, it sounds like it's not there. It
reproduces the signal from my guitars very neutrally and compared to a high-quality
cable, there is no difference to be heard. Maybe a very small amount of attenuation in
the high mids, but this can be corrected with a minimal correction in the presence of the
amp. When I play live with the band, however, there is really no difference to be heard.
But I have total freedom of movement, can even go into the audience and even in larger
venues I have never had a problem with the range. The issue of latency is also not really
an issue. Stageclix says it's under 3 milliseconds. I have that even when I'm standing
just a meter away from the amp. So that's simply not an issue.
Even on stages where there is a lot of technology with WiFi, the Jack doesn't have the
slightest problem thanks to its 5.8 GHz. I've never had a wireless system that did its job
so stably, sound-neutrally and unobtrusively.
One battery charge lasts for about 4 hours and if I forget to charge it before the gig, I
simply plug the transmitter into the receiver during the break between sound check and
the show and even just 20 minutes is enough for a complete set.
The very compact receiver has a fixed place on my pedal board and doesn't have to be
placed anywhere else.
I recently had a technical problem and a few questions that Stageclix support answered
with unique speed and competence. My emails from the evening were answered by the
morning of the next day at the latest. And the Stageclix team was very empathetic,
patient and competent. For that alone I give it 5 stars.
Now after 8 years with the Jack, the battery is running low and, based on my very good
experience, I've decided to buy a completely new set. It's not cheap. But it's definitely
worth the price.
John Dwyer 5*
Recently my StageClix radio receiver and sender unit received severe damage after
falling off a balcony after finishing a gig. I purchased the unit from Bass Direct in
Warwick, U.K in 2012 and it has served me faultlessly in this 12 year period, with only
one battery replacement needed. I have played hundreds of gigs in this time and view
118
my StageClix as a vital piece of my equipment. I live in the Vendee region of France, and
wherever I took my damaged StageClix for repair I was told either it was beyond repair
or parts were not available for the repairs required. After several weeks without it, I
contacted StageClix directly and after a few emails and photographs of the damaged unit
they said they would inspect it to see if it was repairable. I sent the unit to them and
even though this particular model was discontinued they managed to find old parts in
their assembly area and perform a miracle in rebuilding/repairing it. Not only did they fix
the damage, they fully refurbished it and what I received back 2 weeks later looked like
a brand new unit. I find this amazing as many companies put customer service and
satisfaction low on a priority list with 'sales' as the driving force and after market backup
as an inconvenience. If anyone reading this is unsure whether to choose StageClix or go
for another product, perhaps my story will help in your decision. To recap.... Faultless
enduring quality over a 12 year period and an after market a repairs service that can
only be described as second to none. Many thanks to all at StageClix for your help and
the remarkable service you provided for me as once again I have my best giging buddy
back.
Markus Schwerdtfeger 5*
1st Class Wireless System
Very good performance.
Very good quality.
Excellent connections.
Armin Basten 5*
The best system I've tested. Interference-free for years. First had the V1 and now
the V3 version with 5.8 GHz. The fact that you can charge the transmitter inside the
receiver also shows how well thought out the system is. Great!
Arjon Valk 5*
My old transmitter was broken after years of good service. I contacted StageClix to give
me advise for replacement. The customer service was excellent and very helpful, a new
one was delivered very quickly and it works great…..Thank you so much
Dominik Fuchs 5*
Great Wireless Tool!
Great product and great service. I played the Jack V3 Set on a large stage last weekend.
Everything works awesome. Easy to handle, no dropouts. I am very
enthusiastic.
Michael Sullivan 5*
My son Six String Andrew loves the StageClix 5.8 Ghz wireless system. He has used it at
many events. He performed at the Beau Rivage Resort & Casino with multiple other
wireless systems running simultaneously, and it didn't affect the StageClix at all and it
performed flawlessly with no drops and had great battery life. Thank you StageClix for a
great wireless system that is top notch.
Frank Brunner 5*
After two and a half years, my second transmitter was unfortunately defective and
nothing worked anymore. After Stageclix tried to locate the fault based on my statement
and a video I sent, it was clear that I would have to send the part in for repair. To be fair,
they gave me an estimated cost estimate. I then decided to get a new transmitter, which
119
was delivered quickly. I have been using the Stageclix system (including the
predecessor) for over 10 years and I am very satisfied
Mark Taylor 5*
I'm a happy StageClix customer from around 2012. My unit has been faultless week on
week. Only needed a battery change once and the StageClix support was very helpful.
Our singer also replaced his radio system with StageClix after problems with his 'wellknown brand' unit after seeing mine perform without issues.
Pavao Miholjevic 5*
I'm super happy with my StageClix Jack V4 Pro, it's been my trusty companion on the
stage and in a studio. I bought a leather pouch and extension cable because of
interference problem caused by sustainer pickup on my strat and now it's totaly
noiseless. Highly recommended.
Pedro Lázaro Canales 5*
I have been using a V4 for five or six years, on large and small stages, and in this time
the product has worked extremely well, with no sound cuts or interference. It has a very
good range and a battery life that is more than adequate for a concert and can even last
longer. The channel selection is very good and as I said, I have never had any problems
with the frequencies anywhere and the sound technicians always give me the thumbs up.
Andy Power 5*
Used the V4 since it came out. It’s a brilliant and reliable product, would thoroughly
recommend it. It is without doubt the best on the market.
Peter Müller 5*
Very good communication, battery replaced and fully functional.
Piotr Cichewicz 5*
Great!
Stephane Brunello 5*
Perfect
David Colmer 5*
New Jack Transmitter. Came very quickly and worked as expected out of the box. Very
good service in replacing my old transmitter.
Stefan Kreipe 3*
Shipping cost too expensive 19,00 €!
Appendix 9: Customer review/ feedback 2023-2024 on
Facebook
Andy Power
120
Used the V4 since it came out. It’s a brilliant and reliable product, would thoroughly
recommend it. It is without doubt the best on the market.
Armin Basten
The best broadcast system I have tested. Interference-free for years. First had the V1
and now the V3 version with 5.8 GHz. The fact that you can load the transmitter in the
receiver also shows how well thought out the system is. Top!
Michael Sullivan
My son Six String Andrew loves the StageClix 5.8 Ghz wireless system. He has used it
at many events. He performed at the Beau Rivage Resort & Casino with multiple other
wireless systems running simultaneously, and it didn't affect the StageClix at all and it
performed flawlessly with no drops and had great battery life. Thank you StageClix for a
great wireless system that is top notch.
Cody W Wright
5 stars
Ronald Buurs
5 stars
Appendix 10 : Customer review/ feedback 2008
Appendix 11:
Appendix 12: Existing Customer set data– First-time &
Returning customers
country
customer_type orders total_sales
Belgium
First-time
2
936
Denmark
First-time
1
48
Germany
First-time
24
5259
Netherlands
First-time
2
586
Switzerland
First-time
1
417
Spain
First-time
3
1504
Lithuania
First-time
1
48,95
Croatia
First-time
2
791
121
Austria
First-time
2
568
Ireland
First-time
1
77
Greece
First-time
2
1186,55
Italy
First-time
3
786
United Kingdom First-time
4
962
France
First-time
6
645
Austria
Returning
1
81,66
Italy
Returning
3
1504
France
Returning
1
468
Germany
Returning
4
419
Appendix 13: Existing customer set data (only social
media) – extracted from Instagram through META
Instagram followers
217
Instagram followers by gender and age
Age
Women Men
18-24
0,60% 7,60%
25-34
5,70% 18,50%
35-44
5,70% 28,80%
45-54
1,90% 17,20%
55-64
1,90% 8,90%
65+
0%
3,20%
Instagram followers by top cities
Top cities
Value
122
Amsterdam, Netherlands
5,10%
Los Angeles, CA
3,70%
Vilnius, Lithuania
2,80%
Nashville, TN
1,80%
Purmerend, Netherlands
1,40%
Buenos Aires, Ciudad Autónoma de Buenos Aires, Argentina 1,40%
London, UK
0,90%
Chicago, IL
0,90%
Oakwood Hills, IL
0,90%
Bangkok, Thailand
0,90%
Instagram followers by top countries
Top countries
Value
United States
38,70%
Netherlands
12,40%
Germany
6,90%
Lithuania
4,10%
United Kingdom
2,80%
Argentina
2,30%
Spain
1,40%
Brazil
1,40%
Belgium
1,40%
Thailand
0,90%
Appendix 14: Existing customer set data (only social
media) – extracted from Facebook through META
Facebook followers
1164
Facebook followers by gender and age
Age
Women Men
123
18-24
2,50% 25,90%
25-34
4,20% 33,90%
35-44
1,40% 10,50%
45-54
0,70% 9,70%
55-64
0,80% 7,40%
65+
0,30% 2,70%
Facebook followers by top cities
Top cities
Value
Tbilisi, Georgia
3,80%
Rustavi, Georgia
2%
Amsterdam, Netherlands
1,20%
Batumi, Georgia
1,20%
Dhaka, Dhaka Division, Bangladesh 0,90%
Tirana, Albania
0,80%
Delhi, India
0,70%
Jakarta, Indonesia
0,70%
Vilnius, Lithuania
0,70%
Berlin, Germany
0,60%
Facebook followers by top countries
Top countries
Value
India
18,40%
Georgia
9,10%
Netherlands
7,60%
France
7,20%
Romania
6,10%
Germany
5,40%
Indonesia
4,90%
United States
4,90%
Bulgaria
2,80%
124
Albania
2,70%
Appendix 15: Conversion rates 2023/24
month
total_sessions sessions_converted conversion_rate (%)
nov.-23 23
0
0,000
déc.-23 393
0
0,000
janv.-24 274
1
0,365
févr.-24 135
0
0,000
mars-24 296
3
1,014
avr.-24
289
3
1,038
mai-24
260
1
0,385
juin-24
298
5
1,678
juil.-24
321
5
1,558
août-24 295
2
0,678
sept.-24 813
7
0,861
oct.-24
292
3
1,027
nov.-24 274
4
1,460
TOTAL
3963
34
0,774
month
total_checkouts checkouts_converted checkout_conversion_rate (%)
nov.-23 0
0
0,000
déc.-23 13
0
0,000
janv.-24 4
1
25,000
févr.-24 1
0
0,000
mars-24 4
3
75,000
avr.-24
6
3
50,000
mai-24
2
1
50,000
juin-24
9
5
55,556
juil.-24
6
5
83,333
août-24 7
2
28,571
125
sept.-24 12
7
58,333
oct.-24
6
3
50,000
nov.-24 7
4
57,143
TOTAL
77
34
40,995
source
referrer_name visitors sessions orders
Direct
1765
2417
46
Search
Google
751
889
17
Social
Facebook
395
421
0
Social
Instagram
130
141
0
Unknown Yandex
28
28
0
Search
Bing
13
14
0
Search
Duckduckgo
11
11
0
9
11
0
Unknown
Direct
Android
6
7
0
Search
Ecosia
3
3
0
Unknown Yahoo
3
3
0
Unknown Ecosia
3
3
0
Search
2
2
0
Unknown Threads
2
2
0
Unknown Brave
2
2
0
Unknown Baidu
1
1
0
Unknown Acumatica
1
1
0
Unknown Thomann
1
1
0
Unknown Systecdesigns
1
1
0
Unknown Shopify
1
1
0
Unknown Tiscali
1
1
0
Unknown Nettomusic
1
1
0
Social
1
1
0
DuckDuckGo
Youtube
product_title
quantity_sold sell_through_rate (%)
126
Battery
15
83,3
Guitar Studio Set
6
75
Jack V3 Set
12
66,7
Power supply and adapters kit
2
66,7
Jack Transmitter
11
62,5
Guitar Stage Set
16
61,5
Leather pouch
3
60
Leather pouch + Extension cable 3
50
Charger
1
50
Antenna 2,4/5,8 GHz
2
40
Rack Mount Kit (single)
2
18,2
AVERAGE
57,627
Appendix 15: Potential customer set – according to
former analysis from marketing team
Estimated audience size
1,800,000 - 2,100,000
Age & gender
Age
Women Men
18-24
0,90%
1,30%
25-34
5,70%
7,60%
35-44
8,70%
7,80%
45-54
10,30% 8,90%
55-64
13,70% 10,30%
65+
14,60% 10,20%
Top cities
Value
The Hague, Netherlands
6,60%
Amsterdam, Netherlands
3,80%
127
Rotterdam, Netherlands
3,50%
Utrecht
2,60%
Groningen
1,90%
Eindhoven, Noord-Brabant 1,90%
Tilburg, Netherlands
1,30%
Apeldoorn
1,30%
Almere
1,10%
Zwolle, Netherlands
1,10%
Appendix 16: Content impressions data - Facebook
Published content (FB)
Photos
Reels Videos Stories
8
2
1
0
Reach (FB)
Links
Videos Photos Others Reels Text Multi photo
28359
5917
656
246
141
73
66
Content interactions (FB)
Photos
Stories Videos Reels Links
72
16
10
9
1
128
Appendix 16: Content impressions data - Facebook
Published content (Instagram)
Stories
Posts
41
12
129
Appendix 17: Stageclix Ambassadors – Derek Day
(issued from blog post on Stageclix website)
Derek Day on Being Unleashed with StageClix
September 6, 2024
Meet Derek Day, the electrifying force from Los Angeles whose music fuses Rock 'n' Roll,
R&B, Soul, Punk, and Pop. From his early performances, Derek has captivated audiences
with his theatrical flair and raw charisma, lighting up stages from coast to coast.
Not only is Derek the lead singer of Classless Act, but he’s also a blazing guitarist and
solo artist, bringing high-voltage energy to every show. We caught up with him to dive
into his musical journey and see how StageClix has amped up his performances.
Discover how this dynamic artist uses StageClix wireless technology to achieve
exceptional clarity, freedom, and rockstar vibes at every gig.
Derek, thanks for taking the time to share your story. To kick things off, can
you tell us about your journey becoming a musician? What were some key
moments or influences that shaped your path?
From the moment I could remember, music was my world. I wrote my first melody on a
broken, purple and green toy guitar with 4 strings when I was 8. The real magic, though,
hit me during my first performance at the Moreno Valley Talent Show. I was set to play
“Purple Haze” instrumentally, but midway through, I couldn’t resist the urge to run to the
mic and sing along while strumming—completely unplanned and unrehearsed. That
spontaneous, adrenaline-pumping moment hooked me for life.
As for influences, I’d say it’s more about concepts than individuals. Spontaneity,
excitement, and explosive forms of expression are what drive me. My journey has
always been about capturing that raw, unpredictable energy and channeling it into my
music.
130
Having this deep passion for music, what ultimately inspired you to pursue it
professionally?
Walking the streets of Hollywood, Venice Beach, and Santa Monica, I saw talented
performers making decent tips with their art. Inspired by their hustle, I decided to take
my newfound love to the streets at 13, turning music into a way to make some cash.
Every weekend for the next 10 years, I was out there on the pavement, belting out
tunes over breakdancers and the megaphones. It was a living as much as it was a
shedding.
After years of bringing your music to life on the streets, what sparked your
move to wireless guitar systems? And how did StageClix come into the picture?
I call it being “unleashed.” Performing was incredibly competitive —I’d roll around on the
floor, climb trees, and even chase after audience members during guitar solos to create a
chaotic atmosphere and slow folks down. Creating that intense atmosphere was key to
my shows, but it also made me realize how much a wireless system could elevate my
performance. I knew I needed the freedom to move around without being tangled in
cables.
Once I started gaining traction in the music scene, I got introduced to StageClix by the
legendary guitar tech Thomas Nordegg (who’s worked with icons like Steve Vai, Frank
Zappa, Lindsey Buckingham, Adrian Belew, etc.) That was almost 10 years ago, and I
haven’t stopped using it since!
With StageClix playing such a key role in your shows, what features stand out
to you?
I’ve been lucky enough to tour all over the country and beyond, and StageClix has been
a game-changer. The battery life is phenomenal—I’m talking 4-hour sets with zero
interruptions and incredible signal. It’s wild how simple it is; I’ve played countless
outdoor festivals, and with just a transmitter and receiver, I never have to worry about
interference.
StageClix has supercharged my live shows, letting me dive into the crowd, jam behind
the drummer, and connect with fans and bandmates like never before.
It’s made my shows way more intimate and explosive, turning every gig into an
unforgettable experience.
It’s great to hear how StageClix has powered up your performances! What
advice would you give to fellow musicians looking to break free and go
wireless?
Going wireless is your chance to level up your game! My biggest tip? Embrace that
freedom and let it fuel your performance. Keep your eyes open and your energy high,
always on the lookout for the next exciting moment to boost your show—whether it’s
connecting with the crowd or nailing a solo in an unexpected spot. Stay present and
creative, and let the wireless system help you engage with your audience both literally
and spiritually in electric and dynamic ways.
A huge thanks to Derek for taking us on a wild ride through his electrifying musical
world! His story has us all fired up and craving more—just like one of his high-energy
performances.
And don’t miss out—follow Derek for updates on his electrifying shows and get a frontrow seat to his musical journey!
131
Enjoy total stage freedom with our wireless systems—no more tangled cables
or dropout hiccups. Explore our 5.8 GHz systems and see that for yourself!
For more inspiration, check out how other artists are transforming their shows
with StageClix.
Appendix 17: Stageclix Ambassador – Justin Emord
(issued from blog post on Stageclix website)
Justin Emord’s Path from Cable Tangos to StageClix
July 29, 2024
Meet Justin Emord: his musical journey kicked off in elementary school with a newly
introduced music program, where he explored piano, guitar, and bass in symphonic and
132
jazz studies.
This sparked a deep, lifelong passion for
music.
Fast forward to today, Justin is not just a dedicated musician and bassist in the
band Love and a .38, but also a passionate advocate for music education. He works
closely with NAMM and the California Music Educators Association to ensure that music
always has a place in schools as part of a well-rounded education.
Justin’s musical journey showcases his dedication and growth as an artist. As his career
evolved, he realized how wireless guitar systems could enhance his performances. In
this blog post, we’ll dive into Justin’s musical experiences and explore how StageClix
plays a role in his live shows and tours.
To get a clearer picture of Justin’s journey, let’s take a trip down memory lane and
explore some of his firsts in the world of music and tech.
First times
Justin, can you tell us about the moment you knew you wanted to pursue music
as a career?
The moment I knew I wanted to pursue music was when I was in 11th grade. I was
visiting my family in New York for the holidays and went to see the Trans-Siberian
Orchestra at Madison Square Garden. Musically, they were a logical gateway for me,
coming from my background, but what I didn't expect was the bombastic live rock show
that came along with it. When I finally came back home to LA, I went to the store and
bought recording software to begin recording and writing my own music.
What initially drew you to explore wireless systems for your performances?
Funny enough, it all started with that first Trans-Siberian Orchestra concert. Watching
the guitarist, bassist, and violinist run through the arena, stand on scissor lifts, and
perform on catwalks was incredible. It was such a cool and exciting way to break the
fourth wall between artist and audience. When I began playing on various stages, I
realized that wireless systems made for a cleaner workspace. At some point, we've all
done the tangled cable tango on stage, and going wireless eliminated that hassle and the
risk of accidentally stepping on and unplugging a cable. In a rock band, the live show is
crucial, so being able to move freely without being limited by cables is a huge bonus.
How did you first discover StageClix, and what made it stand out to you?
133
I first came across StageClix at the NAMM Show years ago. My old wireless system was
on its last legs, so I went there to find a new one. I was fortunate enough to discover the
StageClix booth, and I've been a user and artist of the Jack V3 system ever since.
From First Impressions to Ongoing Performances
What started as an exciting new option for wireless systems has become an integral part
of Justin’s setup. Let’s dive into the specific features of StageClix that stand out for him
and how they contribute to his live shows.
Now that StageClix is a regular part of your performances, what features do
you appreciate the most?
I really appreciate StageClix's low latency and how it preserves the full range of my
sound without cutting or clipping the bottom end. I'm also a big fan of the transmitter’s
low profile and flexibility. Coming from traditional systems with a cable going to a battery
pack clipped to my strap or belt, having this all in one unit where I can quickly unplug
for an instrument change and get back up and running is a huge advantage.
What I like about the StageClix system is the low latency and the fact that it doesn't cut
or clip any of the bottom ends.
How do these features set StageClix apart from other wireless systems?
As a bassist, I have found that not all wireless systems are created equal, losing a bit of
the bottom end and making the signal thinner than it would be with a cable. What sets
StageClix apart is its ability to keep the full range of bass frequencies without cutting or
clipping the bottom end. The streamlined design of the StageClix unit is another
standout feature—it never gets in the way. Being a Fender artist, I use basses that have
both top and side loading jacks, so the unit’s flexibility to bend and plug in as needed is
a great feature. The last thing that can't be overstated enough is the ability to charge
the unit right inside the receiver. I've had other units that needed spare batteries or an
extra power cable to charge the transmitter. That was fine back then, but I'm thrilled
those days are gone.
134
Having explored what makes certain wireless systems stand out, let’s shift to practical
advice. Justin offers some valuable tips on what musicians should consider when
choosing their wireless setup.
What tips or recommendations would you give to other musicians considering
wireless guitar systems?
I would say do your homework and write down a list of things that are important to you
in how you plan to use your system. Do your bandmates use wireless systems? If so,
having a unit with more channels might be something to consider. What's the maximum
size of the stages you realistically plan on performing on? Make sure your unit has
enough reach, so your signal doesn’t cut out because you went a foot past the range of
your receiver. Overall, finding the right system will take some work but it's a worthwhile
investment for a fun live show and a cleaner, safer workspace for your bandmates.
A massive shoutout to Justin Emord for taking us behind the scenes of his musical
journey! From his early days of musical exploration to the tools that have now become
essential in his setup, Justin’s story is a powerful testament to passion and dedication.
Just as Justin has optimized his performance with StageClix, we’re eager for you to
discover the equipment that complements your style and amps up your own musical
game.
Ready to see what’s possible? Explore StageClix wireless guitar systems and discover
how they can elevate your performance.
Stay tuned for more cool content and extra benefits!
Appendix 18: Stageclix Ambassador – Bernard Allison
(issued from blog post on Stageclix website)
135
Bernard Allison: StageClix All Over the World
March 19, 2024
Meet Bernard Allison – one of our biggest ambassadors. Bernard is a singer, songwriter,
recording artist, and live performer extraordinaire. His music, a fusion of blues, rock, and
funk, has captivated audiences far and wide.
This is what Bernard has to say about StageClix: In the past I've always used wireless,
but when I tried this system, I was very impressed right away with its frequency
capabilities.
I haven't had any frequency issues since I started using StageClix, which impressed both
myself and my bass player, George. Once we locked in the channel, I didn't have to
worry about whether or not the signal would be intercepted if I jumped off the stage.
Additionally, if venues had other wireless systems, microphones and so on, it was very
difficult for me to find a clean channel.
Once I got StageClix, I didn’t have any clashes with other devices. I understand that not
many systems can reach that frequency range yet.
Since day one, I've left it on channel 11 and I've never had to move it.
I'm quite impressed with StageClix and I've been using it for about 3 years. We take it
all over the world with us.
What StageClix features do you find most beneficial?
I think the most important thing for me is the way you made the power supply adapter
where you can use the unit anywhere and change the head. Whereas with other
systems, you would need to purchase the European system and USA system, and I really
don't want to use the transformer in these situations since it may cause interference.
I also believe the transmitter's compact size and lightweight construction are brilliant. I
like that you can plug it directly into a guitar jack with no additional cables. As with
previous systems, I had an extension cable that stuck out; however, the more I tried to
conceal it, the more it canceled out the signal.
In my opinion StageClix strongest benefit is the frequency and the fact that it's global.
Do you take StageClix systems on tour?
Yes, we take the StageClix systems on tour with us everywhere we go. It's compact and
fits easily in my backpack, making it ideal for travel. We've brought it all around Europe,
and I'm really happy with how portable it is. It's lightweight and easy to manage.
What sets StageClix apart for me is that it doesn't change the sound. With other wireless
systems I've tried, there was a noticeable difference in the sound quality. However, with
StageClix, my sound remains consistent. It preserves the low audio frequency, which is
important to me as a midrange-focused player. I'm not a fan of excessive sizzles or
sound alterations, and StageClix products never compromise my sound.
Whenever people ask me about wireless systems, I always recommend StageClix.
I advise them not to go for the smaller ones, since they are not suitable for professional
touring players. I encourage them to try the system I have. It has proven to be reliable
and consistently delivers great sound quality. I've played all over the world, and people
136
often ask me about that little device on my setup because it sounds good. I can
confidently say that StageClix is very reliable and has exceeded my expectations.
Subscribe to get the latest news and offers first!
Appendix 19: Product Sales by country
product_title
Battery
Guitar Stage Set
Jack V3 Set
Jack V3 Set
Guitar Stage Set
Rack Mount Kit (double)
Battery
Battery
Jack Transmitter
Guitar Studio Set
Guitar Studio Set
Guitar Stage Set
Power supply and adapters kit
Leather pouch + Extension
cable
Jack Transmitter
Repairment service
Rack Mount Kit (double)
Jack V3 Set
Battery
Antenna 2.4/5.8 GHz
Jack Transmitter
Guitar Stage Set
Guitar Stage Set
Jack V3 Set
Jack Transmitter
Jack V3 Set
Jack Transmitter
Rack Mount Kit (single)
Jack Transmitter
Antenna 2.4/5.8 GHz
Charger
Guitar Studio Set
country
Germany
Germany
Croatia
Germany
Italy
Switzerland
Ireland
France
Switzerland
Germany
Greece
Switzerland
Germany
Germany
Germany
France
Germany
Belgium
Denmark
United
Kingdom
Netherlands
United
Kingdom
France
Netherlands
Italy
Spain
Greece
Austria
United
Kingdom
Germany
Germany
Spain
net_quantity
(in units)
12
4
3
3
3
2
2
2
2
2
2
2
2
1
1
1
1
1
1
total_sales
(in €)
348.000
2196.000
1047.000
1047.000
1447.000
178.000
58.000
58.000
398.000
1098.000
991.750
1098.000
60.000
55.000
199.000
82.000
89.000
349.000
29.000
1 29.000
1 199.000
1
1
1
1
1
1
1
549.000
449.000
349.000
199.000
349.000
160.480
65.830
1
1
1
1
199.000
29.000
199.000
549.000
137
Power supply and adapters kit
Jack V3 Set
Leather pouch + Extension
cable
Rack Mount Kit (single)
Guitar Stage Set
Guitar Studio Set
Guitar Stage Set
Rack Mount Kit (single)
Leather pouch + Extension
cable
Guitar Stage Set
Guitar Studio Set
United
Kingdom
France
1 30.000
1 349.000
Croatia
Germany
Spain
Switzerland
Austria
United
Kingdom
1
1
1
1
1
55.000
79.000
549.000
549.000
549.000
France
Belgium
Italy
1 55.000
1 549.000
1 549.000
1 79.000
Word Count
List of References
Alezeni, M., Almoustafa, K. and Hussein, M., 2018, (1) (PDF) On Virtualization and
Security-Awareness Performance Analysis in 5G Cellular Networks Available at:
https://www.researchgate.net/publication/323896646_On_Virtualization_and_SecurityAwareness_Performance_Analysis_in_5G_Cellular_Networks (Accessed 13 November
2024).
Audio-Technica, 2024, Strategic Alliances and Partnerships Available at:
https://www.audio-technica.com/en-us/strategic-alliances-and-partnerships/ (Accessed
3 January 2025).
Ayala, N.F., Gaiardelli, P., Pezzotta, G., Le Dain, M.-A. and Frank, A.G., 2021, (1)
Adopting service suppliers for servitisation: which type of supplier involvement is more
effective? | Request PDF Available at:
https://www.researchgate.net/publication/349606515_Adopting_service_suppliers_for_s
ervitisation_which_type_of_supplier_involvement_is_more_effective (Accessed 12
November 2024).
Babu, P.M., Saedon, J. and Moore, D., 2023 Cognitive biases that influence Lean
implementation and practices in a multicultural environment | Request PDF.
ResearchGate. Available at:
https://www.researchgate.net/publication/370253700_Cognitive_biases_that_influence_
Lean_implementation_and_practices_in_a_multicultural_environment (Accessed 2
January 2025).
Baxendale, S., Macdonald, E.K. and Wilson, H., 2015, (1) (PDF) The Impact of Different
Touchpoints on Brand Consideration Available at:
138
https://www.researchgate.net/publication/272198791_The_Impact_of_Different_Touchp
oints_on_Brand_Consideration (Accessed 31 December 2024).
Beattie, A. and Cassidy, E., 2020 Locative disconnection: The use of location-based
technologies to make disconnection easier, enforceable and exclusive. Convergence: The
International Journal of Research into New Media Technologies, 27,
p.135485652095685.
Benz, C. et al., 2023 Co‐designing a telepractice journey map with disability customers
and clinicians: Partnering with users to understand challenges from their perspective.
Health Expectations, 27.
Berry, L.L., 2002, (1) Relationship Marketing of Services Perspectives from 1983 and
2000 | Request PDF Available at:
https://www.researchgate.net/publication/254371055_Relationship_Marketing_of_Servic
es_Perspectives_from_1983_and_2000 (Accessed 6 December 2024).
Boone, D., Halligan, S., Mallett, S. and Taylor, S.A., 2011 Systematic review: Bias in
imaging studies - The effect of manipulating clinical context, recall bias and reporting
intensity | Request PDF. ResearchGate. Available at:
https://www.researchgate.net/publication/51682342_Systematic_review_Bias_in_imagin
g_studies__The_effect_of_manipulating_clinical_context_recall_bias_and_reporting_intensity
(Accessed 2 January 2025).
Castro Lopez, A., Vázquez, R. and Puente, J., 2019, (1) (PDF) How to Manage the Online
Experience Concerning Transactional and Experimental Customers: Case of E-Fashion
Sector Available at:
https://www.researchgate.net/publication/333039784_How_to_Manage_the_Online_Exp
erience_Concerning_Transactional_and_Experimental_Customers_Case_of_EFashion_Sector (Accessed 14 December 2024).
Chang, J. and Kwon, W.-S., 2020 Social Media Information Search Behavior in
Consumption Decisions: Consumer Segmentation and Discriminant Factors,
Crosier, A. and Handford, A., 2012 Customer Journey Mapping as an Advocacy Tool for
Disabled People: A Case Study. Social Marketing Quarterly, 18(1), pp.67–76.
Dharani, A. and Manjuprasad, B., 2019, (1) (PDF) Lightweight Security Protocol for
Efficient Information Transfer in Sensor Networks Available at:
https://www.researchgate.net/publication/364105091_Lightweight_Security_Protocol_fo
r_Efficient_Information_Transfer_in_Sensor_Networks (Accessed 9 November 2024).
van Doorn, J., Leeflang, P.S.H., Spring, P.N. and Wansbeek, T., 2013, (1) Identifying the
direct mail-prone consumer | Request PDF Available at:
https://www.researchgate.net/publication/271935875_Identifying_the_direct_mailprone_consumer (Accessed 31 December 2024).
Faure-Carvallo, A., Gustems, J. and Guaus, E., 2022, (1) (PDF) Music education in the
digital age: Challenges associated with sound homogenization in music aimed at
adolescents Available at:
https://www.researchgate.net/publication/359455886_Music_education_in_the_digital_a
ge_Challenges_associated_with_sound_homogenization_in_music_aimed_at_adolescent
s (Accessed 9 November 2024).
Følstad, A. and Kvale, K., 2018 Customer journeys: a systematic literature review.
Journal of Service Theory and Practice, 28(2), pp.196–227.
139
Forenbacher, I., Husnjak, S., Jovovic, I. and Bobić, M., 2021, (1) (PDF) Throughput of an
IEEE 802.11 Wireless Network in the Presence of Wireless Audio Transmission: A
Laboratory Analysis Available at:
https://www.researchgate.net/publication/350756679_Throughput_of_an_IEEE_80211_
Wireless_Network_in_the_Presence_of_Wireless_Audio_Transmission_A_Laboratory_Ana
lysis (Accessed 11 November 2024).
Gao, W., Jia, H. and Yan, R., 2015, (1) (PDF) Customer segmentation model based on
two-step optimization in big data era Available at:
https://www.researchgate.net/publication/301463117_Customer_segmentation_model_
based_on_two-step_optimization_in_big_data_era (Accessed 6 December 2024).
Gao, X., 2022, (1) (PDF) An Attractive Alternative? China’s Approach to Cyber
Governance and Its Implications for the Western Model Available at:
https://www.researchgate.net/publication/360902193_An_Attractive_Alternative_China's
_Approach_to_Cyber_Governance_and_Its_Implications_for_the_Western_Model
(Accessed 17 November 2024).
George, A., Kaldany, R.-R. and Losavio, J., 2019, The world is facing a $15 trillion
infrastructure gap by 2040. Here’s how to bridge it Available at:
https://www.weforum.org/stories/2019/04/infrastructure-gap-heres-how-to-solve-it/
(Accessed 17 November 2024).
Groß, J. and Bayen, U.J., 2021, (PDF) Older and Younger Adults’ Hindsight Bias after
Positive and Negative Outcomes Available at:
https://www.researchgate.net/publication/351853211_Older_and_Younger_Adults'_Hind
sight_Bias_after_Positive_and_Negative_Outcomes (Accessed 2 January 2025).
Grubic, T. and Jennions, I.K., 2018 Do outcome-based contracts exist? The investigation
of Power-by-the-hour and similar result-oriented cases. International Journal of
Production Economics.
Harish, A. and Chidambaranathan, M., 2023 Customer Segment Prediction on Retail
Transactional Data Using K-Means and Markov Model. Intelligent Automation & Soft
Computing, 36, pp.589–600.
Hassan, M., Assistant, H. and Mirza, T., 2020 CUSTOMER PROFILING AND
SEGMENTATION IN RETAIL BANKS USING DATA MINING TECHNIQUES.
Huang, X., Kristal, M. and Schroeder, R., 2010 The Impact of Organizational Structure on
Mass Customization Capability: A Contingency View. Production and Operations
Management, 19, pp.515–530.
Hussain, F., Hussain, Z., Imran, A. and Khan, M.I., 2024, The digital rise and its
economic implications for China through the Digital Silk Road under the Belt and Road
Initiative - Fakhar Hussain, Zakar Hussain, Muhammad Ikramullah Khan, Ali Imran, 2024
Available at: https://journals.sagepub.com/doi/full/10.1177/20578911231174731
(Accessed 13 November 2024).
Hypko, P., Tilebein, M. and Gleich, R., 2010, (1) Benefits and uncertainties of
performance-based contracting in manufacturing industries: An agency theory
perspective | Request PDF Available at:
https://www.researchgate.net/publication/235298474_Benefits_and_uncertainties_of_pe
rformancebased_contracting_in_manufacturing_industries_An_agency_theory_perspective
(Accessed 12 November 2024).
140
Ibrahim, N., Handayani, P., Purwandari, B., Eitiveni, I. and Fadhil Dzulfikar, M., 2023 The
Segmentation of Mobile Application Users in The Hotel Booking Journey. Interdisciplinary
Journal of Information, Knowledge, and Management, 18, pp.667–689.
Ieva, M. and Ziliani, C., 2018, (1) Mapping touchpoint exposure in retailing: Implications
for developing an omnichannel customer experience | Request PDF Available at:
https://www.researchgate.net/publication/324042008_Mapping_touchpoint_exposure_in
_retailing_Implications_for_developing_an_omnichannel_customer_experience
(Accessed 1 January 2025).
Juodenyte, G., 2024a Interview with Marketing Manager Gabija Juodenyte.
Juodenyte, G., 2024b (Preliminary) Interview with Marketing Manager Gabija Juodenyte
– Identifying the business problem.
Kohan, D., 2023, Sennheiser Group grows sustainably and strengthens its position in the
professional audio market Available at: https://newsroom.sennheiser.com/sennheisergroup-grows-sustainably-and-strengthens-its-position-in-the-professional-audio-market
(Accessed 3 January 2025).
Kohler, S., 2016, 5 Ways That Shure Enhances The Customer Experience Through
Strategic Partnerships Available at: https://www.shure.com/en-us/insights/5-ways-thatshure-enhances-the-customer-experience-through-strategic-partnerships/ (Accessed 3
January 2025).
Lasalle, P. and M. Scott, J., 2017, (1) (PDF) Breaking-out? A reconceptualisation of the
business development process through diversification: the case of Polish new migrant
entrepreneurs in Glasgow Available at:
https://www.researchgate.net/publication/320569251_Breakingout_A_reconceptualisation_of_the_business_development_process_through_diversificati
on_the_case_of_Polish_new_migrant_entrepreneurs_in_Glasgow (Accessed 11
November 2024).
Lemon, N.K. and Verhoef, C.P., 2016, Understanding Customer Experience Throughout
the Customer Journey - Katherine N. Lemon, Peter C. Verhoef, 2016 Available at:
https://journals.sagepub.com/doi/10.1509/jm.15.0420 (Accessed 26 March 2024).
Li, D., 2021 Research on Music Multiterminal Audio Authentication Based on Wireless
Network. Wireless Communications and Mobile Computing, 2021, pp.1–10.
Lighthouse Independent Media, 2021, Sennheiser fine tunes marketing strategy to shift
from tactical campaigns Available at: https://www.marketinginteractive.com/sennheiser-fine-tunes-marketing-strategy-to-shift-from-tacticalcampaigns?utm_source=chatgpt.com (Accessed 3 January 2025).
lotus823, 2022, Integrated Marketing Strategy | Digital Marketing Strategy | AudioTechnica Available at: https://lotus823.com/project/integrated-marketing-strategy/
(Accessed 3 January 2025).
Luchmansyaroni, A.W., 2017, Design a Guitar Effects Controller Using a Wireless System
Available at:
https://www.researchgate.net/publication/352825960_Design_a_Guitar_Effects_Controll
er_Using_a_Wireless_System (Accessed 11 November 2024).
Ludwiczak, A., 2021 Using Customer journey mapping to improve public services: A
critical analysis of the literature. Available at: chrome-
141
extension://efaidnbmnnnibpcajpcglclefindmkaj/https://www.managementpoland.com/pdf-157635-83815?filename=Using%20customer%20journey.pdf.
Lundh, A., 2022, (1) (PDF) “I can read, I just can’t see”: a disability rights-based
perspective on reading by listening Available at:
https://www.researchgate.net/publication/357570660_I_can_read_I_just_can't_see_a_d
isability_rights-based_perspective_on_reading_by_listening (Accessed 11 November
2024).
Maes, P.-J., Lorenzoni, V., Moens, B., Six, J., Bressan, F., Schepers, I. and Leman, M.,
2018, (1) Embodied, Participatory Sense-Making in Digitally-Augmented Music Practices:
Theoretical Principles and the Artistic Case “SoundBikes” | Request PDF Available at:
https://www.researchgate.net/publication/325730128_Embodied_Participatory_SenseMaking_in_DigitallyAugmented_Music_Practices_Theoretical_Principles_and_the_Artistic_Case_SoundBikes
(Accessed 9 November 2024).
Makhdoom, I., Abolhasan, M., Lipman, J., Liu, R. and Ni, W., 2018 Anatomy of Threats to
The Internet of Things. IEEE Communications Surveys & Tutorials, PP.
Mifli, M., Hashim, R. and Zainal, A., 2015 Managing menu innovation in a saturated
market: An empirical evidence from the Chain restaurants in Malaysia. Tourism and
Hospitality Research, 17.
Neuhofer, B., Buhalis, D. and Ladkin, A., 2015 Smart Technologies for Personalized
Experiences: A Case Study in the Hospitality Domain. Electronic Markets.
Pookulangara, S. and Koesler, K., 2011, (1) Cultural influence on consumers’ usage of
social networks and its’ impact on online purchase intentions | Request PDF Available at:
https://www.researchgate.net/publication/229131348_Cultural_influence_on_consumers
'_usage_of_social_networks_and_its'_impact_on_online_purchase_intentions (Accessed
14 December 2024).
Pourmehdi, M., Iacob, M.-E. and Mes, M., 2023 Towards a Reference Architecture for
Planning and Control Services. In: pp. 121–138.
Priem, R., li, S. and Carr, J., 2012 Insights and New Directions from Demand-Side
Approaches to Technology Innovation, Entrepreneurship, and Strategic Management
Research. Journal of Management - J MANAGE, 38, pp.346–374.
Puccinelli, N., Goodstein, R., Grewal, D., Price, R., Raghubir, P. and Stewart, D., 2009
Customer Experience Management in Retailing: Understanding the Buying Process.
Journal of Retailing, 85, pp.15–30.
Ryan, W.G., Fenton, A., Ahmed, W. and Scarf, P., 2020 Recognizing events 4.0: the
digital maturity of events. International Journal of Event and Festival Management,
ahead-of-print.
Samanta, R., Sadhukhan, B., Samaddar, H., Sarkar, S., Koner, C. and Ghosh, M., 2022,
Scope of machine learning applications for addressing the challenges in next-generation
wireless networks | Semantic Scholar Available at:
https://www.semanticscholar.org/paper/Scope-of-machine-learning-applications-for-thein-Samanta-Sadhukhan/5cc1e231a09f87cea7f0c619b528f48c0cbe126b (Accessed 9
November 2024).
142
Santos, S. and Gonçalves, H.M., 2021 The consumer decision journey: A literature
review of the foundational models and theories and a future perspective. Technological
Forecasting and Social Change, 173, p.121117.
Schallehn, H., Seuring, S., Strähle, J. and Freise, M., 2019, (1) Defining the antecedents
of experience co-creation as applied to alternative consumption models | Request PDF
Available at:
https://www.researchgate.net/publication/333558564_Defining_the_antecedents_of_ex
perience_co-creation_as_applied_to_alternative_consumption_models (Accessed 1
January 2025).
Shah, D., Rust, R.T., Parasuraman, A.P., Staelin, R. and Day, G.S., 2006, (1) (PDF) The
Path to Customer Centricity Available at:
https://www.researchgate.net/publication/240281605_The_Path_to_Customer_Centricit
y (Accessed 6 December 2024).
Shibghatullah, A., Sultan, S., Abudulsheed, H., Fadilah, S., Abd Wahab, M.H. and Helmy,
M., 2014 Design And Development Of Zigbee Based Wireless Remote Controlling And
Data Acquisition Device Through Internet. Journal of Theoretical and Applied Information
Technology, 70, pp.228–233.
Shure, 2024, Processus de service et de réparation. Available at:
https://www.shure.com/fr-be/support/service-reparation (Accessed 3 January 2025).
Shure Inc., 2016, A Culture of Innovation Available at: https://www.shure.com/enxa/insights/a-culture-of-innovation/ (Accessed 3 January 2025).
Siepel, E., 2024 Interview with Finance Manager Eliane Siepel.
Sisson, A. and A. Whalen, 2022, (1) (PDF) Getting back to human touch: habit and
change decisions during mobile device intermediations at events Available at:
https://www.researchgate.net/publication/364717991_Getting_back_to_human_touch_h
abit_and_change_decisions_during_mobile_device_intermediations_at_events (Accessed
13 November 2024).
Stageclix, 2024, Wireless Audio Solutions for Professional Musicians Available at:
https://www.stageclix.com/ (Accessed 11 November 2024).
Sun, C., 2024 Data Analysis of Customer Segmentation and Personalized Strategy in the
Era of Big Data. Advances in Economics, Management and Political Sciences, 92, pp.46–
52.
Tabak, C., 2023 Intelligent Music Applications: Innovative Solutions for Musicians and
Listeners - Akıllı Müzik Uygulamaları: Müzisyenler ve Dinleyiciler için Yenilikçi Çözümler.
International Anatolian Journal of Social Sciences. Available at:
https://www.academia.edu/110518134/Intelligent_Music_Applications_Innovative_Soluti
ons_for_Musicians_and_Listeners_Ak%C4%B1ll%C4%B1_M%C3%BCzik_Uygulamalar%
C4%B1_M%C3%BCzisyenler_ve_Dinleyiciler_i%C3%A7in_Yenilik%C3%A7i_%C3%87%
C3%B6z%C3%BCmler (Accessed 9 November 2024).
Turchet, L. and Casari, P., 2023, (1) Assessing a Private 5G SA and a Public 5G NSA
Architecture for Networked Music Performances | Request PDF Available at:
https://www.researchgate.net/publication/376216623_Assessing_a_Private_5G_SA_and
_a_Public_5G_NSA_Architecture_for_Networked_Music_Performances (Accessed 11
November 2024).
143
Umaashankar, V. and Shanmugam, G., 2019, [PDF] Ask less - Scale Market Research
without Annoying Your Customers | Semantic Scholar Available at:
https://www.semanticscholar.org/paper/Ask-less-Scale-Market-Research-withoutAnnoying-Umaashankar-Shanmugam/7fb28a0ecc49742505f80d5cf19dfdf37e0d137b
(Accessed 9 December 2024).
Van Winkle, C.M., MacKay, K.J., Halpenny, E. and Bueddefeld, J., 2018, (1) (PDF) Going
Mobile TTRA 2018 Halifax submission revised Available at:
https://www.researchgate.net/publication/333324705_Going_Mobile_TTRA_2018_Halifa
x_submission_revised (Accessed 13 November 2024).
Wang, C., 2020 Research on Resource Optimization of Music Multi-Terminal Based on
Edge Computing. IEEE Access, 8, pp.195559–195567.
Wang, D., Wang, Z. and Lin, C., 2013 Design of 5.1 Channel Audio System Based on
Zigbee and PurePath Wireless Technology. Applied Mechanics and Materials, 385–386,
pp.1296–1299.
Welvaadt, J., 2024a Interview with owner, CEO and operations manager Jochem
Welvaadt.
Welvaadt, J., 2024b Preliminary interview with Jochem Welvaadt – Identifying the
business problem.
Yao, Z., Sarlin, P., Eklund, T. and Back, B., 2012, “COMBINING VISUAL CUSTOMER
SEGMENTATION AND RESPONSE MODELING” by Zhiyuan Yao, Peter Sarlin et al.
Available at: https://aisel.aisnet.org/ecis2012/143/ (Accessed 6 December 2024).
Zhang, 2022, (1) (PDF) Designing a National Music System for a Smart Concert Hall
Using Neural Network and Wireless Internet of Things Available at:
https://www.researchgate.net/publication/361613415_Designing_a_National_Music_Sys
tem_for_a_Smart_Concert_Hall_Using_Neural_Network_and_Wireless_Internet_of_Thin
gs (Accessed 9 November 2024).
144