Interview with Ologe Acoustic

Along with upcoming review of Ologe Acoustic FIVE and ONE speakers here is the interview with Ologe Acoustic's Arnaud Rastoul. I have very positive listening notes on both of Ologe speakers. I love the contemporary approach and direct sound, that evoke my desired emotions for musical emotional impact. Stay tuned for reviews, but for now here is an extended insight into company...

MI: How and when Ologe Acoustic was formed?

Ologe was formed in 2007 by a group of Audiophile who wanted something more than existing hi-end and a new DIY system. Through research they found an interesting theory on linear frequency and new interpretation of infinite Baffle concept, which they decided to found.

And the adventure started…

MI: Is there a person or company in audio business that inspired you into audio business?

Being in charge of the Japanese branch of a large European Logistic Group, I had the chance to travel a lot. During those numerous trip I could meet many audiophile, designers, music lover but could never find exactly what I wanted: live emotion in a nice looking packaging. This drove me in this business and started to invest with Ivan Lee, my audiophile friend.

MI: Do you consider yourself an audiophile?

My friend may say so, I love the emotion of music and love system, which are able to reproduce those emotion without altering them. So yes, I am an audiophile.

MI: Are you building your speakers in house? What is the procedure? What are the goals and standards?

All of us are contributing to our brand with our individual know-how and work experience. Ivan is the key person when it comes to the technical aspect and the manufacturing procedure. With the help of sound engineers, he is providing the technical direction. Our goals: perfect reproduction of music as it was recorded to reproduce the emotion and feelings of the artist when expressing himself. Our aim for present linear frequency response with the accurate response. Also can more easily to fit in our living and no need to handle much for room acoustic treatment. 

MI: What is for you most important thing when building loudspeaker?

Capacity of producing linear frequency within the whole range as well as providing a wide sonic axis.

MI: What materials, technology and knowledge do you use for manufacturing speakers?

[ Concept ]

(A) Infinite Baffle theory: a sealed box with extremely large dimensions, so large that listener will not hear the back reflection of the sound.

Those dimensions will be so large that the suspension of the driver (Cms) will be by far the dominant factor within the total suspension. This will result as providing an environment where the resonance of the system (Fc) will nearly match the resonance of the driver (Fs) resulting in a natural and quick bass response.

With such unlimited volume of the sealed box, all the drivers will lose their limitation and also avoid pollution from any side effect due to the air volume displacement. Above is only true in theory and the implementation in reality is much more challenging and could not be achieve.

So here were the two challenges of the implementation of such theory:

1) The purpose of the loudspeaker enclosure is to prevent waves emitted from the front and rear of a drive unit meeting and thereby cancelling each other out.

2) Reduce all side-effect which occurs by the air moved behind driver.

So we twisted the infinite baffle theory as we believed that infinite speaker cabinet could not be realistic nor manageable. So with the same target in mind, which is to enjoy the reproduction of a live experience at home. We therefore believe that having less air volume to manage, better the driver results will be.

Quickly we had to manage the fact that without air, there is no sounds. So we had to re-engineer every single piece of component from driver to screw to achieve progress in this direction. As a result, we were able to develop driver able to reproduce linear frequency with a very limited volume of air capt in a sealed box cabinet. Then we face an additional challenge…

(B) Tweeter Array system

This is a well-known issue by audiophile as it can improve the music presence resulting from the driver. We then focus on the live and emotional aspect of music.

Most of speaker designs are using single tweeter or are placing them vertically as placing two of them horizontally will create interferences.

So we redesign our tweeter to have a extreme directional axis and decided to place two of those to widen the sonic axis and avoid a narrow sweet spot.

The aim of Twin array are to enforce the directional aspect in order to minimize the reflection of the listening environment and provide a direct sound rather than a reflected one.

As an experience of our R&D, please place your ONE within 1-1.5 feet and position the speakers in between your ears. By doing so you will have the feeling of listening to a large headphone.

In addition and to minimize the interference issues we had to re-calculate the waveguide curve and positioning of the drivers as well as the size of our woofer.

To be able to materialize our target of a perfect sound reproduction, we had to re-design all the range of tweeter which are differing on each model.

(C) Recoil Vibration guiding

Please check our brochure for the details.

[ DETAILS ] – below are some further information in order to grasp the effort and investment done to reach our goal of live reproduction.

a) Rubber/surrounding – we use double “r” shape (one big curve join with one small curve). It can reduce the wave interference between different medias (cone and rubber). This special design can let the surface of the cone to allow optimum performance of the surround.

The thickness of our surrounding is not flat, the small curve is slightly thicker than the big curve, we are using this technic to create enough tension to cut off the surface interfered.

b) Cone – the design of our paper cone has been done to integrate high conductivity marterial in a double parabola shape to facilitate the soundstage reproduction.

* Our cone and surrounding combination is quite special. Surrounding is one kind of suspension as common sense for driver design, but our driver design have more than 20% of its sound coming from this surrounding, the zone of small curve is the main suspension system.

You can see this when playing load with the movement of the cone vs the common driver.

c) Spider – we use some high elastic recovery ability fabric “conex” . It usually has a wave shape but we use the triangle one to support the response of the driver as it can stop to move or push at once.

d) Voice coil – we are not using single material for our voice coil bobbin, instead we are combining KSV, TIL and ASV and let the soundstage have more depth. You can realize the result by feeling the soundstage of our speaker starting for the back of the cabinet.

e) Baffle size and driver position – as attached picture, we had calculated and prevented all wave interference as much as we could. As a result, we have a large sonic axis to reproduce the feeling of a live soundstage.

f) for recoil vibration, we use some simulation software to check the micro movement (vibration) of speaker and add some damping or let the Abase to handle it.

MI: Why did you start with high end audio business?

Actually, we are starting from not starting with …

High End is the pure form of acoustic, with our aim to reproduce emotion and feeling we had no choice but to start from there, right? Also the notion of lifestyle and hedonist are complement of our quality, actually they are the extension of the quality of our soundstage. Pleasure.

MI: What is the difference in constructing consumer and high end audio speaker?

High End is the quest for the perfect sounds, neither a trend nor a color. You put all your resources with the aim of reproducing the perfect sound. Consumer Goods are often driven by price and market positioning, for us this comes after.

MI: What reference components do you use to test and tune your speaker?

My partner, Ivan, accumulated so many gears: Sharp SM-SX100, FM acoustic, HF, Audio labor, Swiss physic model 5+6, Manley Labs, etc… and we are using them to test and tune our speaker at present. We still are developing new product to be able to let our acoustic monitor to fit with our philosophy or creating a distinctive sound, linear and real to reproduce emotion and feeling of the musician.

MI: What electronic do you use to enjoy your speaker at home?

Right now, I have a simple NAD 390 DD, Linn LP12, Logistech Squeeze Touch power with Pardo and our to be soon release cables.

UNI+SOLO also will arrive on Dec, we need to ship to client first, since our production for this combo is too slow.

MI: Where are you products designed and built?

Thanks to the knowledge of Ivan, we put in place some complex sourcing to ensure that we are able to get the best on all pieces. At first, and due to the complexity of our process, we produced the first batch in Japan. Now we secure a line in Taiwan who matches our QC expectation. Parts are source in Germany, China, Japan and Taiwan.

MI: How important are room acoustics for correct reproduction?

Room acoustic is important and contribute to the improvement of the sound reproduction. Nerveless, with all Ologe acoustic monitor, user can already experience a difference without having to go to this details and often costly investment. We have designed our line for people to enjoy music without having to adjust their living environment. The positioning is simple and with our wide sonic axis, the sweet spot/zone is much larger.

MI: Do you think that well designed loudspeaker is capable of top performance in domestic situation, without expensive room treatment? 

Good one should. We believe that good acoustic monitors are making an important difference whatever the situation is. Then up to the owner to fine tune this improvement by optimizing the environment.

MI: What would be your dream system without restrains in funds?

… a full set of Ologe products with our to release soon cable… indeed with the R&D and the non commercial approach which have lead us to the final results, it will be difficult to beat. Joke but should be have a chance to listen, :>.

MI: Do you think that real live experience is possible inside or our listening spaces? Yes, no? And why?

The characteristic of a live experience is the 3D positioning of the artist performing. A perfect stereo recording and the appropriate system, our acoustic monitor with their linear frequency are able to give you back this experience and therefore feel the 3D positioning of the performer like in a live experience.

MI: What amplifiers you prefer to for driving your speakers?

With the exception of our own range, Gryphon, some previous Sharp and flying mole digital amp, audio labor, NAD, Graaf, Pathos, are doing a great job in driving our monitor.

MI: Tell us more about your line of amplifiers amplifier? 

We focus our effort on accuracy and precision in all our products in order to provide a real, live expression of music.

To make this happens, we target ultra low distortion and high speed circuit design. This is a basic to reduce inaccuracy.

One of the first Pre amp offering adjustment of the slew rate and feedback.

When adjusting both, you will feel different response and tone.

We are trying to use as less mechanism as possible, and always respect our moto: forms meet functions.

The large button on the front is the volume and balance control, we use relay array to adjust the volume modules.

It is a class A and work with an internal bandwidth of 10 Mhz and can therefore not be mass product.

The production requires a permanent improvement of the small board to achieve our target of ultra bandwidth. Ivan spent a lot of time on this product and also a lot of man power.


It is class-D, but differs from the common digital amplifier. Indeed, most of class D

are working at 300 to 500 khz with a power of 300 to 1,000 W.

We start from Mhz but produce only 80W @16Ω at high current and wide bandwidth mode. We are not focusing here on the peak output but rather on the distortion of the continuous output.

The bandwidth runs from 0Hz to 50 kHz with only +/- 0.05 dB. THD at half power runs from 20 hz to 20 kHz @ THD <0 .006=".006" 1="1" able="able" and="and" are="are" at="at" br="br" distorsion="distorsion" khz.="khz." measure="measure" not="not" now="now" right="right" the="the" to="to">
All our test for SOLO are based on full band output whatever switching residue, ripple rejection and phase shift are. Simply reproduce music as it has been recorded

MI: What is your Ologe Acoustic dream audio product? 

A complete system able to reproduce at perfection live sounds and thus package in a classic contemporary design.

MI: What is an ultimate audio system mean for you? 

Living style and one kind of culture, just simple to play and enjoy music.

Frankly, we don’t want our user need lot of gear in their living place.

MI: What are your musical references? 

Very eclectic, from Otis Redding, Marlena Shaw to Meta Roos… lately I found a live at Carneggie Hall with David Byrn which I enjoyed very much. I am also discovering the Japanese from the 60-70’s which were perfectly recorded and very interesting of mix jazz and rock.

MI: What kind of music do you listen to at end of the day, when work is over? 

Here also, very much depends on my mood. Jazz, Latin and classic are my favorites and always ready to listen to new artists and album introduced by friends.

MI: Can the high end audio and audiophile products be more affordable? What is the barrier in this regard; small market or... ? 

From the production side, with hand crafted manufacturing process, rare material, and extensive R&D,it does not help to produce at a lower price. In addition, and this is maybe the issue of the HighEnd of not opening itself to the mass, the production are always limited due to the small circle of distribution and could not allow brand to access to lower mass manufacturing power. There is a mix of issue here: esotheric and pricey products, difficult access, scientific aspect, design, price… We are trying to break those barriers with Ologe by offering outstanding products at an affordable price like the ONE and are pushing our brand through collaboration with other hedonist industry like wines, design and architecture.

MI: How do you see audiophile and high end market? 

We need as a HighEnd brand to encourage new consumer to try our product. Audiophile and HighEnd is still too small with it's own code and vocabulary which may not be easy to understand for young music lovers. Up to us here also to do something.

Also expectation is now far beyond acoustic performance, new consumers are expecting some stylish design also, which unfortunately are not very much available.

MI: Is there a place for high end on the market. Is this moving towards small high quality manufacturers? 

Yes there is place for the high-end in today’s market and this is why we jumped in. Look at Dyson, was there a place in household products when he started ? Research, experience, design combined into audio product will for sure find a market today if the pricing and the manufacturing know how is there.

MI: What kind of impact Internet created in high-end society? 

Internet is playing a tremendous role in making the community closer and also smaller brand to share their products. This for sure is helping us.

MI: What are your plans for future? 

Where should we start ? So many plans for the coming years, when it comes to amps, LP or more affordable speakers packaging all the ease of the new media distribution access…

[Refine Series]

DUO, stereo power amp

[ Entry level product ]
DUET, stereo power amp
QUINTET, multi-channel power amp
STEM, CAS+DAC+preamplifier
SEMIBREVE, All-in-one system CAS+DAC+integrated amplifier

[ Cable ]

1)Speaker Cable

- S1

- S2

- S3

2) XLR Cable

- X1

- X2

- Solo Link


4) TRESTLE - hifi Rack

5) MIEN - Speaker Grill (all our speaker front panel have some magnet, we have develop some roll-form speaker grill)

MI: Any words for our readers?

All this is to enjoy music, any kind of music which support your mood and let you share your emotion. Music is the most complete human art… isn’t it?

Matej Isak Mono and Stereo ultra high end audio magazine All rights reserved, 2012 Matej Isak Mono and Stereo ultra high end audio magazine All rights reserved, 2012 None of the original text, pictures, that were taken by me, links or my original files can be re-pritend or used in any way without prior permission!