FEATURE
Joel Seigle
Location
Brooklyn, NY
Type
Interview
Contact
Joel Seigle grew up in his family’s Illinois lumber yard, where his grandfather Harold first established roots in woodworking. Now based in Red Hook, Joel brings that material intimacy to speaker design, pushing beyond traditional boxes to create sculptural forms that invite curiosity and connection. His approach centers on deriving forms that enhance acoustics while creating “emotional reactions to the object before you hear a sound.”
His Subwoofer Dining Table transforms solid ash into functional furniture housing a JBL driver, while his installation work at Rodeo creates speakers that flow seamlessly through three distinct rooms. Joel’s breakthrough came when he built his first wooden horn—spending months struggling with math and theory until that moment when harsh, focused sound transformed into something smooth, wide, and natural.
With industrial design training from Pratt Institute and a background spanning furniture to lighting, Joel sees speaker design as an opportunity to challenge what these objects can be. His practice reflects the broader shift happening across New York’s sound scene, where craft and character matter as much as performance.
Prior to moving into sound systems, you have a background in industrial design and furniture design. What did you specialize in for that part of your career and what were your greatest learnings?
I specialized in working with a wide range of materials and production techniques, designing and building everything from cabinets and furniture to lighting and products. While it sounds cliché my most valuable lesson I learned was to stay true to your own vision and trust your process. One of the earliest pieces of advice I received from a designer I worked for was to ‘be a market driver, not market-driven.’ That mindset has shaped how I approach design in all areas of my work.
What’s the story of how you first started designing sound systems?
Music and dancing have always been a passion of mine, but when the pandemic hit and everything came to a halt, I felt a strong urge to fill the silence with deep, full-bodied sound. That’s when the Ojas DIY kit was released, and with access to a wood shop, I riffed on the components to build my own version.
From there, I dove headfirst into sound system design—obsessing over every design software I could find and reading countless books, forums and blogs. It was the perfect storm of curiosity, creativity, and the desire to experience the big club sound I’d been missing. That’s how I got hooked on designing sound systems—it became a way to explore both technology and artistry, setting me on the path I’m on today.
What sets your sound systems and design practice apart from what’s already out there?
What sets my sound systems and design practice apart is that I’m focused on pushing beyond the traditional ‘box’ approach. While boxes definitely have their place in the market, I’m more interested in rethinking what a speaker can be—not just in terms of performance, but also in how people interact with and experience the object as a whole. For me, it’s about creating a design that invites curiosity and connection, something that goes beyond just providing sound. I want my speakers to spark a feeling, to engage people in a way that challenges the typical notion of what a speaker should be and create emotional reaction to the object before you hear a sound.
You’ve spoken a lot about the nature of form and function, particularly informed by your previous design background. How do you view that relationship particularly with regard to speaker design, where functionality is typically the main consideration?
When it comes to speaker design, there’s already so much functionality that’s been worked out over the years. A lot of the technical groundwork has been done, so for me, the challenge is finding ways to derive forms that are not only visually beautiful but that also enhance the acoustics. I see a huge opportunity for inspiration in how we can push the boundaries of form, using what we’ve learned from all the scientific advancements in speaker technology.
Your work in speaker design seems like a true passion project, filled with excitement and curiosity. What have been your favorite breakthroughs in this journey so far and what aspects are you most interested in learning more about?
One of my favorite breakthroughs in speaker design happened when I decided to build my own wooden horn. The manufacturing side came naturally to me, but I really struggled to convert the math and theory into something that actually worked. The prototypes looked cool, but they didn’t do much for the sound.
I spent a lot of time experimenting with different computer programs, trying out different shapes and profiles, but nothing seemed to change the sound much. Then, after a lot of trial and error, I finished a horn and mounted my compression driver. As soon as I heard it, I knew something had clicked—the sound went from harsh and focused to something much smoother, wider and more natural. That was my ‘Aha!’ moment.
Looking ahead, I’m really excited to dive into collecting data and analyzing how different shapes and designs actually impact the sound. I’m all about learning more about the process and fine-tuning my designs to make sure they sound as good as they look.
Can you walk us through the design process for Rodeo, and what kind of experience do you want to create for visitors?
Rodeo was really my first opportunity to work on a large-scale installation in a public space. My goal was to create something that felt like it belonged in the space, while also challenging traditional ideas of what a speaker design can be. At the same time, it had to sound incredible. The team at Rodeo has been amazing in trusting me with this vision, which has allowed me the freedom to experiment and adjust based on real-time feedback from the space and the energy of the people using it.
The space itself consists of three different rooms, each with a unique energy, but they all share a cohesive vibe. We wanted visitors to be able to flow through these rooms without feeling restricted to any one area. The idea was to create a sense of freedom, where people can move through the spaces based on their mood or vibe, without feeling locked into a particular experience. In terms of design, this meant creating speakers that could integrate seamlessly into each environment while also contributing to the overall feel of the space.
Why do you think we’re seeing this renewed interest in high-fidelity audio? How do you see this scene changing in the next few years?
I think the renewed interest in high-fidelity audio is partly a reaction to how much we’ve lost in the evolution of sound technology. Growing up, I saw the shift from my parents’ vinyl LPs to the digital libraries of music available on streaming platforms today. At the same time, audio devices have gone from massive cinema horn systems in the ’50s to tiny Bluetooth speakers and wireless earbuds. While the convenience and portability are amazing, I think we’ve lost something in the compression—particularly when it comes to the richness and depth of the sound.
This resurgence of interest in high-fidelity audio feels like a kind of renaissance, where people are looking for more than just convenience; they’re craving a more immersive, high-quality listening experience. There’s a growing desire to reconnect with music in a way that feels more energetic and full-bodied, and I think that’s driving the push for better sound.
We’ve seen a sneak peek at your home setup–tell us about what that looks like now and what your dream setup will look like.
My current setup consists of my Onken version of the Ojas DIY bookshelf speakers, paired with a custom subwoofer dining table for rich deep bass. It reflects both where I started and the path I’m moving towards.
My dream setup would transform my space into an audio haven, filled with speaker systems from different makers around the world, each with its own distinct approach and sound signature. The idea of experimenting with a variety of speakers to match different moods and occasions excites me. It’s about creating a diverse sonic and visual landscape, where each system brings its own character and flavor to the experience. For me, it’s not just about great sound—it’s about the atmosphere, the interplay of design, and the joy of exploring the many ways sound can be expressed.
Guest Questions from Western Acoustics:
How much are the form of your designs influenced by the tools and methods you use to construct them?
The forms of my designs are primarily driven by the function of sound propagation. The tools and methods I use do influence the process, but they’re more of a limitation of capability. For example, my current CNC machine restricts the scale of my builds—its limited vertical movement only allows me to cut wood up to 2″ thick, which impacts the designs I can create.
Are there designs in your head you want to make but have been unable to execute due to the limitations of the tools you have on hand?
I’d love to build a missive like horn like the Klangfilm Euronor but it wouldn’t fit in my shop.
