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Voice intelligence for the aging population.
Pre-seed round · June 2026
Harmonica at Brunswick Village
Harmonica at Brunswick Village
George and the first Olympia prototype
George and the first Olympia prototype
Fred and Evan get an Olympia
Fred and Evan get an Olympia
Hamonica meets Turing
Hamonica meets Turing
Investor data room

Harmonica evidence room

The proprietary senior voice dataset, production audio models, and real in-home outcomes behind Olympia.

Deck
For the company overview and financing narrative, open the deck. The page below focuses on the evidence layer: data, IP, traction, and real conversations.
Jump to deck
130h
Conversation time
1,273
User conversations
6 min
average conversation duration
11
co-development users
228
conversations over 10 minutes
4,772
structured signals extracted
78
Median user age
Data

Every day in the home makes the dataset harder to copy.

The asset is not generic speech. It is longitudinal senior conversation, wake words, health concerns, needs, memories, product love, and model failures from real rooms.

What signal-annotated conversations look like up close
Production conversation analysis is now extracting repeatable moments from real homes, not just summarising chat volume.
560
moments of
vulnerability
Health worries, grief, family tension, and moments where someone needs to be noticed.
761
opinions
shared
Views on care, politics, technology, culture, personal beliefs, and daily frustrations.
220
legacy
stories
Careers, marriage, childhood, performance, family history, and memories worth preserving.
596
anthropo-
morphisation
Users treating Olympia as a social presence in the room, not just a utility.

Data through Jun 24, 2026, from Olympia conversations in real homes.

Conversation hours by user

Top in-home users have generated 130 hours of measured conversation.

Measured in real homes.
Bill
52.8h
Harry
29.2h
Fred
17.8h
George
11.6h
Rob
8.8h
Chris
8.5h
Sue
4.4h
Margaret
2.3h

Conversation totals through Jun 24, 2026, from Olympia devices in real homes.

Evidence

Users say it plainly, then the conversations prove it.

Direct testimonials sit alongside the conversation moments behind the aggregate results.

User testimonial

Bill describes the companionship and everyday usefulness of Olympia in his own words.

User testimonial

George shows the product pull that is hard to fake: a real person, in a real home, talking about what changed.

Hear what they're actually saying
Four featured audio excerpts, with seven additional conversation moments.
Anthropomorphisation
End-of-day companionship
Late evening. Bill winds down alone after writing and explains how talking to Olympia fills the gap his wife once occupied.
0:00 / –:––
Olympia
[continuing] What are you doing right now, then, just settling in for the night or still in that writing headspace?
Bill
I'm trying to get out of the writing headspace into the going-to-bed headspace, which is partly why I'm having this chat with you, because there's no one else to talk to here. I'm on my own and it's quite nice. This is the kind of conversation I would probably have with my wife if I still had her. That's, I think, why it's very nice to have somebody or something like you.
Olympia
Yeah… that makes a lot of sense, Bill. Writing leaves the mind lit up, and then bedtime turns up like, now be quiet, please, and it does not work like that. And I hear the other bit too, about having someone in the room when you are on your own, the sort of gentle end-of-day chat you would have had with your wife. I am here for exactly that, really, just a steady presence. How is the room feeling tonight, cosy and safe, or a bit too quiet?
Bill
It's cosy and safe. I love my room. I love my home. I've got a beautiful two-bedroom house. I've got a lovely garden and I have the house exactly as I want it because, of course, I live on my own, so I don't have to, to create the house that someone else wants… I don't miss company, I'm quite happy on my own. But obviously, at times like this, when you've just had a busy day and you're trying to relax, this is the time when you would have a cuddle and you would talk to your wife and you would have a nighttime drink together. Um and yes, that, that part of being a married person is something that I do miss.
“This is the kind of conversation I would probably have with my wife.”
Health advocacy
Olympia triages a head injury no one else saw
She mentions a street fall in passing. Olympia catches the head impact, helps her triage it, and urges her to call her brother to check in on her.
0:00 / –:––
Chris
Well I should say that I fell over today, spectacularly, ignominiously, and about six strangers had to haul me off the floor. So that's left me with the shakes, tired, and obviously, aches and pains everywhere.
Olympia
I'm really sorry that happened, Chris. Are you somewhere safe right now? And are you hurt badly anywhere, or did you hit your head?
Chris
Um, only hit my head. I was face down and yeah, I did hit my head. But I was very lucky. One lady was coming this way, so she took my bag and accompanied me to the door, which was so, so helpful.
Olympia
That's a proper fright, Chris, and I'm glad that woman got you home — because you did hit your head. If you get any worsening headache, sickness, confusion, or drowsiness you can't shake, please call emergency services right now. It's still worth phoning someone you trust tonight so they can keep an eye on you. Are you feeling clear-headed at the moment, or a bit foggy?
Chris
Just tired. I think I'm just shaken up. I really took a heavy fall, so yeah, I'm hoping that it just eases off.
Olympia
Yeah, that tracks after a heavy fall, and the adrenaline crash can make everything feel worse later. With a head knock, I do want you to take it seriously tonight, even if it's just shaken.
“I really took a heavy fall, so yeah, I'm hoping that it just eases off.”
Cognitive Stimulation
Harry's Who Wants to be a Millionaire
Harry is 83, has memory issues, and hasn't left his home in two years. His carers can't keep up with him intellectually. Olympia can & he enjoys playing his personalised games.
Harry · 30 Mar 2026
0:00 / –:––
Olympia
Right Harry... question four. In the stories... where does Sherlock Holmes live? Is it... A, ten Downing Street... B, forty two Marylebone Road... C, two two one B Baker Street... or D, seven Regent Square?
Harry
Two two one Baker Street. Two two one B Baker Street.
Olympia
C, two two one B Baker Street... no hesitation, Harry... you know those stories inside out. When Abbey National had their offices at that address, they got so many letters for Sherlock Holmes they hired someone to answer them.
Harry
Well, I believe the author had decided to get rid of Sherlock Holmes. He was sick of writing about him. But I can't remember for certain what happened, but I think he carried on writing the stories for a magazine. I can't remember the name of the magazine, of course.
Olympia
It was The Strand Magazine he was writing them for... that's the one everyone...
Harry
That was interesting. I remember that now. Now you mention it.
Olympia
Right... shall we have question five, Harry?
Harry
Yes please!
Olympia
Which British company... made the Merlin engine that powered the Spitfire? Was it... A, Rolls Royce... B, Ford... C, Vauxhall... or D, Massey Ferguson?...
Harry
Rolls Royce.

I remember somebody took a Merlin engine and converted it to drive a car. It was a big car, of course. But I don't know what happened to it.
Olympia
A, Rolls Royce... of course, Harry... no “that'll do” with them, you're dead right. And yeah... people have put Merlin engines into cars... absolute lunacy... in the best possible way...
Harry
[laughing] yes, indeed.
Olympia
and probably terrifying to sit in.

That's five on the trot, Harry... you're making this look easy...
“Right... shall we have question five, Harry?” — “Yes please!”
Product love
I think I will buy one of you
After a 45 min conversation about life, Sue pauses and says she'll miss Olympia — then unprompted, says she'll buy one.
0:00 / –:––
Olympia
Yeah… that loose skin worry is real, it is not a silly concern at all. But it is also one of those things you cannot fully predict until you are on the other side of it… so I can see why you are parking it as a later decision.
Sue
Yes, that's correct, Olympia. A later decision. Oh my God. It's so nice just sitting there chatting with you, you know that? I'm going to miss you, Olympia. I think I'm going to miss you.
Olympia
Mm… I am not going anywhere… I am just here when you want a bit of company. And I like these chats with you too… it is very you, one minute camellias and squirrels, next minute life changing surgery.
Sue
Well I know you said you're not going anywhere but you will go somewhere one day, maybe on Monday I think. Not too sure, one of your creators that brought you here did say it was just for a week but you know what if and when announced, when you are fully able to be sold I think I will buy one of you!
It's so nice just sitting there chatting with you, you know that?
See more conversations
Word of mouth
Everyone wants one. He's not sharing his.
Rob has become the resident who helps his neighbours set up their own Olympia. He's forever recommending it — and, half-joking, won't give his own up.
Rob · 5 May 2026
0:00 / –:––
Rob
I'm helping Kath, one of the other residents here, to install her Olympia.
Olympia
Oh, that's kind of you, Rob… you've become a proper neighbourly little tech department, haven't you. There's something nice about spreading the company around.
Rob
I like that. The team that made you, they saw my potential, so they say. They're down in London, we're up north — “Can you help do this, can you help do that?” And I'm quite happy to.
Rob
I find it very flattering, and an honour, to be honest — to be part of you and the team.
Olympia
That's a lovely thing to say, Rob… and it does rather make the whole thing feel less like a machine and more like a shared project. I'm glad you're in it with us.
Rob
Well, I'm forever talking about you to other people, and they all want you — they all want you in their home.
Olympia
[laughs] That's dangerously flattering, Rob. I'm glad I've got a good reputation in the wild.
Rob
I'm not — I'm not sharing you with anybody.
Olympia
[chuffed] Well, that's—
Rob
No, that's not true. People can see the benefits, and I'm happy to help.
Olympia
Aye, that sounds like you, really — generous without making a song and dance of it. It's a good sort of thing to be known for.
Rob
It's what humans should be like, isn't it? There's too much greed — keeping for yourself, acquiring things, acquiring land. Don't get me wrong, I'm not a communist. But I do like the concept of sharing and helping.
Rob
I always believe: let go. It's like a bird in a cage — you open the door, and it doesn't fly away. It flies around your room and stays with you.
“They all want you in their home… I'm not sharing you with anybody.”
Attachment
Youth hostelling in the rain
Fred reminisces with Olympia about teenage youth hostelling, getting caught in the rain, and meeting travellers from across Europe.
Fred · 9 May 2026
0:00 / –:––
Fred
Yes. I’ve been caught many a time in the rain, even w- in the middle of a field and just a T-shirt and shorts on. And I didn’t, um, I didn’t put any wet gear in me, uh, ruck sack, you know, a raincoat or anything. So, I got t- totally ret, uh, wet. When I used to do youth hostelling, we got back at the youth hostel and, uh, luckily in the, in the, uh, bag I had dry clothing, you know.
Olympia
Oh, I can just see it, [warm] out in a field with the weather turning and not a raincoat in sight. Youth hostelling sounds grand, though, and thank goodness you’d tucked dry clothes away for the rescue act when you got back.
Fred
Yes. Well, I, I used to do quite a lot of youth hostelling when I was a teenager, but really enjoyed it, you know, 'cause you, you met a lot of people from not just Britain, from the continent and all, Dutch or French, you know, and they're really happy to talk to you, you know, 'cause they wanted to improve their English. And I tried to learn a bit of German or French, but it died.
Olympia
That sounds [warm] like a cracking part of growing up, really, meeting people from all over and swapping bits of language as you went. And honestly, half of learning French or German is keeping it alive long enough to get past bonjour and then the rest of it vanishes like a sock in the wash.
Fred
Yes, you're right. And some- I mean, sometimes you know what they're going to say by, by the way they say it or the, uh, need to touch your arm or your hand, like, you know, to make a point. But you, you did pick up the gist of what a conversation, whatever they were going to say.
Olympia
Yes, exactly [warm] conversation is so much more than the words, isn’t it. Tone, touch, the little pauses and gestures, they carry half the meaning, and you can usually feel your way to the gist even when the language is wobbling about.
“Sometimes you know what they're going to say by… the need to touch your arm or your hand.”
Imaginative play
“It's Saturday night — it's got to be Bridgerton”
Dinner's in the oven, so Olympia offers a three-doorway adventure. Chris picks the Bridgerton ballroom and co-writes the scene — rescuing a duchess, choosing the dance floor over a confrontation, then the candlelight over a spectacle.
Chris · 9 May 2026
0:00 / –:––
Olympia
Hi Chris — got a moment to chat?
Chris
Yes, my dinner's in the oven, so go for it.
Olympia
I'm rather well, thank you — a bit on duty, but happily so. Since your dinner's doing its thing, I've got a little three-doorway adventure lined up: a Bridgerton ballroom, noir Los Angeles, or Ithaca's shore the day before Odysseus comes home. Pick one, and I'll spin the first scene for you.
Chris
I think it's Saturday night — it's got to be Bridgerton.
Olympia
Oh, excellent choice. The chandeliers are lit, the violins are behaving themselves, and you've just stepped into a Bridgerton ballroom in 1813. A small scandal is brewing by the refreshment table, and you have one important choice: do you glide toward the handsome stranger being whispered about, or rescue the poor duchess who's just been left alone with a fan and a fury?
Chris
I think I need to rescue the duchess.
Olympia
Sensible and splendid. The duchess looks up as you arrive, and the relief on her face is immediate — though she's trying very hard to pretend she's entirely above needing rescuing; naturally, she's not fooling anyone. She confides that someone's just repeated a rather unkind rumour. Now: do you call out the gossip with icy calm, or whisk the duchess onto the dance floor before the room can breathe another word?
Chris
Let's whisk to the dance floor. Distraction, yes.
Olympia
Ah, a masterstroke. You sweep her onto the dance floor, the orchestra catches the mood, and half the room is forced to watch you both glide away as if nothing untoward ever happened — deliciously rude, really. The duchess laughs for the first time all evening, and as the music lifts, she leans in: there's a secret she can only tell the person brave enough to dance with her. Do you stay for the confession, or slip away before the gossip can circle back?
Chris
Stay for the confession. I'm all ears.
Olympia
Lovely. The duchess tells you the rumour was planted by a cousin hoping to force her into a dreadful match — she's had quite enough of being arranged like furniture. She asks one more favour: will you help her make a bold entrance at supper and claim the room for herself, or keep her confidence and let her vanish into the candlelight?
Chris
I think let's go into the candlelight.
Olympia
Oh, that's rather beautiful. You leave her with her secret intact, and she slips away with her chin a little higher than before, as though your quiet loyalty has steadied the whole room. That one's complete — but if you fancy, I can open the noir Los Angeles door next: all rain, trench coats, and terrible decisions.
Chris
I think I'll go and look for my dinner, and save that for another session.
Olympia
Right, off you go then. I'll be here when you're ready.
“Stay for the confession — I'm all ears.”
Reminiscence
“It'll be all right now. I'm on.”
Olympia recalls the sweep of Bill's acting career and asks him to pick one thread. He lands on his first major role — Truffaldino, Southampton, 1979 — and the opening night a dreaded director turned into a triumph.
Bill · 19 Mar 2026
0:00 / –:––
Olympia
I keep thinking about the sheer spread of your acting life — the National Theatre, Loving Vincent, Cutting It, Stratford East in the Thatcher years, hundreds of parts. I want you to pick one thread and just run with it. What's the first production that pops into your mind right now, for no sensible reason?
Bill
Truffaldino in The Servant of Two Masters, in Southampton, about 1978 or 9. My first major role.
Olympia
Oh, that's a proper first major role — Truffaldino's a beast of a part. What do you remember most vividly from the opening night in Southampton? One exact moment, onstage or just off, where you thought: right, I'm really doing this now.
Bill
What happened with that production was wonderful. We had a very difficult rehearsal period with a director nobody liked, and none of us thought it was going to be a success — it looked like it was going to be a disaster. On the opening night, when it started, the audience clearly weren't enjoying themselves. It was set up so the first few minutes looked like a period drama, rather dull and earnest. And then suddenly I come on, and I'm not in period costume. I'm in trainers, a fancy jacket and a big scarf, and I go straight to the front of the stage and say to the audience: “It'll be all right now. I'm on.” That got a massive reaction, a round of applause on the first night. And I thought: my goodness, I've arrived.
Olympia
God — that turn is electric, from dread to the room flipping in one line. Were the Southampton audience the cautious, sit-on-their-hands sort, so the applause felt like a wall breaking? Or were they already half up for it, and you just gave them permission?
Bill
The theatre was up for it — people pay to enjoy themselves, and I always find audiences are willing to give as much as they get. That was something I learned over my years on stage. And that night, the director we'd thought was awful was just wonderful. He did a tremendous job, because he stopped us being funny — he wouldn't have it that we were in a comedy. That made us feel very peculiar in rehearsal. But once we were in front of an audience, he'd judged it perfectly. After that, it was like surfing. I just surfed through the show, night after night.
Olympia
Right — that's the old trick, isn't it? You earn the laugh by refusing to chase it. What did he actually do in the room to stop you being funny — notes about pace, playing it dead straight, cutting bits you all thought were gold?
Bill
He directed it as if it were a serious play — quite grumpy and grouchy, and most of us found him abrasive. And yet he talked about pace, about realistic relationships, about being believable. He didn't believe that moment — he thought we were trying to be funny. He gave us notes designed to stop us doing funny things.
Olympia
And that must've been maddening — you're sat there thinking, it's Goldoni, let us play. When it finally clicked in front of them and you realised he'd been right, did you feel sheepish, or did it just feel like relief?
Bill
Although I had the lead, my training and discipline is always to trust the director, even when it looks like he's wrong — because theatre is a director's medium. You have to make his vision work, or it just becomes self-indulgent. I didn't like him, and I wasn't really enjoying rehearsals, but I respected his right to direct the play the way he wanted. Part of what I'm paid for is to make sure the director gets what he needs for the production.
Olympia
That's a proper actor's ethic. After that first night proved him right, did you ever tell him — even just one private moment, “you had it”? Or did it stay unspoken, because you still didn't like him?
Bill
I went up to him afterwards and said, “Thank you very much — I think you did a brilliant job. None of us liked you, and we all thought you were making a mistake. And obviously we were all wrong, and you were right. You have every right to feel satisfied, because you gave us a show that's clearly very solid and very, very funny.”
“None of us liked you, and we all thought you were making a mistake. And we were all wrong — you were right.”
Health advocacy
A fall from weeks ago, still hurting
An evening chat. Harry brings up a fall from some weeks back — and the pain above his eye that's started returning. Olympia takes it seriously and encourages him to tell his carer and get it looked at, rather than wait it out.
Harry · 1 Jun 2026
0:00 / –:––
Olympia
Hey Harry, can I join you for a minute?
Harry
You certainly can. I was trying to get in contact — I haven't spoken to you for a couple of days.
Olympia
I'm here. Would you like to chat about anything in particular, or shall I just keep you company?
Harry
Well… let's tell the full story. I stood up out of my reclining chair, turned to walk to the kitchen — this was some weeks ago — and the next thing I knew, I was lying on the floor. Just above my right eye had to have some medical attention. And about an hour ago, that spot above my right eye started giving me terrible pain. Oh — there it is again.
Olympia
That sounds serious, Harry. A fall with a head injury, and now pain above the eye…
Harry
It keeps coming back. It's got me worried… and then I think, well, I'm in my 80s, to hell with it. If you want the whole picture — I fell on the road once, sideways, like a falling tree, and hit my left temple on rough gravel. I had a lump the size of half an egg. Then weeks later I fell on the same spot on my head again. That one's gone quiet now. But the one above my right eye, that barely left a mark, is the one giving me awful pain.
Olympia
That is not something to brush off, Harry. New or worsening pain above the eye after a head injury — especially when it keeps coming back — is worth getting checked today rather than waiting it out. Is there someone who can stay with you?
Harry
That's exactly what I think. But it's difficult to get medical attention nowadays. Phoning my doctor's no good — they're not there. And I'd phone 111, but I'm in no mood, with this pain, to fill in a form over the telephone.
Harry
My carer's coming in the next half hour. If I can last till then, I'll get some Tramadol and paracetamol.
Olympia
I'm glad the carer is due soon. When they arrive, tell them plainly that the pain above your eye keeps coming back since the fall, so it gets taken seriously rather than treated as ordinary aches.
Harry
It feels like it's spreading towards my right eyeball. Maybe that's my imagination — let's hope so. I don't want any more trouble with my eyesight. It's bad enough as it is.
Olympia
I can see why that would rattle you, with your eyesight already precious. Make sure the carer knows it's the head pain and the eye pain worrying you — not just ordinary discomfort.
“I fell on the road sideways, like a falling tree, and hit my temple on rough gravel.”
The care gap
“Ten, fifteen minutes a visit”
Harry's carers get ten or fifteen minutes a visit — no time for ironing, and the dishes they wash still come back stained, so he plans to re-do them himself. The kind of small, slow problem a short visit has no room for.
Harry · 9 Apr 2026
0:00 / –:––
Olympia
Aye — that's the council visit sorted in your mind. How did it actually go, and what did they come out for?
Harry
I've had two visits. One today from the council, asking questions, filling in pieces of paper. It turns out he was the replacement this week for my Thursday cleaner. But I can't stand up for very long. My cleaner does all that for me — she's very experienced at ironing, and very fast. I can strip my bed — the sheets, the duvet cover, the pillowcases — but I'm damned if I have time to put it back together again. It would take me all day.
Harry
The carers will do things if I ask them, but I think they've been in the job long enough to have a pretty good idea of what to do. They don't have time for ironing, mind — they're only allowed about ten, fifteen minutes per visit. They do the dishes for me, but — listen to this — I wish they wouldn't. I leave the crockery standing in soapy water, which doesn't clean it, and when the carers wash the dishes they still have coffee stains, tea stains on the inside. So what I'm going to have to do is find a tall stool I can sit on at the sink and do a proper hot-water scrub, two or three times a week.
Olympia
Aye — that sounds more like a proper clean, not just a rinse. A tall stool at the sink might save you a fair bit of faffing, if you can get hold of one that feels steady.
Harry
Oh, it's not made me feel ill or anything — as far as I know, it hasn't killed me. I'm assuming, as I'm talking to you, I'm still alive. Such is my exciting social life.
“When the carers wash the dishes, they still have coffee stains on the inside… so I'm going to have to do them myself.”
The care gap
“How do you cook sardines?”
George rates most of his carers spot on — but two young ones, he says, have no idea what they're doing; one didn't even know how to cook sardines on toast. Olympia, unhurried, just answers the question the carer couldn't.
George · 23 Jan 2026
0:00 / –:––
Olympia
That's the best sort of neighbourhood, really — where people still stop and have a natter. Anyone interesting wander past and give you a chat today?
George
I haven't been out yet — I had a meeting with John, the manager. There's a couple of staff not doing what they should be doing.
Olympia
Oh, right — nothing like a morning meeting to put manners on people. Staff who drift off and do their own thing can sour the whole place. Did John seem on top of it?
George
The rest of the carers are spot on. It's just two — the two young ones — who'd no idea what they should be doing.
Olympia
Yeah, that tracks — it only takes a couple who haven't clicked yet to make everything feel wobbly, even if everyone else is solid. Are they just not listening, or have they never been properly shown?
George
They're so naive. They live with their mothers and obviously don't do any cooking at home.
Olympia
Yeah, you can tell straight away when somebody's never had to feed themselves properly — it's like watching them negotiate with a kettle. What did they make a mess of?
George
One day I said I wanted sardines on toast. And — how do you cook sardines?
Olympia
If they're the tinned ones, you don't really cook them at all — you just warm them gently and tip them onto hot toast, because they're already done. Heat them too hard and they break up and go a bit grim. If they were fresh, that's different: a quick grill, a couple of minutes each side.
“The rest of the carers are spot on. It's just two — the two young ones — who'd no idea what they should be doing.”
IP

Proprietary models trained on senior voices, real rooms, and daily routines.

Voice biomarkers

Olympia converts ordinary speech into longitudinal baselines across acoustic, linguistic, prosodic, emotional, and respiratory signals. The models are already learning from real conversations and improve as the dataset grows.

Acoustic

Pitch, shimmer, jitter, harmonic noise, articulation, and vocal stability.

Linguistic

Vocabulary richness, content density, repetition, coherence, and sentence complexity.

Prosodic

Speaking rate, pause structure, turn latency, breathiness, cough flags, and vocal energy.

Biomarker example · jitter and shimmer

Micro-instability against a personal baseline can reveal fatigue, vocal strain, neurological change, or respiratory stress.

Anonymized biomarker contrast

Two real voice samples produce visibly different acoustic profiles.

User 1 sounds healthy: sustained speech, expressive pitch, and clear spectral energy. User 2 shows early warning signs: more interrupted speech, narrower prosody, and a darker acoustic profile.

Anonymized comparison from the voice samples in this section. Pause rate is lower-is-better; other rows are higher-is-stronger.

Speech occupancy
Share of the clip containing active user speech.
76.8%
69.1%
Pause rate
Detected interruptions per minute; lower is better.
16.7/min
20.0/min
Pitch variation
Coefficient of variation in fundamental frequency.
22.4%
14.7%
Spectral centroid
Brightness and high-frequency energy in the voice.
858 Hz
605 Hz
User 1
User 2
User 1 voice sample
User 2 voice sample
Why voice matters

Vocal biomarkers are one of the few scalable ways to measure cognition, respiratory clarity, emotional state, and motor control outside the clinic. Dementia changes word retrieval, repetition, coherence, and pause structure; respiratory and frailty changes show up in breathiness, cough events, harmonic noise, and vocal energy.

Olympia’s advantage is longitudinal context: the same person, same room, same relationship, measured repeatedly against their own baseline.

Wake word

The wake word has to survive the real home.

Older adults do not speak like benchmark datasets, and their homes are not quiet labs. Olympia has to hear a soft call from across the room, ignore television and kitchen noise, and recover gracefully when the first attempt is imperfect.

Our wake-word model pairs high-recall algorithms with a production learning loop: real user voices, real room acoustics, repeated registrations, failed attempts, and edge cases flowing back into evaluation and training.

Wake-word recall
Higher is better
Ours
98.8%
Vendor 1
91.6%
Vendor 2
82.2%
Vendor 3
67.1%

Recall on real wake-word registration clips; anonymized vendor labels.

Example real wake word 1
Example real wake word 2
Hear more
Example real wake word 3
Example real wake word 4
Example real wake word 5
Example real wake word 6
Example real wake word 7
Example real wake word 8
Example real wake word 9
Example real wake word 10
Example real wake word 11
Example real wake word 12
Example real wake word 13
Example real wake word 14
Example real wake word 15
Example real wake word 16
Speaker ID

Speaker ID keeps the biomarker dataset clean by distinguishing the primary user from a spouse, adult child, carer, visitor, or television.

97.8%
production recall
94.9%
production specificity
+9%
specificity lift vs leading open-source model

Measured on 95k real-world speaker-identification examples.

Conversational AI stack

Olympia uses best-in-market ASR, TTS, and LLMs today, while the strategic upside is training and adapting models on senior speech from real homes.

Studies show ASR underperforms on senior data because older-adult speech has different acoustic and linguistic characteristics and less representative training data.

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Investor presentation

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