Bespoke acoustic correction: panels designed with Artificial Intelligence

The catalogue panel is made for everyone.
That is, for no one in particular.

A standard panel is born to be sold in large quantities: it has a single design, a single acoustic behaviour, and it suits — more or less — an average room. The rest is left to whoever installs it: choosing how many panels to use and where, hoping the result resembles what is really needed.

The risk is twofold. Being left with flaws those panels don't correct, or absorbing too much and ending up with a «dead» room, where music loses life and voices sound unnatural.

Every room has its flaws. We call them by name.

A standard panel treats every room as if it had the same problem. In reality each space has its own combination of flaws: these are the ones we work on.

Excessive reverberation

The room «booms»: music turns muddy, film dialogue loses clarity and after a while listening becomes tiring.

Bass resonances

Some notes sound swollen, others almost vanish, and they change from one seat to the next.

First reflections

Sound bounces off the nearby walls before reaching the ear and blurs the soundstage: voices and instruments lose their position.

Speech clarity

In offices, meeting rooms and classrooms, following a speech takes effort. It is corrected on the frequencies of the voice, without anyone having to raise their voice.

Background noise in venues

Restaurants, bars, wine bars: several conversations at once make the venue tiring. The treatment restores comfort without making the space feel cold.

The opposite mistake: the «dead» room

Absorbing too much is as much a flaw as absorbing too little. The goal is a reverberation suited to how the room is used, not absolute silence.

We do the opposite: we start from the room.

01

Reading the room

Before the panels, the diagnosis: shape, dimensions, surfaces, use. We measure the space, or model it if it is still to be built, and analyse reverberation, resonances and reflections. Then we agree with you on the goal: how that space should sound when the work is done. A cinema room that will also host music listening has different goals from an office or a public venue.

02

Simulating before building

We model the room's acoustic behaviour and try out different solutions on paper. Things can emerge that a catalogue can't tell you: for example, that covering everything with absorbing material would make the space too dry for the way you will use it.

03

Designing the type

There is no single panel model. We design several types, from the most absorbing to the partly reflective and diffusing, with a design studied for the performance needed at that point. Every detail is also conceived to be made with precision, using numerically controlled machining.

04

Distributing them zone by zone

Each type goes where it is most useful: more absorption where it is needed, more balance where liveliness has to be kept. The result is a bespoke installation map that also takes aesthetics and available space into account.

The types we design with.

There is no single right panel. Every room combines different types, chosen according to what that space has to do. These are the main ones: from each, for your space, a different design emerges, with shape, finish, quantity and position calculated on the project.

Veil

Stretched-fabric absorber

The classic panel for broad, discreet absorption.

A fibrous material is wrapped in a sound-transparent fabric: sound enters and dies away in the fibre, without coming back into the room.

When: When you need to reduce boominess and reverberation without imposing an aesthetic.
Where: Studios, offices, meeting rooms, listening rooms.
Finishes: Fabrics in many shades, straight or rounded edges.
Pairs with: Depth, Relief.

Bass
Mids
Highs
Diffusion

Weave

Visible wooden absorber with designed openings

The wood you see, the sound that passes.

A wooden surface with designed openings covers the absorbing material. The amount and shape of the openings decide how much sound gets in and how much comes back: the balance between absorbing and reflecting is chosen.

When: When the space must feel warm and refined, not «technical».
Where: Homes, listening rooms, representative spaces.
Finishes: Wood veneers and lacquers; opening design exclusive to the project.
Pairs with: Veil, Depth, Reflection.

Bass
Mids
Highs
Diffusion

Slat

Slats over an absorbing backing

Clean lines, architectural effect.

Wooden or lacquered slats, spaced over a sound-absorbing backing: the slats break up reflections and let sound through to the absorber.

When: To clad entire walls with a continuous, architectural look.
Where: Executive offices, restaurants, living rooms, halls.
Finishes: Woods and lacquers, vertical or horizontal slats.
Pairs with: Veil, Cloud.

Bass
Mids
Highs
Diffusion

Relief

Variable-depth diffuser

It scatters sound instead of removing it.

A surface with relief of studied depth distributes reflections in many directions, keeps the ambience alive and avoids echoes and resonances between parallel walls.

When: When the room must not become «dead».
Where: Listening rooms, studios, control rooms, auditoriums.
Finishes: Woods and lacquers; the relief design follows what that room needs.
Pairs with: Veil, Depth.

Bass
Mids
Highs
Diffusion

Depth

Bass trap

For the bass that builds up in the corners.

A great thickness of absorbing material, often in a corner or full height, which absorbs the lowest frequencies where sound pressure is greatest.

When: If the bass sounds swollen or the response changes from one point in the room to another.
Where: Hi-fi and cinema rooms, studios, control rooms.
Finishes: Fabric covering, even hidden behind wall finishes.
Pairs with: Veil, Resonance.

Bass
Mids
Highs
Diffusion

Resonance

Membrane absorber

A targeted intervention on a precise frequency.

A thin sheet oscillates over a closed cavity and absorbs energy in a narrow band of low frequencies. It is tuned to the specific problem of the room.

When: When the measurement identifies a precise resonance that an ordinary absorber doesn't solve.
Where: Studios, control rooms, cinema rooms.
Finishes: Finish of your choice, even in fabric or wood.
Pairs with: Depth.

Bass
Mids
Highs
Diffusion

Cloud

Ceiling-suspended absorber

When the walls aren't enough or aren't available.

Panels suspended above the area to be treated: they absorb on both faces and control reverberation and background noise.

When: When the ceiling is the freest or most effective surface to treat.
Where: Open-plan offices, restaurants, classrooms, halls.
Finishes: Fabrics and free shapes: rectangles, circles, waves.
Pairs with: Slat, Veil.

Bass
Mids
Highs
Diffusion

Reflection

Reflective finishing panel

Sometimes the right absorption is less absorption.

A solid panel, with the same finish as the others, that reflects sound where ambience and brightness are needed and completes the surface without breaking the design.

When: To restore balance when a room tends to become too dry.
Where: Cinema and listening rooms, living rooms, offices.
Finishes: Same finish as the other panels.
Pairs with: All the types.

Bass
Mids
Highs
Diffusion

Indicative, general ratings: the real behaviour depends on the project. The illustrations are schematic and show no measurements or construction data.

The role of Artificial Intelligence.

We use AI in every project. It doesn't decide for us: it lets us explore and compare, in a short time, a number of solutions that it would not be realistic to assess by hand, and redo the project from scratch for every room. The final judgement stays with experience and listening.

There is also a more concrete advantage. We don't have to spread design costs across series of identical panels. That is why we can afford to design every intervention differently from the last, and to build only the panels that room needs.

A balance, not blanket absorption.

The goal is not to eliminate reverberation, but to bring it where it should be for the use of the room: lively enough for music, controlled enough for cinema dialogue. That is why it matters not only how much you absorb, but where and with which type of panel.

Indicative trend of reverberation as frequency varies. For illustration only, it does not represent real measurements.

Indicative diagram: different types of panel distributed zone by zone on walls and ceiling.

The illustrations on this page are indicative and show no measurements or construction data: every project is conceived for a specific client and room.

For every space, a different design.

Cinema and listening rooms

Reverberation and resonances to bring under control without making the room «dead». Panels that live with the home's aesthetics, visible or hidden, and with the audio system they house.

Typical typesDepth, Weave, Veil, Relief, Resonance, Reflection.

Offices and meeting rooms

Speech clarity and comfort during working hours: treatments targeted at the frequencies of the voice, sized on the real use of the space and not on a pre-packaged model.

Typical typesCloud, Veil, Slat.

Restaurants and venues

Less background noise and more comfort, without making the space feel cold: design and finishes consistent with the style of the venue.

Typical typesCloud, Slat, Weave.

Tell us about your room.

Every project starts with a conversation. The feasibility study is free and usually arrives within 48 hours.

Request a feasibility study

An acoustic panel isn't chosen.It's designed.

The catalogue panel is made for everyone.That is, for no one in particular.