Spigoacustic is the system made up of linear sound-absorbent panels or acoustic panels designed to offer an optimum acoustic performance. Depending on the sound absorption demands for each venue, the Spigoacustic system offers different models with different absorption capacities.

In this way, it provides solutions for the specifications present in venues such as concert halls, auditoriums, theatres, recording studios, churches, meeting rooms, classrooms, restaurants, hospitals, etc


Thanks to different combinations in their face side and their circular holes besides a sound-absorbent black veil, thermically attached to the back side, Spigogroup is capable to offer a wide and varied range of high quality models with different choices and possibilities. Such as decorative models (without rear perforations) or curved panels according project.

Terminology (Example Model 28-16-16)
Channel: 2,8 mm
Distance drilled: 16 mm
Distance of channels: 16 mm



 Note: For other finishes, refer to

As you have to interpret the panels

When chooding Spigoacustic panels, it is important to understand well the nomenclature which Spigogroup uses to identify each model. Therefore, through the following guide, Spigogroup tries to explain easily how to interpret them:

Standard measurements


  • Concealed Form T-15: 1200×300 mm.
  • Semiexposed Form T-15/T-24: 1200×300 mm.
  • Concealed Form T-24 + cramp: 1200×300 mm.

Wall Covering (Male-female joint)

  • 1200×300 mm.
  • 2400×300 mm.

Note: For other measurements, defined according to project

Areas of application

  • Concert Halls
  • Auditorium
  • Theatres
  • Conference Halls
  • Offices
  • Classrooms
  • Nurseries
  • Recording studio
  • Churches
  • Public buildings
  • Airports
  • Hotels
  • Universities
  • Shopping centres
  • Cultural centres
  • Cinemas
  • Hospitals
  • Restaurants
  • Banks
  • Radio studio
  • TV studio
  • Libraries

Curvature of Panels

We put at your disposal the possibility to curve the Spigoacustic panels. (Minimum Radio 4 meters)



Theatres, opera houses, auditoriums and concert halls are buildings designed specifically for the enjoyment of the arts and music. In addition, their relationship to art makes them particularly important architectural works in a city’s public buildings.

One of the key tasks in designing and implementing the architectural design of these buildings is to pay particular attention to architectural acoustics —the branch of acoustics applied to architecture, which studies local acoustic control in premises and buildings— both to achieve proper soundproofing between enclosures, and to to improve acoustic conditioning inside premises. Therefore, these buildings often have sound-absorbent wood interiors, acoustic panels, wood ceilings and all kinds of acoustic material designed to achieve optimum acoustic conditioning in the building.

Of all the acoustic parameters to be taken into account when carrying out the acoustic conditioning of a space for listening to music, one of the most important ones is “reverberation time”. This is the time lapse in a particular enclosure from the moment when a sound is produced until its intensity decreases to one-millionth of its original value. Another way of defining it, perhaps more clearly, is that “reverberation time ” is the time it takes for the sound to decay by 60 dB as received stood the sound emission source stops. In fact, “reverberation time” is what determines whether a theatre is best for symphonic music (more reverb) or for plays or operas in which words are spoken (less reverb).

In either case, in the construction of these buildings it is essential to use acoustic material especially designed for acoustic conditioning, such as sound-absorbent wood acoustic panels applied to inner linings, wood walls and acoustic ceilings that allow one to adjust reverberation time to the levels that are considered best for each hall.


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There is an acoustic effect that occurs in some rooms, in which sound seems to remain in the air more than it should. This is a very annoying effect when trying to follow a speech or conversation or when attempting to enjoy a musical performance. This effect is produced by the premises’ deficient acoustic conditioning that does not control sound “reverberation time.”

For the proper acoustic conditioning of a room, we recommend using acoustic panels of sound-absorbent wood, that allow control of the sounds “reverberation time” and ensure optimum levels of intelligibility.
These acoustic panels are special wood panels used for installing wood ceilings, different false ceiling models and in wood walls. Thanks to the different combinations of channels (on the visible side) and circular holes (on the hidden size), the acoustic panelsprovide acoustic conditioning for every project.

Although it is recommended that the installation be done by a professional, the assembly system is very simple and quick. Basically, a metal frame is installed on which the acoustic panels are placed and joined with a tongue and groove system, until the acoustic ceilings and walls with this type of special wood panelling are complete.

This system is applicable for fixed wood ceilings, removable wood ceilings, and wood walls, or walls withwood panelling, where you can install both horizontal acoustic panels and vertical acoustic panels.

If you want to learn more about the installation conditions, as well as the various models and finishes available for acoustic panels by Spigogroup, visit the website of its Spigoacustic division.


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Acoustic panels and acoustic ceilings manufactured with sound-absorbent wood are increasingly present in schools, universities and other educational buildings, where it is essential to have optimum acoustic conditioning.

As with concert halls and convention centres, schools have rooms intended to be used by people who come to hear what someone has to say: mainly students who want to hear what a teacher or professor has to teach them.

In the communicative process it is essential to get the message released by the emitter to reach the receiver with the highest possible sound quality. To achieve this soundproofing the room will avoid interference from external noises and sounds. The use of acoustic conditioning helps control the reverberation which may occur inside room that could hinder the clarity of the message.

It is in this last action, the acoustic conditioning of classrooms, where acoustic material such as acoustic panels and the acoustic ceilings made of sound-absorbent wood come into play. The inclusion of these materials by professionals, and the relevant acoustic study, make it possible to control reverberation. We must bear in mind that classrooms are places that are already complicated from an acoustic point of view. The ideal would be to have a single speaker, but often there are several people talking at the same time while the audience may be murmuring and making comments as well or there may be the noise from video clips and presentations which make it more difficult to communicate.

For this reason acoustic panels and acoustic ceilings are increasingly common in school classrooms, universities and other educational institutions, although many times we don’t realise this and just appreciate the beauty and warmth of the wood in the ceilings and walls that surround us.


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As a technical carpentry which manufactures acoustic panels and inner linings, we often ask ourselves what technology will bring about in the future.

The continuous scientific progress enjoyed by mankind affects, to a greater or lesser extent, all trades, arts and disciplines. In the building world, as could not be otherwise, the evolution of the different architectural trends has been marked by several factors, including the technological development of different materials and different technical advances.

The wood panels that we manufacture and use on a daily basis have also evolved. What were originally simplewood panels can now be acoustic panels for the acoustic conditioning of rooms, but also, depending on the treatment, they can have fire-retardant properties. Furthermore, the different materials used for finishes offer a near infinite catalogue of decorative options.

But what will the future bring us? What will future acoustic panels be like?

It seems to be that the advances in nanotechnology (the science of the small, which acts on the atoms and molecules) will be key in the possible new offer of wood panels to be used on the wood walls and ceilings of the future. Nanotechnology will bring new wood acoustic panels and other properties now almost unimaginable, more in the realm of of science fiction, yet maintaining the timeless aesthetic virtues of wood.

Tomorrow… Will we have wood ceilings made with acoustic panels able to convert sound waves into electricity? Will the design ceilings of the future include acoustic panels capable of changing colour as desired? Will a wood panelling be invented that is capable of renewing the air in a room by itself? Will the new acoustic panels in auditoriums and theatres have sensors capable of measuring reverberation, volume, and a room’s other acoustic data? Will biotechnology create acoustic panels capable of adapting in size and shape to the acoustic needs of each moment?


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Acoustic panels made with sound-absorbent wood are the undisputed protagonists of any acoustic conditioning job.

But, how does sound absorption work?

Elements, such as acoustic panels, used in architecture, construction and decoration for acoustic conditioning in rooms have the fundamental characteristic of absorbent materials: they transform much of the sound energy running through them, usually into heat.

Just like sound insulating materials reflect the sound, the acoustic panels used in wood walls and wood ceilings, let sound enter and then dissipate it. This means that the sound-absorbent wood used to manufacture acoustic panels serves this purpose thanks to the multitude of different types of perforations (round, oblong, square, channelled and even a combination of them) that allow air to pass through them so that the material can dissipate the sound waves as they collide against the walls of the cavity.

The thickness of the acoustic panels is also a key factor in determining maximum absorption. The sound penetrates wood panels only to a certain depth, after which added thickness is no longer necessary.

In terms of sound absorption, the most important aspects governing the behaviour of acoustic panels made of sound-absorbent wood are:


– Wood density

– Porosity

– Panel size and shape

– Size, shape and location of the slots or holes

– Mounting distance from the ceiling or wall surface.


Finally, we should bear in mind that the acoustic effectiveness of acoustic panels is expressed (among other parameters) in terms of Sound Absorption Coefficient, defined as the fraction of energy of incident sound waves which is absorbed by the panel.


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Acoustic panels made of sound-absorbent wood are one of the key elements in the acoustic conditioning of recording studios and rooms.

The quality of the sound and music are very important in record production and also musical themes, dialogues and translations of films and video games. This part of the creative and production process of these works is carried out in studios and special recording rooms which must offer proper acoustic conditioning of their rooms.

In the acoustic conditioning of a recording studio an effort is made to control sound absorption, reverberation and insulation as well as noise and vibrations that may occur. When controlling absorption and reverberation, acoustic panels made of sound-absorbent wood come into play. Depending on the needs of each case there areacoustic panels with different degrees of acoustic absorption.

But there is another very important aspect in the design of a recording studio. In addition to proper acoustic conditioning and offering good recording equipment, a studio must ensure a pleasant and welcoming environment for those who work inside. Studios are normally divided into two zones: the recording room and the control room. Artists work in the former and technicians (who are in fact also true artists in the shade) in the other. They work for many hours and days in a row until work is finished. Acoustic ceilings,  acoustic doors or soundproof doors, and inner linings made of wood make these rooms a little warmer and friendlier, improving concentration and the mood of their users.


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