Material · Felt and acoustic
Wool felt and engineered acoustic textiles, as roll goods, cut tiles, and rigid panels, installed to the specification each maker publishes. Layout drawn to the millimetre. Fresh blade on every edge. Installation-only, headquartered in Park City.
What felt is
Wool felt and PET acoustic textile, supplied as roll goods, cut tiles, or rigid panels. They absorb sound, add depth, and take colour in ways paper cannot. A media room wrapped in felt stops ringing; a home office in felt tiles stops echoing on a call.
Felt does not reposition once set. The adhesive grabs on contact, and a panel a millimetre off its mark stays a millimetre off, and the reveal beside it shows the difference. The material asks for a layout drawn to the millimetre before the first panel touches the wall, and a fresh blade on every cut, because felt fuzzes on a dull one.
Felt and acoustic products are specified across Park City and the Wasatch Back for media rooms, home offices, libraries, and playrooms, and for conference rooms and lobbies in our commercial work, and they are installed by the crews that carry our textile wallcovering work.
Two materials
Wool felt is pressed fibre, two to five millimetres thick, dense, and dyed through. It comes on the roll or as cut tiles, goes to the wall on adhesive, and reads as warmth: a textile with no weave. PET acoustic panel is bonded polyester fibre, nine to twelve millimetres, semi-rigid, and edge-cut. It reads as architecture, and it is the material behind slatted walls, ceiling baffles, and pinboard walls.
Both absorb sound the same way, by turning it into friction inside the fibre. Thicker absorbs more, and an air gap behind the panel absorbs more still. Neither repositions once it is set, which is why the layout comes first on this material and the installation follows a drawing.
Felt guide
Felt and acoustic products arrive in very different forms. Each one asks something different of the wall, the fixing, and the layout.
| Form | Material | Fixing | Where it performs | Layout | At the wall |
|---|---|---|---|---|---|
| Felt roll goods | Wool felt, 2–3 mm | Adhesive, full spread | Media rooms, corridors, offices | Seams planned like a textile | Wall flat and sealed. Seams butted. Colour sequenced. |
| Felt tiles | Wool felt, 3–5 mm, die-cut | Adhesive | Offices, playrooms, feature walls | Grid centred, reveals set with spacers | No repositioning. Marks laser-set. |
| PET acoustic panel | Bonded polyester, 9–12 mm | Adhesive or clips | Media rooms, conference rooms | Grid or pattern from the drawing | Edges cut clean; reveals equal to the millimetre. |
| PET tiles and shapes | Polyester, 9–12 mm, cut shapes | Adhesive | Playrooms, lobbies, stair halls | Pattern set out from a centre line | Every piece to its mark; the pattern reads across the wall. |
| Felt over slats | PET backing behind timber slats | Screwed or clipped | Media rooms, offices, dining | Slat module centred on the wall | Coordinated with the millwork; blocking behind drywall. |
| Acoustic baffles | PET or felt fins, hung | Ceiling clips or cable | Great rooms, offices, lobbies | Spacing from the acoustician's drawing | Set from a scaffold; every fin level and plumb. |
| Stretched acoustic textile | Fabric over infill on a track | Track and tension | Theatres, listening rooms | Seamless per wall | Infill first, track second, fabric tensioned last. |
| Pinboard felt | Dense wool or PET, 6–12 mm | Adhesive | Offices, studies, studios | Full wall or framed panel | Flat substrate; edges finished or trimmed. |
Where felt performs
What felt demands at the wall
The material is correct more often than the installation. These are the steps that close the gap.
The wall is measured, the module chosen with the designer, and the grid centred so the cuts at both ends match. Every reveal is set with spacers; every cut is drawn before the first panel is mounted.
Adhesive or mechanical, per the maker's data sheet. Blocking, furring, and track are coordinated with the contractor before the drywall closes.
Felt fuzzes on a dull blade. The blade is changed every pass, and the cut is made from the face on a straightedge.
Dyed felt varies by lot. Panels are unpacked, laid out, and sequenced so the colour reads as one surface across the wall.
Felt shows a wave as a shadow. The wall is skimmed flat, sealed, and checked before the layout is marked.
The layout
A felt wall is a grid, and a grid shows every error twice: once in the panel and once in the reveal beside it. So the wall is measured, the panel module is chosen with the designer, and the grid is centred so that the cuts at the two ends match. Every reveal is the same width, held with spacers as the panels go up.
Every cut at an outlet, a switch, a sconce, or a door head is drawn before the first panel is mounted. A felt panel cannot be nudged after it meets the adhesive, so the mark on the wall is the only chance. The marks are laser-set and checked against the drawing twice, and the designer signs the layout.
The fixing
Wool felt rolls and tiles go to the wall on a full spread of the adhesive the maker names, on a flat, sealed substrate, with no repositioning. Rigid PET panels and baffles take adhesive or mechanical clips, and the clip system needs blocking behind the drywall and often leaves a gap that adds absorption. Stretched acoustic textile is a track system: infill first, track second, fabric tensioned last, seamless per wall.
The product's data sheet names the fixing and the substrate it needs, and the crew reads it before the order. A felt tile specified for adhesive on painted drywall fails on a primed-only wall. A clip system without blocking has nothing to bite into. So the substrate is confirmed at the measurement, and blocking, furring, and track are coordinated with the contractor before the drywall closes.
What it does to sound
Thin felt on the wall changes how a room feels more than how it measures. It kills the flutter off a hard wall and warms the sound of a room, which is what a library or a home office wants. Real absorption, the kind a media room or a conference room needs, comes from thickness and from air behind the panel, and it is specified as coverage, thickness, and gap together.
So a room that must perform is specified by the designer or an acoustician, with the panel, the gap, and the coverage on a drawing, and Mancini installs to that drawing. A room that only needs to feel quieter can take felt straight to the wall. We install both; we do not design the acoustics, and we say so when a client asks a room to do something the wall alone cannot.
Living with felt
A textile on the wall, treated as one.
Vacuum with a soft brush attachment along the nap. A dry mark lifts with a clean, dry sponge; a liquid is blotted, never rubbed. No steam, no solvents. The maker's guidance governs for a specific stain.
Dyed wool softens under direct, sustained sun, and PET panels hold colour better. Walls that take the sun are identified at the measurement, and the specification follows the room.
Felt is stable in a room with normal humidity. Steam rooms, laundries, and kitchens are declined at the measurement.
Felt is forgiving of contact in a way paper is not; it is chosen for playrooms for that reason. Pinboard felt heals pin holes. Sharp edges and abrasion mark it, and a marked panel is replaced, not patched.
Installed on a flat, sealed wall and kept out of the sun, wool felt and PET panel serve for decades. The colour holds; the acoustic performance does not degrade.
Because the layout drawing and the module are kept, a single panel can be cut and set years later. Keep any surplus tiles flat, dry, and in their wrapping, and note the lot.
Why Mancini
Laid out to the millimetre. Reveals equal. Every edge cut with a fresh blade.
A felt wall is a grid, and a grid shows the hand that set it. The standard is measured in what you do not see: no reveal a millimetre wide of its neighbour, no fuzzed edge, no cut that was not drawn.
Installed to the instructions each maker publishes, tile by tile.
Every felt and acoustic maker publishes a data sheet: the adhesive, the substrate, the clip, the gap. We read it before the order and follow it at the wall, and where an acoustician has drawn the room, we build to the drawing.
Four active crews. Twelve trained installers. Scheduling measured in weeks.
Multi-crew capacity means a felt project is coordinated with the contractor before drywall closes and installed when the millwork is ready, on the designer's timeline.
Felt and acoustic, installed
Felt and acoustic products are installed by the crews that carry Mancini's textile wallcovering work across the Wasatch Back and its commercial work along the Wasatch Front: four crews, twelve trained installers, fully insured and bonded, with 70+ five-star reviews.
The makers
Each maker builds its product differently and publishes its own data sheet. These are the ones we install most, and what each asks for.
Wool felt in roll goods, tiles, and acoustic systems, with adhesive and substrate instructions published per product. Colour sequenced by lot across the wall.
Installation notesWool felt and acoustic textiles for the designer market, including stretched and panelised systems, each with its own fixing specification.
Installation notesAcoustic wallcoverings and PET panel systems for residential and contract work, with tested absorption data per product.
Installation notesPET acoustic panels, baffles, and felt-backed slat systems. Clip and adhesive fixings per product; blocking coordinated before drywall.
Installation notesPET acoustic panels, tiles, and cut shapes from New Zealand, adhesive-fixed to the published substrate specification.
Installation notesPET acoustic tiles and panels in cut patterns; laid out from a centre line so the pattern reads across the wall.
Installation notesWood-wool and felt acoustic tiles from Sweden, set to a drawn grid with the maker's adhesive and reveal.
Installation notesSend the data sheet and the room. If it is felt or an acoustic panel, we have installed something built the same way, and we read the maker's instructions before the order.
Send the sampleDesign house and manufacturer names referenced on this page are the property of their respective owners. They identify materials we install and completed project history. Mancini Wallpapers holds no partnership, certification, or endorsement from any house named, and installs every product to the instructions its manufacturer publishes.
Client reviews
Where we install felt
Four crews, twelve trained installers, most projects on the calendar within weeks.
Old Town, Thaynes Canyon, Aerie, Pinebrook, Silver Springs, Trailside.
Empire Pass, Deer Crest, Bald Eagle, Silver Lake Village.
Heber City, Midway, Red Ledges, Victory Ranch, Tuhaye.
Alpine, Highland, Traverse Mountain, Cedar Hills.
Golf and mountain club residences above Kimball Junction.
Federal Heights, The Avenues, Holladay, Cottonwood Heights.
Questions
The questions homeowners, designers, and contractors ask before, during, and after a felt or acoustic installation.
Yes. Felt and acoustic panels are installed by the crews that carry our textile wallcovering work across Summit, Wasatch, Salt Lake, and Utah counties, laid out to the millimetre and fixed to the maker's data sheet. Where an acoustician has drawn the room, we build to the drawing.
Wool felt is pressed wool fibre, two to five millimetres thick, dyed through, and it reads as warmth. PET panel is bonded polyester fibre, nine to twelve millimetres, semi-rigid and edge-cut, and it reads as architecture. Both absorb sound by friction inside the fibre; the thicker product and an air gap behind it absorb more.
Thin felt changes how a room feels more than how it measures: it kills the flutter off a hard wall and warms the sound. Real absorption comes from thickness and from air behind the panel, so a media room that must perform is specified with the panel, the gap, and the coverage together, and installed to that drawing.
No. The adhesive grabs on contact, and a panel set a millimetre off its mark stays there. That is why the layout is drawn first, the marks are laser-set and checked twice, and every reveal is held with spacers as the panels go up.
Per the maker's data sheet: full-spread adhesive for wool felt rolls and tiles on a flat, sealed wall; adhesive or mechanical clips for rigid PET panels and baffles, with blocking behind the drywall; a track system for stretched acoustic textile. The substrate is confirmed at the measurement and the fixing is coordinated with the contractor before drywall closes.
Felt shows a wave as a shadow. A joint feathered proud of the wall reads as a band across the panel, and a rigid panel rocks on it. The wall is skimmed flat, sealed, and checked before the layout is marked.
Yes. Ceiling panels and hanging baffles are set from a scaffold, every fin level and plumb, at the spacing on the acoustician's or designer's drawing. Ceiling clips and cable need blocking or structure located before the ceiling closes.
Yes. Slatted acoustic walls are a PET backing behind timber slats, and the slat module is centred on the wall and coordinated with the millwork. Blocking is located before drywall, and the backing goes up before the slats.
Vacuum with a soft brush along the nap. A dry mark lifts with a clean, dry sponge; a liquid is blotted, never rubbed. No steam and no solvents. The maker's guidance governs for a specific stain, and a marked panel is replaced rather than patched.
Dyed wool softens under direct, sustained sun; PET panel holds colour better. Walls that take the sun are identified at the measurement, and the specification follows the room.
No. Existing wallpaper comes off and texture is skim-coated flat, then sealed, before the layout is marked. That preparation is part of the scope and is written into the proposal when the walls need it.
Every cut is drawn before the first panel is mounted. Where the electrician allows it, outlets and switches are moved into a reveal so no panel is cut around a plate; where they cannot move, the cut is planned and made from the face with a fresh blade.
It depends on the wall dimensions, the module, the reveal width, and where the cuts fall. James measures every wall, the module is chosen with the designer, and the quantity is derived from the drawn layout with the maker's overage. The proposal shows the arithmetic, and the surplus tiles stay with you for future replacement.
No. Mancini is installation-only. Product comes through your designer's trade account, the maker's dealer, or your own order, and we install what arrives. Designers keep their procurement chain and their markup; we are the execution at the end of it.
With a complimentary on-site measurement. James walks the space, notes what the room does to sound and where the blocking will need to be, and measures it himself. A written proposal follows, and the layout is drawn with the designer before the order. Send the property address and a photo of the room to begin.
Begin your felt project
Send the property address and a photo of the room. James will come back with a time to walk the space, note what the room does to sound, and measure it himself. A written proposal follows.
hello@manciniwallpapers.com · Mon–Fri 8 AM – 7 PM MT · Saturday by appointment