ABSTRACT. Binaural hearing and speech communication often take place in complex acoustic environments (CAEs) with a variety of interfering sounds and reverberation. For hearing research and the evaluation of hearing systems, virtual CAEs gained in interest to approach ecological validity. Here, the effect of complexity and visual representation of the CAEs on sound source localization, distance perception, loudness, speech intelligibility, and listening effort were investigated in a virtual audio-visual environment. The simulated sound field was rendered using a 3D, 86-channel loudspeaker array in combination with or without a stereoscopic head-mounted display (HMD) for the visual representation. The visual scenes consisted of a ring of eight virtual loudspeakers in an anechoic and an echoic condition with a reverberation time of about 1.5 s. Complexity of the environment was varied through the number of interfering sound sources, the receiver-target-source distance and by assessing all psychoacoustic metrics after a single presentation or in consecutive measurements with one presentation for each metric. No significant effect of wearing an HMD was found. Reverberation, the number of maskers, and distance had significant effects on all psychoacoustic metrics. These factors also degraded auditory cues relevant in speech communication, such as interaural coherence. There were significant, however, generally small deviations between assessment of all psychoacoustics metrics after a single or consecutive presentations. The suggested setup is suited to be directly transferred to a corresponding real room, enabling a 1:1 comparison between real and virtual environments.

ABSTRACT. Creating immersive six-degrees-of-freedom (6DoF) audio for extended realities often requires dense grids of measured Room Impulse Responses (RIRs). This approach is hampered by extensive RIR measurement time and large storage requirements. While RIR interpolation methods offer a potential solution, there is still a lack of understanding how accurate the interpolations of RIRs must be and whether objective room acoustic parameters computed from the interpolated RIRs could serve as a proxy for predicting perceptual quality.

To address these gaps, this paper uses an efficient interpolation method based on RIR decomposition and linear interpolation of First-Order Ambisonics RIRs. Various objective room acoustic parameters are analyzed, along with a subjective binaural listening test using critical source material. Our results reveal noticeable perceptual differences dependent on the interpolated listener position and the specific RIRs used for interpolation, particularly when near a sound source. Furthermore, listeners demonstrated less sensitivity to deviations in objective room acoustic parameters caused by the interpolated RIRs than established Just Noticeable Differences (JNDs) might suggest. Our findings contribute to the development and evaluation of RIR interpolation methods to make future 6 DoF audio rendering experiences computationally more efficient.

ABSTRACT. For millennia humans have created and adapted physical structures that host ritual cultural practices. Some of these structures are often associated with the evocation of awe. Anthropological, archaeological, and historical studies aim to document and measure the elicitation of awe and being in the presence of vastness or wonder. By constructing integrated VR and acoustic auralization, we developed an immersive environment for creating human-subject experiments on the phenomenon of awe. This research investigates how auditory cues such as reverberation time, echo density, and spatial diffusion, combined with architectural geometry, mediate awe in historical structures. We used psychoacoustic methods and virtual acoustic technology to evaluate the emotional and perceptual aspects of such experiences. Results show that perceived sound intensifies feelings of self-transcendence and time perception, highlighting soundscapes as active contributors to awe.

ABSTRACT. An efficient methodology for the synthesis of large-scale room impulse responses (RIRs) is presented, operating entirely in the modal domain. The approach proceeds in two stages: an analysis phase, wherein modal parameters are extracted from measured RIRs using a frequency-domain sub-band implementation of the PolyMAX algorithm; and a synthesis phase, based on time-stepping of a second-order modal equation discretised via a low-dispersion finite difference scheme. The procedure yields a structured parametric model consisting of modal frequencies, decay rates, and shape factors, directly interpretable in physical terms. Sub-band fitting is employed to accommodate high modal densities and broadband content, with stabilisation diagrams used to isolate physically relevant poles. The method is applied to both synthetic and measured responses acquired in three large historical spaces. Results indicate close agreement with the target responses in both frequency and time domains, along with substantial reductions in computational cost. The modal representation further permits statistical post-analysis of decay behaviour and supports real-time synthesis on commodity hardware. The overall framework offers a scalable alternative to traditional numerical solvers for room acoustics modelling.

ABSTRACT. This paper presents a novel approach to democratizing access to specialised acoustic multi-speaker laboratories through audiovisual digital twins. Facilities such as speaker arrays, anechoic chambers, and sound labs offer invaluable research capabilities, yet physical access is constrained by location, scheduling, and travel limitations. Unlike other virtual acoustic simulations, our approach ensures precise audiovisual coherence by spatially aligning acoustic measurement points with photorealistic visual models. We propose a framework that replicates these spaces by combining high-fidelity visual rendering with ambisonics impulse response measurements for a 7.1 surround sound system. The system employs dynamic convolution-based auralisations synchronized with rendering in both virtual reality and desktop environments. The framework is validated through a case study using a specialised sound lab in Melbourne equipped with configurable digital reverberation, allowing users to interactively explore different acoustic conditions. Initial user testing suggests that these digital twins provide a perceptually equivalent acoustic experience to physical spaces. This work represents a step toward making acoustic research globally accessible while preserving experiential fidelity, with potential for expansion to larger speaker arrays and real-time spatial tracking. The paper details the technical implementation, including visual rendering, impulse response measurements, digital reverberation integration, and real-time rendering.

ABSTRACT. Immersive Networked Music Performances (INMP) rely heavily on low-latency transmission and accurate preservation of spatial audio to guarantee satisfying experiences for performers and audiences alike. This study investigates the implications of streaming higher-order Ambisonics spatial audio over the internet, between two locations, and their impact on the musicians’ performances. We extensively evaluate subjective Quality of Experience (QoE) under varying network conditions. Specifically, the research addresses the following question: which features of the transmission channel mostly impact on the QoE? Results highlight the significant impact of latency on mutual engagement, whereas packet loss has a more limited effect. However, packet loss does produce noticeable effects on sound quality, which are not observed in the case of latency. The outcomes will contribute to defining optimal strategies for immersive spatial audio transmission in distributed musical performance scenarios.

ABSTRACT. The perceptual distinction between direct and diffuse sound components plays a fundamental role in spatial audio processing. Direct sound conveys precise spatial cues which enables listeners to localize sound sources. In contrast, diffuse sound comprises reflections and reverberation which contribute to the sense of acoustic space and immersion. Decomposition of audio signals into direct and diffuse components is essential for spatial audio processing, particularly in binaural rendering, virtual acoustics and audio enhancement, where the realistic reproduction of directional and ambient elements defines realism. The effective separation of the direct and diffuse sound field components requires signal representations that capture both spectral and spatial characteristics. In this context, clustering signals in the time-frequency domain emerged as a powerful tool in blind signal processing, with a wide-range of applications across audio analysis and enhancement. By analyzing spectral and temporal structures, these methods can unmix signals without prior knowledge of their sources. Therefore, it is a critical capability for real-world audio processing. However, existing approaches often struggle with overlapping spectra, non-stationary interference, and sparse representations which limit their robustness in complex acoustic environments. These limitations motivate ongoing research into more robust clustering algorithms capable of maintaining performance across diverse recording conditions and signal types. To address these limitations, we present a dereverberation method based on statistical modelling of spatial sound fields in the time-frequency domain. The proposed method is a blind method for direct and diffuse component extraction from reverberant recordings. This approach employs a von Mises-Fisher (vMF) mixture model to estimate directional statistics and construct masks for component separation. First, each time-frequency bin is decomposed into sparse plane wave components using Multitask Lasso regression with a Legendre polynomial dictionary. The resulting directional vectors are then modelled as a mixture of vMF distributions, where high-concentration components represent direct sound and low-concentration components correspond to reverberation. An Expectation-Maximization algorithm estimates the vMF parameters which are then used while resynthesising direct and diffuse components of the sound field. After the experiment, we conduct a comprehensive evaluation of the proposed method against state of art techniques using a diverse set of recordings. The datasets include both speech and orchestral music which are under varying ranges of reverberation conditions. Objective metrics (PESQ, SNR, LLR, DRR) and subjective evaluations are discussed under the different criteria for both speech quality and musical signal preservation. The analysis also identifies limitations under different noise conditions and determines computational tradeoffs. Finally, we discuss practical application scenarios and outline potential directions for future research.

ABSTRACT. This paper presents a software-only framework for real-time immersive 3D audio rendering, designed to operate on standard stereo headphones without requiring head tracking, multi-speaker arrays, or individualized hardware. The proposed system employs a U-Net-based diffusion model trained via transfer learning to transform dry mono or stereo audio into binaurally rendered soundscapes that reflect the spatial and reverberant characteristics of various acoustic environments, such as concert halls, forests, and cathedrals. The framework consists of three primary components: first, a scene-conditioned generative rendering model that synthesizes spatial cues and environment-specific reverberation; second, a personalized spatial encoder that approximates Head-Related Transfer Function (HRTF) parameters using user-submitted audio preferences gathered through a brief listening test, thereby removing the need for individualized HRTF measurements; and third, a web-based interface that supports interactive demonstrations, immersive audio playback, and subjective immersion evaluations. Key innovations include real-time 3D spatialization from stereo input, full compatibility with off-the-shelf headphones, and seamless integration with game engines and digital audio workstations. The system enables accessible and customizable immersive audio experiences, opening new pathways for virtual acoustics, spatial music production, and augmented auditory environments without specialized playback infrastructure.

ABSTRACT. Binaural reproduction aims to deliver immersive spatial audio with high perceptual realism over headphones. Loss functions play a central role in optimizing and evaluating algorithms that generate binaural signals. However, traditional signal-related difference measures often fail to capture the perceptual properties that are essential to spatial audio quality. This review paper surveys recent loss functions that incorporate spatial perception cues relevant to binaural reproduction. It focuses on losses applied to binaural signals, which are often derived from microphone recordings or Ambisonics signals, while excluding those based on room impulse responses. Guided by the Spatial Audio Quality Inventory (SAQI), the review emphasizes perceptual dimensions related to source localization and room response, while excluding general spectral–temporal attributes. The literature survey reveals a strong focus on localization cues, such as interaural time and level differences (ITDs, ILDs), while reverberation and other room acoustic attributes remain less explored in loss function design. Recent works that estimate room acoustic parameters and develop embeddings that capture room characteristics indicate their potential for future integration into neural network training. The paper concludes by highlighting future research directions toward more perceptually grounded loss functions that better capture the listener's spatial experience.

ABSTRACT. Not only is re-authoring a major bottleneck in the creation of personalized media experiences, but the specification of re-mixed versions requires a suitable encoding of the author's intent to be able to generate the potentially millions of different instances automatically. Previous work has employed distinct yet inter-compatible forms of media adaptation, so-called personalization dimensions. In this work, we examine a role for object-based audio to mediate the author's narrative intent for automation with additional metadata, considering two important dimensions: Device and Duration. Device refers to the audio system setup, which implies translating an authored experience between different setups, such as stereo, 5.1 surround or 7.1.4 with height loudspeakers. While one object-based mix may be rendered over headphones or arbitrary loudspeaker arrangements, a straightforward down-mix disrupts the author's intent as the system's capability is changed. Similarly, changing the duration of a piece by temporal re-scaling results in an altered experience. Here, we examine the manual sound design process to re-spatialize and re-time a short radio drama piece to determine the essential relationships among the sequences and layers into which the objects are organized. By mimicking parts of this process, we are able to automate the adjustment of the piece's duration throughout a factor of five. We discuss the effectiveness of these personalization mechanisms and their practical implications. Evaluation of these methods would involve formal listening tests in the future. Further developments could streamline narrative annotation and extend to other dimensions including audio-visual media personalization.

ABSTRACT. While most of the reconstructions of religious archaeological sites are visually oriented, it is well known that the enhanced acoustics of churches contribute to the overall experience of visitors and attendees, regardless of the historical period. Recent advancements in immersive technologies have sparked a renewed interest in both graphical and acoustical reconstructions of archaeological sites utilizing immersive audio reproduction techniques. This paper illustrates the auralization of the Paleochristian church of Santa Maria di Siponto and its implementation in an on-site multichannel loudspeaker system. This system allows the general audience to experience an enhanced virtualized acoustic environment within the archaeological site, complementing an already present metal-wire artistic installation that recalls the shape of the Paleochristian church.

ABSTRACT. The church was built a few decades ago and is used for the celebration of the liturgy of the Orthodox Church in Tirana. The church has a circular base with a diameter of 50 meters and a central dome with a height of 23 meters. The central area is occupied by wooden chairs with a capacity of 500 - 800 people. The walls are plastered and painted with sacred images. While the floor is made of marble. Acoustic measurements were performed with the impulse response technique in accordance with the ISO 3382 standard. The sound impulse was generated by the explosion of a plastic balloon filled with air. The average values of the acoustic characteristics as a function of frequency are reported in this paper. The possible problems of excessive reverberation on the understanding of speech or the possible benefits of long reverberation in the presence of religious functions that are accompanied by sacred music and songs will be discussed.

ABSTRACT. Piezoelectric speakers offer several advantages over traditional electrodynamic speakers, particularly in applications involving portable devices. Features such as low power consumption and a thin profile suggest that these speakers could see widespread use. However, their adoption is often hindered by issues such as suboptimal low-frequency response and harmonic distortion. In addition to these challenges, an important but frequently overlooked factor is the spatial acoustic response of the transducers. In this paper, we propose a method to characterize the directive sound propagation of a smartphone system equipped with piezoelectric speakers. Specifically, we measure the spatial response of a smartphone featuring two piezoelectric transducers mounted beneath its screen, resembling a flat-panel loudspeaker configuration, and we show how the directivity changes by considering three orthogonal axes. In this study, we also compare the directivity obtained using only one of the transducers with the one obtained using both of them, in a dual mono configuration. The knowledge of said radiation patterns sets the basis for the development of spatial audio algorithms tailored to the specific device under test.

ABSTRACT. In applications involving portable devices, piezoelectric speakers present different advantages over traditional electrodynamic speakers, including a thinner profile and higher efficiency. At the same time, their use is somewhat hindered by well-known drawbacks, such as poor bass reproduction and high harmonic distortion. In this paper, we present an approach for the characterization of the acoustic behavior of smartphones mounting piezoelectric transducers underneath the screen. Firstly, we describe how to carry out measurements to identify the nonlinear response of said complex multiphysics systems. Then, as an example of application, we show how the acquired data can be used to train a neural network to obtain a lightweight digital model of the device under test. These are two crucial steps toward the development of linearization algorithms or, more generally, algorithms for optimizing the device acoustic response.

ABSTRACT. Rumble strips, often referred to as sleeper lines or alert strips, serve as a traffic calming mechanism designed to notify distracted drivers of imminent hazards by producing tactile vibrations and audible rumbling that resonate through a vehicle's wheels and suspensions into its interior. The noise produced by these devices can be annoying to people living in the installation area. For this reason, a study of the noise emitted during the pass-by of vehicles can be of interest for designing mitigation measures. This study can be beneficial to reduce road accidents and maximize safety; furthermore, knowing the noise levels produced on road, it is possible to quantify the impact on nearby residents and planning mitigation measures for the community wellbeing.

ABSTRACT. In recent years, the automotive industry has become increasingly interested in innovative audio systems that provide wide customization options and offer the possibility to create individual entertainment environments for car users. In this context, among the most intriguing technologies are those that exploit devices that generate vibrations, which combined with audio systems provide a more immersive and engaging listening experience. In previous works, a testing environment resembling the acoustic properties of a car compartment was designed. A Hi-Fi audio system and a car seat were placed inside of it. Finally, an electrodynamic shaker was rigidly installed on the car seat backrest and an analysis of the dynamic response of the system was performed. The aim of this paper is to develop and test an immersive 4D audio system, where the seat vibration induced by the shaker provides the user with a tactile sensation that extends the music listening experience by adding a new sensory dimension. Three control logics for the shaker actuation are designed. They process the music track in different ways to produce the shaker driving signal. A jury test campaign is carried out in the aforementioned testing environment, to determine which control logic is preferred. Finally, a correlation analysis between the subjective judgements and the objective measurements collected during the tests is performed.

ABSTRACT. Crosstalk Cancellation (CTC) is a sound-field control technology used to deliver binaural signals over loudspeakers. This study investigates the effect of back wall reflections -- occurring when the loudspeakers are positioned between the listener and a reflective wall -- on CTC performance as a function of various parameters, including the positions of the listener and loudspeakers relative to the wall, and the directivity of the loudspeakers. Reflections are modelled using the Image Source Method (ISM), which simulates the contribution of reflection by superimposing the pressure field of the loudspeaker array with that of a mirrored array source. The directivity of the loudspeakers is simulated using directivity filters obtained from an open-access database. This approach offers a more realistic acoustic simulation than traditional analytical models. CTC performance is evaluated in the time and frequency domains using Neumann KU 100 HRTFs and Tikhonov regularisation. The impact of reflections is also quantified with a proposed error metric based on the Frobenius norm of the crosstalk matrix, which supports the simulation findings.

ABSTRACT. The development of acoustic measurements has brought researchers to be more accurate on data analysis. This is a positive sign that brings to a more faithful reproduction of the acoustic response from an opera theatre. The recorded impulse responses have been analyzed for the National Theatre of Iasi, Romania. This iconic heritage building represents the center of social life community. The monoaural and binaural acoustic parameters have been processed as required by ISO 3382-1. The results show that the room response are found slightly more absorbing than other opera theatres of similar volume size, although the values highlight the suitability of the room for both music and prose performances. Besides the traditional acoustic parameters, acoustic maps highlight the strong contribution of different architectural elements in different orders of reflections. This is possible through the panoramic maps obtained from the multi-channel impulse response.

ABSTRACT. Inclusivity is a topic that different scientific fields are trying to add besides the scientific goals to be achieved. As such, Agora project is focused on acoustic inclusivity by virtually connecting impaired individuals with immersive soundscape experienced outdoor. Acoustic measurements have been carried out to understand the urban environment related to different squares, Piazzale San Francesco in Parma, Italy, and Trafalgar Square in London, UK. Audio immersivity is rendered by a multichannel microphone composed of 19 channels probe (Zylia ZM-1), which allows to obtain an output signal up to 3rd order ambisonics (O3A) resolution. This equipment is capable of detecting the dynamic sources as typical of a urban environment. These two public spaces represent different characteristics: the first is in front of a music academy and is not trafficked generally, with the exception of the timing corresponding to the entrance shifts; the second is one of the main squares in London where live concerts and manifestations are generally organized. If one side of Piazzale San Francesco is crossed by road vehicles, in Trafalgar Square the vehicles are on three sides (with the exception of the side where the National Gallery is placed). However, both of them are in the core of the city. The environmental parameters are analyzed in order to scientifically assess the differences between the two squares.

ABSTRACT. This study presents an acoustic analysis of SS. Salvatore Church in Bologna, a large early Baroque church that preserves the city’s oldest originally intact musical setting for separated choirs. Measurements were carried out under unoccupied conditions using an omnidirectional sound source at the organ site, and various types of microphones positioned at multiple locations throughout the church. Standard acoustic parameters, including reverberation time, clarity, and definition, center time, apparent source width were analyzed according to ISO 3382-1. A long reverberation time of approximately 6.3 seconds was observed, which may be considered appropriate for churches of this scale. The distribution of early decay time (EDT) values showed clear dependence on receiver position. Other parameters deviated significantly from the general ranges typically reported in ISO-based measurements, likely reflecting the complex and varied spatial characteristics of the church’s interior. These preliminary findings provide valuable insight and form a basis for future, more detailed investigations into the acoustic behavior of historical ecclesiastical spaces.

ABSTRACT. The gap between hearing abilities measured with standard audiological tests, such as speech audiometry, and perceived hearing performance in daily life has led to interest in testing methods that better reflect real-world communication. Traditional speech audiometry evaluates the proportion of correctly understood prerecorded words, which differs significantly from spontaneous, interactive speech in everyday conversations where listeners actively engage with interlocutors. This study examines how virtual restaurant noise affects communication abilities and subjective effort in hearing-impaired (HI) individuals compared to age-matched normal-hearing (NH) individuals. Thirty HI participants and ten NH participants completed the 'classic' OLSA matrix sentence test to measure speech recognition thresholds and the Diapix communication task, where two participants solved a task through conversation. Conversations were recorded to analyze acoustic parameters. The study explores how background noise at different levels influences objective communication performance and subjective effort, while comparing differences between HI and NH groups. Results show that higher background noise significantly degrades communication efficiency for HI individuals, while NH participants remain less affected. Both groups adjust their speech to cope with challenging conditions. These findings highlight the need for ecologically valid testing paradigms, like interactive communication tasks, to bridge the gap between clinical test outcomes and real-world challenges faced by people with hearing impairments.

ABSTRACT. With the development of 3D immersive audio in virtual/augmented reality and other applications, it has become important to accurately render the orientation of point source using binaural in real world acoustic spaces. The method for spatial binaural rendering is to convolve the target signal with Head-related transfer function (HRTF). Therefore, VBAP method is introduced into spatial binaural rendering. The relationship between sound source and virtual loudspeaker array is constructed by vector base amplitude panning (VBAP) technology, and binaural spatial signal is obtained by convolution of virtual loudspeaker signal with HRTF. The VBAP method can flexibly select the position of virtual loudspeaker, in fact, the structure of the virtual loudspeaker array and the number of loudspeakers have a crucial role in the binaural rendering performance. This paper designs a spatial binaural rendering scheme based on VBAP technology, and the effects of different array structures on binaural rendering are analyzed. First, the rectangular room model is constructed in this paper. The first and second order reflection node of the wall are determined by the image source method. The delay and attenuation of direct sound and reflection of each order are simulated by the physical position of each reflection node of the wall. Secondly, the virtual loudspeaker array is constructed, and the signal of the virtual loudspeaker array is calculated using VBAP technology. Finally, the virtual loudspeaker signal is convolved with HRTF to obtain binaural spatial signal. In order to evaluate the rendering performance of different virtual loudspeaker arrays, this paper presents three configurations of virtual loudspeaker arrays, namely equal Angle sampling, Gaussian sampling and uniform sampling arrays. The rendering performance of different array configurations is evaluated by steady-state and dynamic source experiments as well as subjective and objective evaluation.

ABSTRACT. This study investigates the higher-order statistical (HOS) analysis of directional room reflections using a 64-channel rigid sphere microphone array. Measurement data were acquired in various indoor environments, such as concert halls, recording studios, and conference rooms with multiple measurement configurations. The directional distribution of reflected sounds is calculated through plane-wave expansion, and its characteristics are quantified using HOS measures. We explore how kurtosis captures distribution characteristics, including peak sharpness and tail heaviness, in contrast to traditional isotropy assessment techniques that utilize spherical harmonic coefficients. While the approach using spherical harmonic coefficients effectively characterizes the isotropy of the local sound field, its reliance on long-term temporal integration results in lower time resolution. In contrast, the kurtosis-based representation achieves higher temporal resolution without extensive integration, thereby enabling the detection of prominent reflections; however, its spatial resolution is relatively coarse for representing isotropy. These findings highlight that HOS provides a complementary perspective, examining a different aspect of the directional properties of room reflections.

ABSTRACT. Gyms are large-volume environments and, from an acoustic standpoint, have a long reverberation time. Reverberation time is an acoustic characteristic of a space that depends on the length of the sound tail. The longer the reverberation time, the poorer the environment's speech understanding. To achieve good speech understanding, the reverberation time must be reduced by inserting suitable sound-absorbing materials. This paper reports the measurement of the acoustic characteristics of a gymnasium to be used as a conference room. The acoustic correction was obtained by applying Sabine's formula, given that the room has a regular shape. The reverberation time measured at a frequency of 1000 Hz is equal to 8 s. By introducing a quantity of sound-absorbing material equal to 200 square meters, the length of the reverberation time is reduced to approximately 2.5 seconds in an empty room.

ABSTRACT. Sound, often an overlooked dimension in archaeological inquiry, profoundly shaped ancient life. This presentation introduces the ongoing Aural project, a novel interdisciplinary initiative investigating the intricate relationship between sonic phenomena and the spatial configuration of architectural structures in the ancient Mediterranean. Focusing on sacred spaces and performative areas, particularly rectilinear theatres in Greece and Italy, this research explores how architectural design and natural environments sculpted the auditory experience of religious and public life, encompassing music, recitations, and ambient sounds. We examine the reciprocal influence of ritual and performance on architectural evolution, aiming to understand the intentional sonic qualities of these spaces and their role in shaping religious experience and social interaction. Employing acoustic measurements, digital reconstructions, and insights from soundscape archaeology and sensory studies, Aural seeks to address fundamental questions regarding the sonic design of these sites and their impact on ancient auditory awareness. This presentation will highlight the project's innovative methodology and its potential to yield new insights into the aural architecture of the past, offering a fresh perspective for future research in archaeoacoustics and digital heritage.

ABSTRACT. Urban soundscapes reflect the cultural and spatial dynamics of public life, yet their acoustic characteristics remain underexplored. This study presents a high-resolution 3D acoustic analysis of Piazza Duomo in Parma, using a 64-channel spherical microphone coupled with a 360° video camera. The soundscape was recorded and analyzed in terms of environmental psychoacoustic parameters, including loudness, sharpness, roughness, and tonal prominence, as well as through spatial visualization techniques that identify the directionality and distribution of sound energy. Piazza Duomo, characterized by its architectural symmetry and restricted vehicular access, exhibits a notably stable and quiet acoustic profile. The resulting data contribute to the preservation of urban acoustic heritage and support immersive playback for public engagement through the AGORA project’s modular audio systems. This research underscores the potential of 3D sound mapping as both a scientific tool and a medium for cultural reflection in historically significant civic spaces.

ABSTRACT. The Stadttheater is a historic building of the city of Solothurn, Switzerland. Acoustic measurements were conducted to assess the acoustic response of the main seating hall expressed with the assessment of the main acoustic parameters, in accordance with ISO 3382-1. In addition to traditional microphones, a multi-channel microphone (i.e. Eigenmike em-64 by HM-Acoustics) was employed to capture the directivity of sound reflections from the hall’s boundary surfaces. This process was followed by some selected positions across the seating areas, including stalls and upper balconies. The results expressed with both graphs and acoustic maps indicate that the acoustic response of the room is suitable for both speech and music performances

ABSTRACT. The Mausoleum of Theodoric the Great is the most famous example of Ostrogothic building in Italy. Due to its position in Ravenna, visitors often expect to see rich mosaics, rather than the actual austere structure. In order to improve the attractiveness of the monument, the cultural administrators have started augmenting the visitor experience by adding reproduced music and even holding concerts in the ground floor hall. This article is a first acoustical characterization of the ground floor hall using Ambisonics impulse responses and acoustic maps. In particular the reverberation time and the Clarity measurements should provide guidance for music selection

ABSTRACT. The Mausoleum of Theodoric the Great is the most famous example of Ostrogothic building in Italy. Due to its position in Ravenna, visitors often expect to see rich mosaics, rather than the actual austere structure. In order to improve the attractiveness of the monument, the cultural administrators have started augmenting the visitor experience by adding reproduced music and even holding concerts in the first-floor hall. This article is a first acoustical characterization of the first-floor hall using Ambisonics impulse responses and acoustic maps. In particular the reverberation time and the clarity measurements should provide guidance for music selection.

ABSTRACT. Along with the development of the technology, the acoustic measurements become always more accurate, able to faithfully reproduce the acoustic conditions of opera theatres. The recorded impulse responses have been analyzed for the house of sound in Bologna designed by Antonio Galli Bibiena. This iconic heritage building is crossing a period of renovation that also involves seats, representing a great opportunity to investigate the contribution of seats absorption to the overall acoustics. The monoaural and binaural acoustic parameters have been processed in accordance with ISO 3382-1. The results show that the room response without seats makes the Teatro Comunale very reverberant, at the order of 2.8 s at mid octaves. Besides the traditional acoustic parameters, the acoustic maps highlight the contribution of different architectural elements within an opera theatre given by the visualization of early and late reflections.