ABSTRACT. "Aural Dissipation" is a site-specific sound installation that explores the possibility of perceiving architectural space as an acoustic instrument. The work takes place inside the cooling tower of a decommissioned power plant, where the structure’s volume and reverberant surfaces become sonic material to be investigated through a live performance for harp and electroacoustic processing. The harp, performed directly within the space, activates and modulates the environment: the sound is captured, processed in real time, and diffused through a discrete multichannel spatialization system. The installation is preceded by an acoustic survey phase, including impulse response measurements and reverberation analysis, aimed at understanding the spatial behavior of sound and informing the design of the diffusion setup. The project is part of a broader research framework focused on the role of sound in design processes, and it proposes a critical interplay between musical gesture, architecture, and immersive audio technologies. Expected outcomes include acoustic data, critical reflections, and documentation materials that contribute to formulating new transdisciplinary strategies rooted in sonic design thinking, emphasizing the potential of sound as a tool for interpreting, activating, and reconfiguring space.

ABSTRACT. We present an immersive sensory experience to simulate the soundscape of early humans in the Chauvet-Pont-d’Arc Cave—a UNESCO World Heritage site in southern France. Renowned for its Paleolithic art, the cave has been the focus of acoustical measurements that facilitate the creation of augmented 3D environments that incorporate acoustical models with visual data. Using advanced auralization techniques, we enable reconstruction of ancient soundscapes. As the cave is closed to the public, our VR-based auralizations provide an immersive means of experiencing its unique acoustics and artistic heritage for the broader audience as well as researchers of the humanities. We present this immersive environment as a case-study of the possibilities offered by the Ambisonic Virtual Acoustics Playback Toolkit within the larger framework of the Paleoacoustics project.

ABSTRACT. This paper presents a six-degrees-of-freedom (6DoF) audiovisual framework that advances spatial computing capabilities for virtual reconstructions of cultural heritage sites. Despite recent advances in virtual reality (VR) and spatial computing, achieving perceptually plausible spatial audio remains a significant hurdle, especially within the field of digital heritage. To address this, we propose a hybrid framework that integrates a 3D scanned model with room acoustical data captured by a spherical microphone array. This approach is demonstrated through a case study of Daegwangbojeon Hall at Magoksa Temple, a UNESCO World Heritage site in South Korea. This integration facilitates a holistic representation in which visual geometry and room acoustical properties are computationally cross-referenced to enhance spatial coherence and plausibility. Evaluation through a comparison of physical acoustic metrics shows our method more accurately replicates original acoustic characteristics than conventional impulse response convolution approaches using First-Order Ambisonics (FOA) or monophonic, especially for sound clarity and auditory spatial impression. These findings offer a perceptually grounded approach for immersive documentation that is valuable for VR-based heritage preservation.

ABSTRACT. Music production has long been characterized by well-defined concepts and techniques. However, a notable gap exists in applying these established principles to music production within immersive media. This paper addresses this gap by examining post-production processes applied to three case studies, i.e., three songs with unique instrumental features and narratives. The primary objective is to facilitate an in-depth analysis of the technical and artistic challenges in musical production for immersive media. From a detailed analysis of the technical and artistic post-production decisions in the three case studies and a critical examination of theories and techniques from sound design, audio journalism, and archival audio preservation, we propose a tripartite categorization of mixing within immersive media: Traditional Production, Expanded Traditional Production, and Nontraditional Production. These concepts expand production methodologies in the context of immersive media, offering a framework for understanding the complexities of spatial audio. By exploring these interdisciplinary connections, we aim to enrich the discourse surrounding music production, rethinking its conceptual plane into more integrative media practices outside the core music production paradigm, thus contributing to developing innovative production methodologies.

ABSTRACT. Partnered with the National D-Day Memorial Foundation to commemorate the 80th Anniversary of D-Day, The Virginia Tech Institute for Creativity, Arts, and Technology presented "When We Went In: The D-Day Experience in Light and Sound" at the National D-Day Memorial in Bedford, Virginia, USA on June 7th and 8th, 2024. This site-specific installation at the center of the 6-acre memorial featured a custom 13.3 immersive audio array to present spatialized audio for thousands of audience members. Original music and spatial-first sound design were created in conjunction with artfully animated moving images, which were displayed through a complex 120,000 lumen projection mapping solution across the 200-foot-wide, 80-foot-tall main section of the memorial on 14 discrete surfaces—immersing viewers in the sights and sounds of the Normandy invasion. With permission, the latest AI text-to-speech and voice-changing technology was used to integrate the voices of those no longer living into the piece, telling the story of D-Day through the words of those who were there. This report details the creative and technical processes for this special immersive presentation.

ABSTRACT. Sound plays a central role in shaping cultural heritage experiences, fostering a dynamic connection between past and present and enhancing visitor immersion through auditory engagement. Memorie Sonore project explores the use of bone conduction headphones to create immersive experiences through audio augmented reality in museum settings. Unlike traditional headphones, bone conduction devices rest on the cheekbones, transmitting sound directly to the inner ear while keeping the ear canal open. This unique feature enables the simultaneous perception of both actual and virtual sound layers, allowing historical audio reconstructions to merge with the surrounding acoustic environment. Developed within the Musei di Tutti network, the project reconstructs historical soundscapes across four key sites: Palazzo Vecchio and the Museo degli Innocenti in Florence, as well as the Archaeological Area and the Fondazione Primo Conti in Fiesole. Visitors engage in interactive, spatialized audio experiences that integrate historically informed reconstructions, sound design, and original musical compositions. The onsite experience provides visitors with bone conduction headphones and an audio guide app, offering location-based soundscapes and narrative storytelling. To ensure historical accuracy, historians, archaeologists, anthropologists, and sound designers have collaborated closely. Techniques such as impulse response measurements, auralization, and binaural recording were employed to create spatially coherent and immersive soundscapes. The online component features a 360-degree audiovisual virtual tour, enabling global audiences to explore museum spaces through an immersive audio-visual experience. Unlike the onsite version, the online tour incorporates contemporary environmental sounds, bridging past and present soundscapes. Memorie Sonore fosters inclusive, multisensory access to cultural heritage, offering innovative ways to experience history through sound. Additionally, the project enhances accessibility for visually impaired visitors by using sound as a primary medium for spatial and narrative engagement.

ABSTRACT. Head-related transfer functions (HRTFs) characterize how the human head and body modify the frequencies of sound waves as they travel toward the ear, thus aiding people in determining the direction and location of sound sources. HRTFs have different shapes that depend on the individual listener. Some studies have therefore used deep neural network (DNN) models to synthesize personalized HRTFs by measuring the sizes of the listener’s ears and head, but they have struggled to estimate large numbers of outputs (e.g., 200 samples in an impulse response or 512 samples in an HRTF). Therefore, in this work, we introduce parametric HRTF synthesis to reduce the number of outputs, and the DNN model synthesizes the HRTF in a median plane, in which the individual differences are likely to occur. The measured HRTF was approximated via series synthesis of six peaking digital filters, which were characterized in terms of center frequency, gain and bandwidth, and the output dimensions could then be reduced to 18 parameters. Use of this data compression process allowed the log spectral distance from the measured HRTF to be improved by 1 to 2%, and psycho-acoustic experiments showed even difficulty to localize accurate in the 0 (front) and 180 (back) degree using the estimated parametric HRTF.

ABSTRACT. The emerging class of Smart Musical Instruments (SMIs), which embed onboard intelligence and wireless connectivity, has opened new avenues for creative possibilities for musicians. This paper addresses the challenge of real-time polyphonic audio pattern detection embedded into SMIs, which are used to trigger control messages to external devices upon the pattern identification during a live performance. We describe a real-time algorithm based on deep learning that recognizes a set of predefined polyphonic patterns from an incoming audio stream. We embed such an algorithm into smart electric guitar and smart keyboard prototypes connected to external peripherals, and assess the detection accuracy, latency, and user satisfaction with a user study involving 22 musicians. Qualitative results showed that the musicians enjoyed using the system, and they expressed interest in integrating deep learning-based tools into their performances. The user study resulted in a precision of 0.72, a recall of 0,67, and an F1 score of 0.66. We also describe and discuss a musical performance that incorporated two smart musical instruments with real time pattern detection capabilities, which were used to trigger external peripherals which included stage lights, smoke machines, mixed reality headsets, and haptic wearable devices.

ABSTRACT. The article shows a novel integration of ambisonic microphones, multimodal sensing, and artificial intelligence (AI) to create an advanced system termed the "semantic acoustic microscope." This innovative methodology combines third-order ambisonic microphone arrays, 360° video capture, LiDAR depth sensing, and AI-driven analysis for automatic localization and classification of ambient sound sources. Traditional noise assessment methods relying on averaged decibel metrics are inadequate for capturing the complex, dynamic, and semantic nature of urban acoustic environments. By leveraging modern AI models such as Transformer networks and large language models (LLMs), the proposed system aims to provide not just quantitative, but also qualitative, semantic interpretations of acoustic scenes, thereby offering meaningful insights into sound environments. Such insights have significant implications for urban planning, public health, environmental policy, and fundamental auditory research.

ABSTRACT. This paper explores the possibilities offered by the Internet of Musical Things paradigm to create new interactive performance experiences. We introduce a novel performance ecosystem where performers utilize smart musical instruments equipped with embedded Real-time Pattern Detection (RTPD) algorithms to trigger wirelessly connected devices. To validate our approach, the system was ecologically validated with two concerts, which involved two groups of performers and two groups of audience members. We compared the use of RTPD-triggered effects against randomized triggering, and we assessed the experience of a composer, performers and audiences in interacting with the ecosystem. Audience members preferred the condition in which the RTPD system directly triggered effects rather than random triggering. Overall, composers, performers and audience valued this new art format. The results indicate that combining smart musical instruments with pattern detection in an Internet of Musical Things ecosystem can set new avenues for artistic performance and audience engagement.

ABSTRACT. Among the numerous speech datasets in the literature, only a minority concerns conversational data, and even fewer datasets isolate the elements occurring in turn-taking conversations. To address this gap, this paper presents MoTT, an English speech dataset composed of questions, answers, reciprocal questions, and backchannel responses recorded by eight participants. The questions and answers pertain to ten topics and were recorded in two takes. The voice directivity pattern was simultaneously captured at frontal and lateral positions by two microphones. The MoTT dataset was designed to provide interchangeable conversational elements and enable their modular composition to obtain fictional but plausible and convincing conversations. As a result, multiple virtual speakers engage in a turn-taking conversation that emulates real-world interactions, with spatial audio techniques employed to enhance realism by arranging the speakers in the auditory scene. This dataset offers a valuable resource for studies in immersive spatial audio, human-computer interaction, and auditory scene analysis. The dataset is therefore well-suited for experiments that necessitate the simulation of ecologically valid conversations, as the one described in the use case reported in this paper.

ABSTRACT. This paper aims to explore the transformative impact that acoustic modelling and virtual reality, when synergistically employed with advanced 3D audio technologies such as binaural audio and ambisonics, have exerted in recent years upon the scholarly investigation of the relationship between space, performance, and audience. The immersive and virtual reconstruction of historical performance spaces has inaugurated new avenues for the analysis of listener-performance interaction through temporal progression, and for the examination of how the performance space itself functions as a musical instrument, with its inherent acoustic properties exerting a substantial influence on the perception and interpretation of music, theatre, dance, and opera. Through the scrutiny of selected ancient performance venues, this paper aims to provide an overview of how acoustic analysis has expanded the purview and the methods of research within traditionally humanistic disciplines. The integration of data and measurements has enriched the potential for re-evaluating past performative events, incorporating the acoustic component into historical narratives and providing novel interpretations of the evolution of musical styles, instrumental design, theatrical and choreographic techniques, and vocal performance practices

ABSTRACT. This paper introduces the first phase of a larger, ongoing effort to document the acoustic character of sacred Armenian spaces through a combined methodology of Room Impulse Response (RIR) capture, spatial field recording, and LiDAR-based architectural scanning. Conducted as a collaboration between Columbia GSAPP and the American University of Armenia, this study focuses on four monastic sites: St. Hovhannes, Saghmosavank, Hovhannavank, and Tatev—each holding architectural and cultural significance, with Tatev currently under consideration for UNESCO World Heritage inscription.

Measurements were carried out using IRIS software by Marshall Day, a platform that requires the use of ambisonics microphones and omnidirectional loudspeakers to generate spatially detailed RIR datasets. In addition to impulse response measurements, musical field recordings were captured at St. Hovhannes and Saghmosavank, where musicians performed traditional Armenian works arranged by Komitas using voice and oud. These recordings—captured in both mono and ambisonics formats—are intended for use in spatial audio experiences and virtual reconstructions.

Alongside these efforts, high-resolution LiDAR scans were carried out to digitally preserve the architectural detail of each space. Our team is currently working with a New York-based sound design studio to explore how spatial audio can be meaningfully embedded within these 3D environments. The goal is to eventually create an interactive online archive where people can visually and sonically engage with these spaces, many of which are at risk due to structural decay, neglect, or the broader context of regional instability. In some cases, acoustical benchmarks can even serve as a foundation for reconstructing lost or damaged spaces using virtual twin platforms like Treble Technologies, which allow for audio-calibrated architectural simulations based on LiDAR geometry and RIR data.

This project has also provided a hands-on educational opportunity for five undergraduate students in Armenia, introducing them to spatial audio capture, architectural acoustics, and digital heritage workflows, each having limited visibility in the region’s academic offerings. As a preservation tool and as a pedagogical framework, this first phase lays the groundwork for future site surveys and for a public-facing digital resource that links sound, space, and memory across threatened Armenian cultural heritage.

ABSTRACT. This paper presents a comparative acoustic study of the National Theatre in Zagreb based on two measurement campaigns conducted in 2022 and 2025. Standard room acoustic parameters, including EDT, T30, C80, D50, and IACC, were evaluated to assess temporal stability and spatial distribution across audience areas. Results indicate consistent reverberation characteristics over time, with minor shifts in clarity favoring the stalls in recent measurements. Spherical array recordings combined with panoramic imaging enabled detailed visualization of direct sound and reflection patterns. The findings contribute to the ongoing monitoring and acoustic maintenance of historical performance spaces

ABSTRACT. Research in outdoor acoustics is not widely studied as room acoustics under an immersive-experience point of view. However, the combination of 3D audio with a panoramic view makes the urban environment more engaging. For this campaign of measurements, a 19-channels spherical array microphone has been used corresponding to a resolution equal to third-order-ambisonics (3OA). This paper deals with the analysis of soundscapes across London, UK, as the most representative places for busy and tranquil environment. The selected locations are Westminster Square and St James’s Park, two historical places now subject to renovation for the future Queen Elisabeth II Memorial. While the first environment is rich of vehicular and aerial traffic, enhanced by sirens and helicopters, the second is characterized by a very calm and natural soundscape, where only individuals’ talk could be considered the noisiest sources. The audio recording has been analyzed by using environmental parameters such as loudness, sharpness, prominence and roughness.

ABSTRACT. Acoustic measurements were carried out within one of the most historical churches in northern Italy, known as Santa Maria Church in Pomposa, 50 km from Ferrara, Italy. The acoustic measurements were taken under unoccupied conditions using an omnidirectional sound source, and various types of microphones positioned at multiple locations throughout the church. Standard acoustic parameters, including reverberation time, clarity, and definition, center time, were analyzed according to ISO 3382-1. In addition to traditional microphones (omnidirectional and B-format), a multi-channel microphone (i.e. EM-64 by MH-Acoustics) was used to capture the directivity of sound reflections from the hall’s boundary surfaces.

ABSTRACT. The latest advancement in audio technology allows researchers to refine their computation and assessment on complex volumes like theatres. The room impulse responses (RIRs) have been analyzed for the one of small-sized auditorium in Tresigallo, known as Teatro 900. The monoaural and binaural acoustic parameters have been analyzed based on ISO 3382-1 requirements. The results show that the room response in terms of reverberation within the theatre is about 2.0 s, being quite reverberant for this room volume. Besides the traditional acoustic parameters, the acoustic maps highlight the reflections hitting the probe placed in the central box on the first order coming from the back of the fly tower and from the box ceiling in later instants.

ABSTRACT. As a dynamic social node, Piazzale della Pilotta in Parma offers a rich and variable acoustic environment shaped by daily human activity. This study employs a 64-channel spherical microphone array and 360° panoramic video recording to capture and render a three-dimensional representation of the square’s soundscape. Objective psychoacoustic parameters, including loudness, roughness, sharpness, and tonal prominence, are analyzed to characterize the acoustic variability of this high-activity public space. Through directional sound visualization and 3D mapping, the research highlights the spatial complexity and social vibrancy embedded in this sonic environment. These recordings enable new forms of public engagement with urban soundscapes and offer a framework for comparing the acoustic identity of historically and functionally diverse city squares.

ABSTRACT. As a dynamic urban node, Piazza Garibaldi in Parma offers a rich and variable acoustic environment shaped by daily human activity and traffic flows. This study employs a 64-channel spherical microphone array and 360° panoramic video recording to capture and render a three-dimensional representation of the square’s soundscape. Objective psychoacoustic parameters, including loudness, roughness, sharpness, and tonal prominence, are analyzed to characterize the acoustic variability of this high-activity public space. Through directional sound visualization and 3D mapping, the research highlights the spatial complexity and social vibrancy embedded in Garibaldi’s sonic environment. Integrated with the AGORA project’s immersive playback systems, these recordings enable new forms of public engagement with urban soundscapes and offer a framework for comparing the acoustic identity of historically and functionally diverse city squares.

ABSTRACT. Research in outdoor acoustics is not widely studied as room acoustics under an immersive-experience point of view. However, the combination of 3D audio with a panoramic view makes the urban environment more engaging. For this campaign of measurements, a 64-channels spherical array microphone has been used corresponding to a resolution equal to high order ambisonics (HOA). This paper deals with the analysis of a soundscape taken in Piazza della Repubblica in Tresigallo, a historical square located in Emilia Romagna, Italy. This place is characterized by a very calm environment, dominated only by road traffic noise. The audio recording has been analyzed by using environmental parameters such as loudness, sharpness, prominence and roughness

ABSTRACT. Virtual sound images can be perceived with remarkable clarity when carefully designed signal processing is combined with appropriate arrangements of loudspeakers. Most successful methods to date have made use of crosstalk cancellation at the ears of a single listener to deliver acoustic signals that are a good replica of those that would be produced by a specified virtual source. This paper will review the basis of the methods used together with the underlying physical properties of the sound field that ensures successful implementations. The paper also further investigates the use of this technique and presents a theoretical analysis of the case where crosstalk is cancelled at the ears of two listeners. Guidelines are produced for the successful implementation of such systems that are confirmed by some preliminary experimental results.

ABSTRACT. Sisto V Hall in Naples is in the list of heritage buildings, whose value is acknowledged for its historical significance, beside its use for live events, including musical performances by ensembles and small groups. Acoustic measurements revealed a reverberation time of approximately 4.5 s at mid frequencies, resulting in poor speech clarity. This is primarily due to the presence of reflective surfaces, as the walls and ceilings are plastered, and the floors are tiled. The optimization of the overall acoustics for gatherings and conferences has been carried out by proposing an acoustic design intervention.

ABSTRACT. A focused acoustic assessment of the 304-seat Small Hall (≈ 2 000 m³) at Zagreb’s Vatroslav Lisinski Centre was conducted to verify its suitability for recitals, chamber ensembles and spoken events. Impulse responses were captured with a 15 s exponential sine sweep at three source positions and thirty receiver points, then processed to ISO 3382-1. Early-decay time and T30 remain tightly grouped between 1.2 s and 1.6 s from 500 Hz to 4 kHz, values that foster intelligibility without sacrificing musical support. Clarity metrics reach C50 = –2 dB to 0 dB and C80 = +1 dB to +3 dB, while D50 stabilises around 0.45; inter-aural cross-correlation drops to 0.21 at 4 kHz, indicating pronounced spatial width. For context, parallel measurements in the adjacent Large Hall (≈ 42 000 m³) show 0.4–0.6 s longer decay and 1–2 dB lower clarity, confirming that the Small Hall offers the sharper early-energy balance demanded by speech and small-ensemble repertoire. These results provide a quantitative basis for fine-tuning variable absorption and reinforce the hall’s role as an acoustically intimate complement to the center’s symphonic venue.

ABSTRACT. A comprehensive acoustic survey of Vatroslav Lisinski Concert Hall (Zagreb, 1973) was undertaken to update performance data and benchmark the venue against both contemporary concert halls and traditional Italian theatres. Impulse responses were captured according to ISO 3382-1 with the stage populated by rehearsal instruments and chairs, using three representative source positions: down-stage center, up-stage left, and choir risers. Averaged over thirty receiver points, early-decay time and T30 lie between 1.8 s and 2.2 s in the critical 500-2000 kHz range, values suited to symphonic repertoire while remaining acceptable for amplified speech. Speech definition measures fall within the range for good music while C50 remains very close or within the optimal range, whereas musical clarity just matches the values of the optimal range. Inter-aural cross-correlation indicates adequate spatial envelopment. Variations among the three source positions are minor: maximum spreads are 0.3 s for T30, 0.09 for D50, and 0.07 for IACC, confirming acoustic robustness for diverse stage layouts. Compared with modern vineyard halls, Lisinski exhibits marginally longer decay and lower clarity yet performs markedly more uniformly than nineteenth-century horseshoe theatres of similar volume. The findings validate the original design intent and suggest that only limited, targeted treatments—such as retractable banners or variable absorption in the stage wings—would be required to fine-tune speech clarity without compromising musical warmth.

ABSTRACT. Research in outdoor acoustics is not widely studied as room acoustics under an immersive-experience point of view. However, the combination of 3D audio with a panoramic view makes the urban environment more engaging when played back. For this campaign of measurements, a 64-channels spherical array microphone has been used corresponding to a resolution equal to high order ambisonics (HOA), but for simplicity it has been analyzed up to the 3rd order (O3A). This paper deals with the analysis of a soundscape taken in Piazza Tre Martiri in Rimini, a historical square located in Emilia Romagna, Italy, and in Piccadilly Circus, London, UK. In contrast to the first place, resulting not very busy in terms of road traffic noise, the second square is the main crossover of the city center. Both of them are characterized to be event gathering for many citizens that like to find the opportunity to socially engage and interact with other people. In addition, their historical value related to the architecture gives more importance to this study as it has never been carried out under this perspective. The audio recording has been analysed by using environmental parameters such as loudness, sharpness, prominence and roughness.

ABSTRACT. Research in outdoor acoustics is not widely studied as room acoustics under an immersive-experience point of view. However, the combination of 3D audio with a panoramic view makes the urban environment more engaging when played back. For this campaign of measurements, a 64-channels spherical array microphone has been used corresponding to a resolution equal to high order ambisonics (HOA), but for simplicity it has been analyzed up to the 3rd order (O3A). This paper deals with the analysis of a soundscape comparison between Piazza del Popolo in Faenza and Leicester Square in London, two historical places located in Italy and UK, respectively. These two public squares are not very busy in terms of vehicular road traffic noise since they are excellent places for community gathering to interact with other people. The audio recordings have been analyzed by using environmental parameters such as loudness, sharpness, prominence and roughness.