Home > Papers
| Title |
Authors |
Year |
Link |
A study of hearing damage caused by personal MP3 players
Abstract
This paper aims to assess the actual in-hear sound pressure
level during use of mp3 players. The method is based on standard
EN 50332 (100dB as maximum SPL), IEC 60959 (HATS) and IEC 60711
(ear simulators), as explained in the January 2007 issue of the
Bruel and Kjaer Magazine (page 13) [1]. In this study a number
of MP3 players were tested, employing a dummy head and a
software for spectrum analysis. The measurements were aimed to
assess the hearing damage risk for youngsters who employ an MP3
player for several hours/day. The students of an Italian high
school (15-18 years old) were asked to supply their personal
devices for testing, leaving untouched the gain from the last
usage. The results show that the risk of hearing damage is real
for many of the devices tested, which revealed to be capable of
reproducing average sound pressure levels well above the risk
threshold.
|
Adriano Farina |
2007 |
PDF,
IEC
test signal,
Music
test signal
|
Realtime auralization employing a not-linear, not-time-invariant
convolver
Abstract
The paper reports the first results of listening tests performed
with a new software tool, capable of not-linear convolution
(employing the Diagonal Volterra Kernel approach) and of
time-variation (employing efficient morphing among a number of
kernels). The listening tests were done in a special listening
room, employing a menu-driven playback system, capable of
presenting blindly sound samples recorded from real-world
devices and samples simulated employing the new software tool,
and, for comparison, samples obtained by traditional linear,
time-invariant convolution. The listener fills up a
questionnaire for each sound sample, being able to switch them
back and forth for better comparing. The results show that this
new device-emulation tool provides much better results than
already-existing convolution plugins (which only emulate the
linear, time-invariant behavior), requiring little computational
load and causing short latency and prompt reaction to user???s
action.
|
Angelo Farina, Adriano Farina |
2007 |
PDF,
Presentation
|
First description of the sound pressure and particle velocity
components of the ambient noise and boat noise recorded at the
WWF- Miramare Natural Marine Reserve (Trieste, Italy)
Abstract
Boat noise represents a chronic source of harassment for fish
species, whose communication for inter- and intra-sexual
selection is mainly based on low frequency sound signals (Amorim
2006). Investigating the impact of boat noise on target fish
species is particularly relevant for coastal MPAs, which are
biologically rich locations deserving protection from
anthropogenic pollutants. Although many fish species are
primarily sensitive to the kinematic components of the sound
field (Popper and Fay 1999), namely to particle acceleration,
boat noises have been characterized so far mostly by means of
sound pressure measurement. In this work, the underwater
acoustic background noise, and the noise produced by a small
outboard-engine boat moving at 6 knots, were recorded inside the
WWF-Natural Marine Reserve of Miramare (Trieste, Italy) by using
a novel hydrophonic probe (???Soundfish???) placed on the sea
bottom (8 meters depth). This allowed for characterization of
the sound field not just in terms of sound pressure, but also of
the three Cartesian components of the particle velocity.
|
Angelo Farina, Adriano Farina, Enrico Armelloni, Linda
Sebastianutto, Carlo Franzosini, Marta Picciulin
|
2010 |
DOI,
PDF
|
A comparison of different surround sound recording and
reproduction techniques based on the use of a 32 capsules
microphone array, including the influence of panoramic video
Abstract
This paper provides a comparison between the operational results
obtained reproducing a three-dimensional sound field by means of
traditional 1st order Ambisonics, and employing for the first
time the virtual microphone technique 3DVMS. Audio and video
were recorded at the same time, employing 32-capsules spherical
microphone arrays and a panoramic video capture system of our
design. In both cases, a matrix of FIR filters was employed, for
deriving the standard 4 B-format components (Ambisonics), or 32
highly- directive virtual microphones pointing at the same
directions of the 32 loudspeakers (3DVMS). A pool of test
subjects was employed for comparative listening tests,
evaluating some standard psycho- acoustical parameters.
Furthermore, the same tests were repeated with and without the
accompanying panoramic video. The tests were performed inside
the 3Sixty room in the University of York, an immersive space
with all- around video projection and a 32 speakers array. A
complete set of IRs has been measured placing a microphone in
the center of the room and sending a sine sweep test signal to
each of the 32 loudspeakers. These IRs have been employed for
equalizing individually each loudspeaker for Ambisonics and
3DVMS playback. In addition to this, we experimented with the
capture of a live performance inside the room and with the
virtual reconstruction of the complete audio-visual experience.
|
Fabio Manola, Andrea Genovese, Adriano Farina |
2012 |
PDF
|
3dof representation of the acoustic measurements inside the
Comunale-Pavarotti Theatre of Modena
Abstract
The investigation of the acoustics inside the Italian Opera
theatres has been undertaken by scholars in order to deepening
their scientific studies on the architectural and cultural
heritage. This paper deals with alternative ways of how to
represent acoustic data, in particular by adding a 3dof
representation of the impulse response (IR) besides the graphs
related to the main acoustic parameters in line with the
standard requirements. The 3dof screen shots have been
undertaken by an overlay elaboration, showing the particular
architectural components of the theatre that contribute to the
early and late sound reflections. A brief introduction of the
historical background related to the Comunale-Pavarotti theatre
of Modena has been given to understand the architectural
characteristics of the entire structure.
|
Antonella Bevilacqua; Francesca Merli; Angelo Farina; Enrico
Armelloni; Adriano Farina; Lamberto Tronchin
|
2021 |
DOI,
PDF
|
Acoustic parameters of the Municipal Theatre of Piacenza shown on
different ways of representation
Abstract
The Italian Opera theatres are always subject to scientific
studies that try to investigate as deeply as possible this
historical heritage to preserve the architectural and acoustical
information for future generations. This paper deals with two
ways of data representations based on the outcomes derived from
the variety of equipment used during the measurements. In
particular, a methodology in line with standards and regulations
has been introduced to representing the graphs of the main
acoustical parameters; besides, a video of the real-time room
impulse response (RIR) has been snapped with a few shots in
place of visualizing the sound reflections that occurred inside
the entire volume. After a brief description of the historical
background of the Municipal theatre of Piacenza, the authors
introduce the two methods just discussed to highlight the
completeness of data representation regarding any type of room
that is intended to be analyzed acoustically.
|
Antonella Bevilacqua; Francesca Merli; Enrico Armelloni; Angelo
Farina; Adriano Farina; Lamberto Tronchin
|
2021 |
DOI
PDF
|
Acoustic Design Review for the Historical Aula Magna at the
University of Parma. Measurement and Simulation Tools to Predict
the Amount of Absorption to be put in Place
Abstract
The Aula Magna (great hall) of the University of Parma,
historically known as the Hall of the Philosophers, is part of a
16th-century palace located in the core of the city. The Aula
Magna hosts official ceremonies and graduations. The geometrical
composition of the room, provided with a wagon vault, and the
high level of reflections due to the hard finish materials lead
to a poor quality of speech intelligibility. This paper deals
with an acoustic design review of the current furniture inside
the auditorium, with the purpose of adjusting the acoustic
parameters to be suitable for the current uses of the room.
Acoustic measurements have been undertaken in accordance with
the standard requirements outlined by ISO 3382-1, capturing the
existing conditions of the hall. A highly accurate digital model
of the room was obtained with photogrammetry and modelling, in
order to carry out numerical simulations regarding the
implementation of the acoustic treatments. The quantity and
quality of the proposed absorbing panels improve the listening
conditions to a degree of comfort assessed against the criteria
set by UNI 11532-2:2020.
|
Angelo Farina; Antonella Bevilacqua; Adriano Farina; |
2022 |
Poster |
In-Situ Measurements of Normal Impedance and Sound Absorption
Coefficient of Hard Materials by using a Laser Doppler
Vibrometer
Abstract
Standard techniques to measure the sound absorption coefficient
or the acoustic impedance of materials are the Kundt???s tube
and the reverberant room, albeit they are not practicable
in-situ. In addition, these measurement methodologies involve
extracting small or large samples of the material under test,
which is not permitted for materials of historical importance.
In this paper, the possibility of determining the normal
acoustic impedance and the normal sound absorption coefficient
based on direct in-situ measurements using a Laser Doppler
Vibrometer (LDV) has been analyzed. Specifically, measurements
have been conducted avoiding any contact on historical
sandstones, bricks, and wood planks of the Greek-Roman Theater
of Tyndaris located in Sicily (Italy).
|
Saccenti, Leonardo; Armelloni, Enrico; Farina, Adriano;
Bevilacqua, Antonella; Lavagna, Lorenzo
|
2022 |
AES E-Library
PDF
|
New method for the computation of acoustical parameters according
to the updated Italian Legislation
Abstract
Standard acoustic parameters such as reverberation time T20 and
clarity C50 are measured or calculated according to ISO 3382-1.
The additional parameter STI (Speech Transmission Index) is
measured or calculated according to the IEC 601268-16 standard,
recently upgraded in 2020. In Italy, it is a legal requirement
to verify the values of these acoustic parameters for new public
buildings, both in the design phase (calculated values) and in
the official assessment of the building performance (measured
values). The relevant legislation was drafted in 1997, updated
in 2017 with the introduction of the minimum environmental
criteria (Decree of the Ministry of the Environment of
11/10/2017), and recently further updated with the Decree by
Ministry of Ecological Transition No. 256 of 23/06/2022. This
decree became legally effective in December 2022 and is still
very innovative at the time of writing. It requires that the
values of three ???advanced??? acoustic parameters (T20, C50 and
STI) be evaluated in all new public buildings, with particularly
severe prescriptions in the values to be achieved in special
categories of buildings, such as schools. These advanced
acoustic parameters are additional to the standard ones, such as
the sound reduction index of partitions and facades, the impact
sound level and the noise level generated by HVAC systems, which
are mandatory in Italy for all types of buildings since the
introduction of DPCM 5/12/1997. This paper deals with these
three advanced acoustic parameters, which have only recently
become mandatory, and describes the update of the Ramsete and
Aurora software packages, widely used in Italy to perform
predictive calculations and experimental verification of these
???room acoustic??? parameters. Recent updates to these software
tools make them compatible with the newer version of the
standards, and hence with the new legislation. In particular,
these developments now include a new method for calculating the
room impulse response, and hence the STI value, taking into
account the different orientations of the speaker, synthesizing
the corresponding voice directivity balloon. This new STI(?)
measurement allows the evaluation of the speech intelligibility
index for the case when the speaker is not facing the listener.
This result can be obtained both experimentally and in computer
simulations by evaluating the MIMO Room Impulse Response, and
then synthesizing a virtual source with the standardized human
voice directivity and proper aiming.
|
Bevilacqua, Antonella; Farina, Adriano; Saccenti, Leonardo;
Farina, Angelo
|
2023 |
AES E-Library
PDF
|
MIMO Technique applied to the Greek Theatre of Tyndaris
Abstract
Spatial Multiple Input Multiple Output (MIMO) is an innovative technique developed to provide an
appropriate filter array required to virtually reconstruct the
perceived sound field at the listener's position, generated by a
sound source with arbitrary and time-varying directivity. This
is particularly useful when the sound source has a complex
directivity pattern (e.g. the human voice or specific musical
instruments). To mimic the directivity of a real sound source, a
“DodecMIMO” was developed. This prototype loudspeaker is capable
of simulating the directivity of any dynamic sound source as
well as a standard omnidirectional sound source. Prior to field
applications, the sound source was measured in an anechoic
chamber to obtain its acoustic characterization. The first
on-site application took place in the Greek-Roman theatre of
Tyndaris (Sicily, Italy). The measured impulse responses (IRs)
were analyzed and compared with previous acoustic studies
performed with omnidirectional sound sources. The outcomes were
used to compute the acoustic maps for each measuring point by
overlapping the panoramic image acquired at each position with
the acoustic response recorded by the microphone. This
innovative technique is very well suited to create a virtual 3D
audio reproduction, technically called auralization, which can
faithfully reproduce a complex real sound source.
|
Armelloni, Enrico; Saccenti, Leonardo; Bevilacqua, Antonella;
Lavagna, Lorenzo; Shtrepi, Louena; Astolfi, Arianna; Farina,
Adriano; Farina, Angelo;
|
2023 |
PDF
|
Esplorare il Passato Attraverso l'Auralizzazione Dinamica dei Beni
Culturali: il Caso Studio del Teatro Greco-Romano di Tindari
Abstract
Questo lavoro descrive le strategie impiegate per la creazione
di un’esperienza audiovisiva in realtà virtuale che per-mette di
esperire l’evoluzione dell’acustica del Teatro di Tindari
(Sicilia) in 4 periodi storici: greco, ellenistico, romano, e
odierno. Tramite la simulazione e interpolazione di 1070
Risposte all'Impulso Ambisoniche (ARIR) distribuite sulla
superficie del teatro, abbiamo creato un’auralizzazione dinamica
a 6 gradi di libertà (6DoF), entro cui l’utente può muoversi
liberamente.
|
Lavagna, Lorenzo; Astolfi, Arianna; Shtrepi, Louena; Farina,
Angelo; Farina, Adriano
|
2024 |
Bibliometry
|
Acoustic Investigations of Two Barrel-Vaulted Halls: Sisto V in
Naples and Aula Magna at the University of Parma
Abstract
The percentage of historical heritage buildings in Italy is
substantial. Many of these buildings are abandoned or not
adequately restored for public access due to safety concerns.
However, some are managed by city councils and made available to
local communities. These heritage buildings, valued for their
historical significance, are now frequently used for live
events, including musical performances by ensembles and small
groups. This paper deals with the acoustics of two rooms
provided with barrel-vaulted ceilings: Sisto V Hall in Naples
and Aula Magna at the University of Parma. These spaces are
structurally very similar, differing mainly in length. Acoustic
measurements conducted in both halls reveal reverberation times
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. To optimize their acoustic properties
for functions such as celebrations, gatherings, and conferences,
an acoustic design intervention was proposed. Digital models of
the halls were calibrated and used to correct the acoustics by
incorporating absorbing panels on the walls and carpeting on the
floors of the central walk path. This treatment successfully
balanced the reverberation time to approximately 1.3–1.4 s at
mid frequencies, making speech more intelligible. Additionally,
an amplified audio system was analyzed to enhance sound
distribution, ensuring uniform coverage, even in the last rows
of seating. Under amplified conditions, sound pressure levels
(SPLs) range between 90 dB and 93 dB, with appropriate gain
control applied to the column array speakers
|
Antonella Bevilacqua; Adriano Farina; Gino Iannace; Jessica
Ferrari
|
2025 |
DOI
PDF
|
Immersive 3D Soundscape: Analysis of Environmental Acoustic
Parameters of Historical Squares in Parma (Italy)
Abstract
Sound source localization represents one of the major challenges
for soundscapes due to the dynamicity of a large variety of
signals. Many applications are found related to ecosystems to
study the migration process of birds and animals other than
other terrestrial environments to survey wildlife. Other
applications on sound recording are supported by sensors to
detect animal movement. This paper deals with the immersive 3D
soundscape by using a multi-channel spherical microphone probe,
in combination with a 360° camera. The soundscape has been
carried out in three Italian squares across the city of Parma.
The acoustic maps obtained from the data processing detect the
directivity of dynamic sound sources as typical of an urban
environment. The analysis of the objective environmental
parameters (like loudness, roughness, sharpness, and prominence)
was conducted alongside the investigations on the historical
importance of Italian squares as places for social inclusivity.
A dedicated listening playback is provided by the AGORA project
with a portable listening room characterized by modular unit of
soundbars.
|
Adriano Farina; Antonella Bevilacqua; Matteo Fadda; Luca Battisti;
Maria Cristina Tommasino; Lamberto Tronchin
|
2025 |
DOI
PDF
|
Comparison of Room Acoustics for the Small & Large Concert Halls
at Vatroslav Lisinski Centre
Abstract
A focused acoustic assessment of the 304-seat Small Hall
(≈2,000m3) 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. Earlydecay 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.
|
Luca Battisti; Marko Horvat; Kristian Jambrosic; Ruoran Yan;
Matteo Fadda; Adriano Farina; Cobi van Tonder; Lamberto Tronchin
|
2025 |
DOI
PDF
|
Vatroslav Lisinski Large Concert Hall: Investigation on Acoustic
Characteristics
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, upstage 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 500−2000kHz
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 to
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 D 50, 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.
|
Ruoran Yan; Matteo Fadda; Adriano Farina; Antonella Bevilacqua;
Luca Battisti; Kristian Jambrosic; Marko Horvat; Cobi van Tonder;
Lamberto Tronchin;
|
2025 |
DOI
PDF
|
Comparative analysis of acoustic parameter measurements over time:
A case study of the National Theatre in Zagreb
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.
|
Kristian Jambrosic; Marko Horvat; Ruoran Yan; Matteo Fadda;
Adriano Farina; Luca Battisti; Cobi van Tonder
|
2025 |
DOI
PDF
|
Soundscapes analysis: Piazza Tre Martiri in Rimini and Piccadilly
Circus in London
Abstract
Research in outdoor acoustics is not widely studied in room
acoustics from 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 64channel spherical array microphone
has been used, corresponding to a resolution equal to high-order
ambisonics (HOA), Still,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 is
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 by events and gatherings for many citizens who
like to find the opportunity to socially engage and interact
with other people. In addition, their historical value related
to architecture gives more importance to this study, as it has
never been carried out from this perspective. The audio
recording has been analysed by using environmental parameters
such as loudness, sharpness, prominence, and roughness.
|
Alessandro Martinetti; Giacomo Tentoni; Antonella Bevilacqua; Luca
Guardigli; Beatrice Turillazzi; Luca Battisti; Adriano Farina;
Lamberto Tronchin;
|
2025 |
DOI
PDF
|
Two soundscapes in comparison: Piazza Cavour in Rimini and
Buckingham Palace Square in London
Abstract
With the Agora project, research in acoustics aims to virtually
reconstruct an immersive soundscape experience through the
combination of 3D audio and panoramic view. The audio station,
itinerant across different parts of any urban environment, uses
a multichannel microphone composed of 19 channels evenly
distributed over the surface of the spherical array. The output
signal is an audio with a resolution equal to 3rd order
ambisonics (O3A), which renders a very accurate sound
directivity to localize the different sound sources movable
around the microphone. This paper presents a comparative
analysis of the soundscapes of Piazza Cavour in Rimini, Italy,
and Buckingham Palace Square in London, UK. These two public
spaces are highly frequented by tourists for their architectural
and landscape attractions. Their common factors consist of
limited traffic zones, accessible only to authorized vehicles,
while visitors are free to explore the architecture that
dominates the squares. Environmental parameters were analyzed in
terms of loudness, sharpness, prominence, and roughness,
highlighting the differences between the two environments.
|
Giacomo Tentoni; Alessandro Martinetti; Luca Guardigli; Beatrice
Turillazzi; Antonella Bevilacqua; Adriano Farina; Luca Battisti;
Lamberto Tronchin;
|
2025 |
DOI
PDF
|
Measured soundscapes in Piazzale San Francesco in Parma and
Trafalgar Square in London
Abstract
Inclusivity is a topic that different scientific fields are
trying to add besides the scientific goals to be achieved. As
such, the Agora project is focused on acoustic inclusivity by
virtually connecting impaired individuals with an immersive
soundscape experienced outdoors. 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 a 19channel probe (Zylia
ZM-1), which allows for obtaining an output signal up to 3rd
order ambisonics (O 3 A) resolution. This equipment is capable
of detecting the dynamic sources typical of an urban
environment. These two public spaces represent different
characteristics: the first is in front of a music academy and is
not trafficked generally, except for the timing corresponding to
the entrance shifts; the second is one of the main squares in
London where live concerts and events are generally organized.
If one side of Piazzale San Francesco is crossed by road
vehicles, in Trafalgar Square, the vehicles are on three sides
(except for the side where the National Gallery is placed).
However, both of them are in the core of the city. The
environmental parameters are analyzed to scientifically assess
the differences between the two squares.
|
Antonella Bevilacqua; Giacomo Tentoni; Alessandro Martinetti; Luca
Guardigli; Beatrice Turillazzi; Matteo Fadda; Adriano Farina; Luca
Battisti; Lamberto Tronchin;
|
2025 |
DOI
PDF
|
Mausoleum of Theodoric: acoustic measurements within the lower
floor
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. 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
the first acoustical characterization of the ground floor hall
using Ambisonics impulse responses and acoustic maps. The
reverberation time and the Clarity measurements should guide
music selection.
|
Adriano Farina; Lamberto Tronchin; |
2025 |
DOI
PDF
|
Mausoleum of Theodoric: acoustic measurements within the funerary
room
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. 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
the first acoustic characterization of the first-floor hall
using Ambisonics impulse responses and acoustic maps. In
particular, the reverberation time and the clarity measurements
should guide music selection.
|
Adriano Farina; Lamberto Tronchin; |
2025 |
DOI
PDF
|
A Rare Event for the Teatro Comunale in Bologna: Acoustic Response
without Seats
Abstract
With advancements in technology, acoustic measurements have
become increasingly precise, allowing for a faithful
reproduction of the acoustic conditions in 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 undergoing a period of renovation that also
involves seats, representing a great opportunity to investigate
the contribution of seat absorption to the overall acoustics.
The monoaural and binaural acoustic parameters are processed
according to standard requirements. The results show that the
room response without seats makes the Teatro Comunale very
reverberant, with 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 sound reflections
bouncing within a room.
|
Van Duong Fabio Rimoldi; Antonella Bevilacqua; Haruna Saito;
Adriano Farina; Ruoran Yan; Matteo Fadda; Lamberto Tronchin;
|
2025 |
DOI
PDF
|
Soundscapes across London: insight through Westminster Square and
St James Park
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 in vehicle 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.
|
Antonella Bevilacqua; Adriano Farina; Marco Binelli; Jessica
Ferrari; Daniel Pinardi; Alessandro Martinetti;
|
2025 |
DOI
PDF
|
DPA4560 vs Meta Rayban: a binaural comparison
Abstract
Rayban | Meta is the second generation of smart glasses
developed by Meta and Luxottica. They are one of the first
mass-market all-in-one consumer devices allowing users to record
and reproduce sounds binaurally. Traditionally, binaural
recording systems use two microphones, one in each hearing
canal, belonging either to a person or to a dummy head. In both
cases, the incoming sound reflects on the body, shoulders, and
ear pinnae, thus physically encoding several binaural cues.
Rayban | Meta, instead, relies on a 5-microphone array, none of
which enter the ear canal, and therefore is devoid of the
information encoded by the pinnae. The binaural signal is
obtained through a beamforming algorithm, about which nothing
has been published in the literature. For this reason, we
evaluated the quality of the binaural signals through impulse
response measurements. Wearing a pair of Rayban | Meta and a set
of DPA4560 binaural microphones, we used the exponential sine
sweep method, sampling every 10°. Using the Aurora plugins, we
obtained values for IACC (InterAural Cross-Correlation), ITD
(Interaural Time Difference), and ILD (Interaural Level
Difference). As frequency response tests, especially regarding
sound reproduction, are widely available, we focused on the
binaural parameters only.
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Adriano Farina; Angelo Farina; |
2025 |
DOI
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Soundscapes across two historical cities: Piazza del Popolo in
Faenza and Leicester Square in London
Abstract
Research in outdoor acoustics is not widely studied in room
acoustics from 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 64channel 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 the UK, respectively. These two public squares are not
very busy in terms of vehicular road traffic noise, hence they
are excellent places for community gatherings and to interact
with other people. The audio recordings have been analyzed by
using environmental parameters such as loudness, sharpness,
prominence, and roughness.
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Antonella Bevilacqua; Giacomo Tentoni; Alessandro Martinetti;
Adriano Farina; Ruoran Yan; Matteo Fadda; Luca Battisti; Cobi van
Tonder; Lamberto Tronchin;
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2025 |
DOI
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Comparative Acoustic Survey of Teatro Masini, Faenza: Insights
from the 2020 and 2025 Investigations
Abstract
A follow-up acoustic survey of the eighteenthcentury Teatro
Masini in Faenza was completed in 2025 to verify changes since
the 2020 baseline and to evaluate an expanded measurement
layout. Standard ISO 3382-1 data were acquired with
omnidirectional and four-channel microphones, while an EM64
spherical array in combination with a panoramic video captured
from a full-sphere impulse response. The new campaign added a
third-tier receiver and a rear-stage sound source, allowing
deeper inspection of balcony coverage and dome reflections.
Results show mid-band EDT and T20 shortened by 0.15−0.20 s,
largely due to renewed velvet panels and the upstage source’s
weaker proscenium returns. Speech clarity (C50) improved, and
D50 now exceeds 0.50 above 500 Hz. Music clarity (C80)
increased, settling in the 2−6 dB range preferred for operatic
detail. Spherical maps confirmed strong early lateral energy
from box fronts and a late, focused ceiling return that enhances
spatial height. The theatre therefore offers better
intelligibility without loss of warmth, and no major acoustic
intervention is required, only optional light drapery for
speech-centric events.
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Lamberto Tronchin; Ruoran Yan; Kristian Jambrosic; Marko Horvat;
Luca Battisti; Matteo Fadda; Adriano Farina; Cobi van Tonder;
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2025 |
DOI
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3D Soundscape in Piazza Duomo of Parma, Italy
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 in Parma, characterized by its
architectural symmetry and restricted vehicular access, exhibits
a notably stable and quiet acoustic profile. The resulting data
contributes 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.
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Lamberto Tronchin; Ruoran Yan; Kristian Jambrosic; Marko Horvat;
Luca Battisti; Matteo Fadda; Adriano Farina; Cobi van Tonder;
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2025 |
DOI
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Soundscape in Piazza Garibaldi in Parma, Italy
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 recordings 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.
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Giacomo Tentoni; Alessandro Martinetti; Luca Battisti; Matteo
Fadda; Adriano Farina; Maria Cristina Tommasino;
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2025 |
DOI
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A new protocol for the reconstruction of the auditory ambiance in
Palaeolithic sites: first results from Grotta Paglicci (Apulia –
Southern Italy)
Abstract
We present the first results of the archaeoacustic
investigations at Grotta Paglicci (Apulia - Southern Italy), a
Palaeolithic site remarkable for the finding of some portable
art objects and for the presence of wall paintings. Significant
differences in the acoustic properties among the three main
internal rooms, which might have been relevant for Paleolithic
hunter-gatherer’s use of the cave were recorded. Building on
this interesting data, we propose a new protocol that combines
the collection of the acoustic measures in situ and their
application to an editable 3D cave model. This interdisciplinary
approach will allow the analysis of reliable acoustic data sets
on which the application of computational techniques could open
new scenarios in the exploring of intangible aspects of human
behavior in the Palaeolithic.
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Crezzini J., Farina A., Armelloni E., Salvini R., Ronchitelli A.,
Ricci S., Boschin F.
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2025 |
DOI
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6dof Audio Rendering Using Spatial Impulse Responses In An Urban
Context
Abstract
Many acoustic studies on urban environments focus on soundscapes
and subjective perception, analysing environmental parameters
such as loudness, fluctuation strength and roughness. However,
room acoustic parameters have rarely been applied in this
context, even though public squares are frequently used for
musical events. Considering classical concerts in historical or
archaeological sites in Italy, or pop music performances in
public squares amplified through audio systems, a key challenge
is that the acoustic characteristics of these spaces remain
largely unknown. This study addresses this gap by conducting
acoustic measurements in Piazzale San Francesco in Parma, a
public square already used for summer musical events, and by
implementing its audio-rendering in a virtual reality (VR)
environment. The acoustic survey was carried out following the
standards for enclosed rooms, in accordance with ISO 3382, while
the digital model of the space was created using photogrammetry.
The piece Ti tradì quell'alma ingrata from Il Trovatore was used
as the audio signal in Unreal Engine, enabling a navigation of
the digital space calibrated with measured impulse responses
(IRs). The resulting VR rendering allows users to be fully
immersed in the virtual space, freely exploring it with Six
Degrees-of-Freedom (6DoF), as they would in reality while
listening to the same musical performance.
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Antonella Bevilacqua; Adriano Farina; Lamberto Tronchin |
2026 |
DOI
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Sound propagation in forest and habitat desertion in the Western
Capercaillie (Tetrao urogallus L.)
Abstract
The Western Capercaillie Tetrao urogallus L. uses its calls for
breeding, territorial and hierarchical purposes. We inves-
tigated whether changes in the vegetation structure of the
forest might affect call transmission and contribute to Western
Capercaillie’s lek desertion in the Pyrenees, as predicted by
the acoustic adaptation hypothesis. We measured forest struc-
ture and the sound propagation properties of the forest at nine
occupied lek sites and eleven deserted lek sites in the Alt
Pirineu Natural Park in Catalonia (NE Spain). We found similar
values of forest Maturity Index (MI), Human Footprint Index
(HFI) or Spatial Integrity Index (SII) in both groups of stands.
Abandoned stands exhibited higher Dominant Tree Height (Ho),
higher Basal Area (BA), higher Volume of Living Trees (FV) and
higher Volume of Dead Trees (FM). Deserted sites exhibited
higher values of Background Noise (N) and lower values of
scattering of the sound on the vertical and horizontal plane
(JLFH and JLFV), resulting in longer reverberation time (T20),
higher sound pressure level (SIGC) and a slower decay curve (K)
due to lower attenuation. We suggest that the background noise
and the sound propagation characteristics of the deserted forest
stands might be affecting the transmission of Capercaillies’
calls, creating distortion and masking of the acoustic signal by
excessive reverberation and noise. Our results suggest that
changes in the acoustic properties of forests, partially driven
by changes in the forest structure, may contribute to lek
desertion. If confirmed, conservation-oriented forest management
for Capercaillies should aim not only to maintain food and
shelter resources, but also to preserve acoustic conditions that
facilitate non-distorted and correct signal discrimination
during display.
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Olga Jordi, Adriano Farina, Angelo Farina, Santi Mañosa |
2026 |
DOI
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