publications
2026
- Using Vowel Characteristics for Multi-channel Signal Decorrelation and ReverberationMichele Pizzi, and Bartłomiej MrózInternational Journal of Electronics and Telecommunications, Jan 2026
This paper presents a novel audio decorrelation method that integrates velvet noise with parametric modeling of vowel filters derived from recorded speech. By capturing vocal timbre, the technique extends decorrelation and artificial reverberation tools, offering new creative possibilities. Velvet noise is filtered to model vowel resonances, enabling users to imprint speech or singing characteristics onto multichannel effects. Inspired by choir acoustics, the system synthesizes distinct vowels per channel, producing speech-like textures that are convolved with input audio. The approach emphasizes immersive, voice inspired sound design, with discussion of implementation challenges, creative applications, listening tests, and directions for future research.
Pizzi, M., & Mróz, B. (2026). Using Vowel Characteristics for Multi-channel Signal Decorrelation and Reverberation. International Journal of Electronics and Telecommunications, 1–9. https://doi.org/10.24425/ijet.2026.157864
@article{pizzi_using_2026, title = {Using {Vowel} {Characteristics} for {Multi}-channel {Signal} {Decorrelation} and {Reverberation}}, issn = {2300-1933, 2081-8491}, url = {https://journals.pan.pl/dlibra/publication/157864/edition/138465/content}, doi = {10.24425/ijet.2026.157864}, language = {en}, urldate = {2026-03-12}, journal = {International Journal of Electronics and Telecommunications}, author = {Pizzi, Michele and Mróz, Bartłomiej}, month = jan, year = {2026}, pages = {1--9} } - Benchmarking immersive audio formats through HOA-based choral productionBartłomiej MrózApplied Acoustics, Jan 2026 (Under review)
Multiple immersive audio formats compete for adoption in streaming, cinema, and virtual reality, yet systematic objective comparisons across formats remain limited. This study proposes a two-model evaluation framework using BAM-Q (perceptual quality) and BINAQUAL (localization similarity) applied to binaural renderings of ten format variants derived from a seventh-order Ambisonics (7OA) recording of a professional choral production. Formats include first- through third-order Ambisonics encodings (IAMF, Two Big Ears, YouTube/Resonance Audio), channel-based commercial formats (Dolby Atmos, Auro3D, Sony 360 Reality Audio), and variants re-encoded through a 42-point geodesic spherical loudspeaker array (42pIKO) to assess rendering chain interactions. Primary analysis uses two composite perceptual metrics to avoid double-counting binaural cues internal to BAM-Q, with interaural level and time differences reported separately as diagnostic sub-metrics. The correlation between BAM-Q and BINAQUAL is moderate when the 7OA reference is included (r = 0.756) but collapses without it (r = -0.120), indicating that the two models capture independent degradation dimensions among processed formats. BINAQUAL localization similarity scores are severely compressed (0.0439-0.1490) relative to published validation benchmarks, reflecting the cross-format comparison paradigm rather than the within-codec conditions under which the metric was developed. Within-category analysis reveals that metric discrimination varies by format family: localization similarity differentiates Ambisonics variants effectively (CV = 0.68) but poorly among channel/object-based formats (CV = 0.18). These findings identify both the utility and the boundary conditions of current objective models for immersive audio format evaluation, motivating future subjective validation.
Mróz, B. (2026). Benchmarking immersive audio formats through HOA-based choral production. Applied Acoustics.
@article{mroz_benchmarking_2026, title = {Benchmarking immersive audio formats through {HOA}-based choral production}, author = {Mróz, Bartłomiej}, journal = {Applied Acoustics}, year = {2026}, note = {Under review}, } - Ventriloquist effect in 6DoF VR with Higher-Order AmbisonicsBartłomiej Mróz, and Paweł PerkowskiIEEE Transactions on Visualization and Computer Graphics, Jan 2026 (Under review)
The ventriloquist effect, understood as perceptual displacement of sound toward a spatially discrepant visual stimulus, has been extensively studied in traditional laboratory settings, but its manifestation in immersive virtual reality with naturalistic movement remains poorly understood. We investigated audiovisual spatial binding in a six-degrees-of-freedom (6DoF) VR environment using fifth-order Ambisonics spatial audio. Thirty-one participants localized sounds presented with visual cues displaced by 15-70 cm. Results revealed a robust ventriloquist effect: participants’ localization responses were shifted approximately 35% toward the visual cue on average, with substantial individual differences (range: 11-73% visual capture). Sound type did not modulate the effect, but exploratory analyses revealed that participants who moved more during trials achieved better localization accuracy, suggesting that head movement in 6DoF VR serves as a beneficial exploration strategy. We introduce ASCOE (Auditory Spatial & Cognitive Observation Environment), an open-source VR research platform for studying audiovisual perception, and provide complete analysis scripts for reproducibility. These findings extend classic ventriloquist research to ecologically valid immersive contexts and have implications for spatial audio design in VR applications.
Mróz, B., & Perkowski, P. (2026). Ventriloquist effect in 6DoF VR with Higher-Order Ambisonics. IEEE Transactions on Visualization and Computer Graphics.
@article{mroz_ventriloquist_2026, title = {Ventriloquist effect in {6DoF} {VR} with {Higher}-{Order} {Ambisonics}}, author = {Mróz, Bartłomiej and Perkowski, Paweł}, journal = {{IEEE} Transactions on Visualization and Computer Graphics}, year = {2026}, note = {Under review}, } - Spatial energy distribution in spherical microphone arrays: a seven-year HOA corpus studyBartłomiej Mróz, and Szymon ZaporowskiArchives of Acoustics, Jan 2026 (Under review)
This paper investigates spatial energy distribution differences among spherical microphone arrays used for Higher-Order Ambisonics (HOA) recording. A co-located comparison of three arrays, the Zylia ZM-1 (19 MEMS capsules, 3rd-order), Harpex Spcmic (84 capsules, 5th-order), and Saramonic SR-VRMIC (4 electret capsules, 1st-order), reveals that the MEMS-based ZM-1 exhibits 27.4 dB of energy rolloff from 0th to 3rd Ambisonics order, compared to 8.4 dB for the Spcmic at the same order. This finding, obtained from simultaneous recordings of identical musical content from a shared capture position, suggests that nominal Ambisonics order alone does not characterize spatial resolution capability and that array design substantially affects higher-order component energy. The comparison experiment draws on a seven-year HOA recording corpus comprising 24 sessions (April 2019-January 2026), approximately 164 GB and over 17 hours of B-format content captured across diverse acoustic environments (concert halls, churches, outdoor locations) and musical content (solo piano, choir, chamber music, ambient soundscapes). We present the corpus methodology, measured acoustic parameters for the primary recording venue (RT60 = 1.97 s), LUFS-I quality metrics across all 75 rendered files, and spectral and directional analysis of the array comparison. The corpus and its documentation are made openly available to support further research in spatial audio quality assessment, compression algorithms, and immersive audio production.
Mróz, B., & Zaporowski, S. (2026). Spatial energy distribution in spherical microphone arrays: a seven-year HOA corpus study. Archives of Acoustics.
@article{mroz_spatial_energy_2026, title = {Spatial energy distribution in spherical microphone arrays: a seven-year {HOA} corpus study}, author = {Mróz, Bartłomiej and Zaporowski, Szymon}, journal = {Archives of Acoustics}, year = {2026}, note = {Under review}, } - A Seven-Year Corpus of Higher-Order Ambisonics RecordingsBartłomiej Mróz, and Szymon ZaporowskiMOST Danych, Gdańsk University of Technology, Feb 2026
Higher-Order Ambisonics (HOA) recording corpus comprising 23 sessions captured April 2019 – January 2026 using spherical microphone arrays. Contains 74 rendered B-format files (~155 GB, 16+ hours) spanning concert halls, churches, studios, outdoor locations, and VR film production sets. Musical content includes solo piano, choir, chamber music, folk/ethno music, ambient soundscapes, and VR film production audio. The corpus was captured primarily with the Zylia ZM-1 (19 MEMS capsules, 3rd-order Ambisonics), with comparative recordings from the Harpex Spcmic (5th-order) and Saramonic SR-VRMIC (1st-order). All files are processed to B-format using ACN channel ordering and SN3D normalization. Sessions are peak-normalized to −0.5 dBTP, preserving relative loudness relationships between pieces within each session. Sampling rates are 48 kHz (Zylia ZM-1) and 48–96 kHz (Harpex Spcmic) at 24–32-bit depth. Recording venues are concentrated in the Gdańsk-Sopot-Gdynia metropolitan area (Poland), including the Aula of Gdańsk University of Technology (RT60 = 1.97 s), Oliwa Cathedral and Holy Trinity Church, the Polish Baltic Philharmonic, and Stanisław Moniuszko Academy of Music. Outdoor locations include the Baltic Sea pier in Sopot and Piechcin Quarry (~200 km south of Gdańsk). The corpus supports research in spatial audio quality assessment, machine learning for acoustic scene classification and source separation, room acoustic simulation validation, and immersive audio production education. A dedicated co-located microphone comparison session enables analysis of spatial energy distribution across Ambisonics orders, revealing significant differences between consumer-grade MEMS arrays and professional systems. Note on excluded content: Two sessions are not included in this corpus – a 2023 choir/cabaret concert (restricted due to ZAiKS copyright on the performed repertoire) and a 2023 piano/tenor recording (not cleared by the performers). One individual file from the 2022-06-27 piano session (Paweł Mykietyn – Prelude) is similarly excluded due to composer licensing restrictions. These recordings are not available for distribution.
Mróz, B., & Zaporowski, S. (2026). A Seven-Year Corpus of Higher-Order Ambisonics Recordings. https://doi.org/10.34808/5XE2-AH94
@misc{mroz_seven-year_2026, title = {A {Seven}-{Year} {Corpus} of {Higher}-{Order} {Ambisonics} {Recordings}}, url = {https://mostwiedzy.pl/en/open-research-data/a-seven-year-corpus-of-higher-order-ambisonics-recordings,205035347247528-0}, doi = {10.34808/5XE2-AH94}, language = {en}, urldate = {2026-05-02}, publisher = {Gdańsk University of Technology}, howpublished = {MOST Danych, Gdańsk University of Technology}, author = {Mróz, Bartłomiej and Zaporowski, Szymon}, month = feb, year = {2026}, keywords = {Ambisonics, B-format, Higher-Order Ambisonics, immersive audio, MEMS microphone, music recording, recording corpus, room acoustics, spatial audio, spherical microphone array} }DOI: 10.34808/5XE2-AH94
- Spatial Acoustic Impulse Response Dataset of the Main Auditorium — Musical Theatre in GdyniaBartłomiej Mróz, Marek Swarcewicz, Bartosz Repiński, and 1 more authorMOST Danych, Gdańsk University of Technology, Feb 2026
This dataset contains spatial acoustic impulse response recordings from 33 measurement positions in the main auditorium of the Musical Theatre in Gdynia (Teatr Muzyczny im. Danuty Baduszkowej), acquired using a 5th-order ambisonics microphone array and a calibrated omnidirectional loudspeaker. Measurements were conducted as part of a student group research project (ID-761) at the Department of Multimedia Systems, Gdańsk University of Technology, completed in February 2026. The study aimed at comprehensive acoustic characterization of the theatre hall, combining higher-order ambisonics (HOA) spatial audio techniques with classical room acoustics measurements. The dataset comprises three file sets: 34 proprietary ambisonics recordings in .spcmic format (~25 GB), captured with the Spcmic 5th-order microphone array at positions pkt01–pkt33 plus one test recording; rendered 84-channel RAW WAV files at 32-bit float / 48 kHz (~18 GB); rendered 36-channel 5th-order ambisonics (5OA) WAV files at 24-bit / 48 kHz (~5.7 GB). Classical acoustic parameters (reverberation time RT60/T30/EDT, early decay, clarity C50/C80, definition D, speech intelligibility) were measured independently using a calibrated NTI M2230 Class 1 measurement microphone with NTI DS3 dodecahedron loudspeaker and Room EQ Wizard (REW) software, yielding 3 measurement database files (.mdat, ~537 MB). Total dataset size is approximately 49 GB. All microphone positions covered the full seating area of the auditorium. During all recordings the microphone was oriented toward the stage center, where the measurement loudspeaker was placed. The data enable spatial analysis of acoustic distribution, directional energy visualization, and derivation of standard ISO 3382 room acoustic parameters. Complementary MATLAB processing scripts, polar plots, spatial heatmaps, and an EASE 3D acoustic model are available via the associated GitLab repository: https://git.pg.edu.pl/MarekSwarcewicz/teatr-muzyczny-gdynia-akustyka
Mróz, B., Swarcewicz, M., Repiński, B., & Fortuniak, M. (2026). Spatial Acoustic Impulse Response Dataset of the Main Auditorium — Musical Theatre in Gdynia. https://doi.org/10.34808/3382-JV10
@misc{mroz_spatial_2026, title = {Spatial {Acoustic} {Impulse} {Response} {Dataset} of the {Main} {Auditorium} — {Musical} {Theatre} in {Gdynia}}, url = {https://mostwiedzy.pl/en/open-research-data/spatial-acoustic-impulse-response-dataset-of-the-main-auditorium-musical-theatre-in-gdynia,202602261328196558241-0}, doi = {10.34808/3382-JV10}, language = {en}, urldate = {2026-05-02}, publisher = {Gdańsk University of Technology}, howpublished = {MOST Danych, Gdańsk University of Technology}, author = {Mróz, Bartłomiej and Swarcewicz, Marek and Repiński, Bartosz and Fortuniak, Mariusz}, month = feb, year = {2026}, keywords = {5th-order ambisonics, acoustic characterization, concert hall acoustics, higher-order ambisonics, impulse response measurement, ISO 3382, reverberation time, room acoustics, Room EQ Wizard, spatial audio} }DOI: 10.34808/3382-JV10
2025
- Comparison of spatial sound recording techniques with usage of ambisonics and object-based audioBartłomiej Mróz, and Patryk KosiorInternational Journal of Electronics and Telecommunications, Feb 2025
In this article spatial audio recording techniques are compared: scene-based audio and object-based audio. The study involved mixing recordings from a higher-order ambisonic microphone and support microphones, ambisonically encoded on a virtual sphere. The recordings were combined in different spatial resolution variations by manipulating the ambisonic order. A MUSHRA-like test was conducted, taking into consideration the room divergence effect. The experiment used binaural rendering with headtracking. The results were analyzed using linear mixed models, providing insights into spatial audio recording techniques.
Mróz, B., & Kosior, P. (2025). Comparison of spatial sound recording techniques with usage of ambisonics and object-based audio. International Journal of Electronics and Telecommunications, 71(4), 1–6. https://doi.org/10.24425/ijet.2025.155463
@article{mroz_comparison_2025, title = {Comparison of spatial sound recording techniques with usage of ambisonics and object-based audio}, volume = {71}, copyright = {Creative Commons Attribution 4.0 International License}, issn = {2300-1933, 2081-8491}, url = {https://journals.pan.pl/dlibra/publication/155463/edition/136913}, doi = {10.24425/ijet.2025.155463}, language = {en}, number = {4}, urldate = {2025-11-08}, journal = {International Journal of Electronics and Telecommunications}, publisher = {Polish Academy of Sciences Committee of Electronics and Telecommunications}, author = {Mróz, Bartłomiej and Kosior, Patryk}, year = {2025}, keywords = {higher-order ambisonics, immersive recording techniques, linear mixed models, Nauki Techniczne, object-based sound, psychoacoustics}, pages = {1--6} } - SoundShape – Headphone Transfer Function DatabaseSzymon Jasiński, Bartłomiej Mróz, and Bożena KostekInternational Journal of Electronics and Telecommunications, Jul 2025
This article introduces the SoundShape database, which contains measured headphone transfer functions (HTFs). Details of the various stages of SoundShape’s implementation, including project assumptions, software used, and the measurement environment, are shown. The measurement process is explained. Moreover, the construction and processing of signal files within SoundShape are discussed. The AKtools script in MATLAB is employed to derive the HpTF functions. Analyses of selected audio signal samples from the database highlight similarities and differences among the three headphone models tested. The paper concludes with a summary of the results, including recommendations on how the database can be utilized. The presented SoundShape HpTF database is publicly available from https://doi.org/10.34808/4wya-z425.
Jasiński, S., Mróz, B., & Kostek, B. (2025). SoundShape – Headphone Transfer Function Database. International Journal of Electronics and Telecommunications, 71(3), 1–7. https://doi.org/10.24425/ijet.2025.153610
@article{jasinski_soundshape_2025, title = {{SoundShape} – {Headphone} {Transfer} {Function} {Database}}, volume = {71}, copyright = {Creative Commons Attribution 4.0 International License}, issn = {2300-1933, 2081-8491}, url = {https://journals.pan.pl/dlibra/publication/153610/edition/135731/content}, doi = {10.24425/ijet.2025.153610}, language = {en}, number = {3}, urldate = {2025-11-08}, journal = {International Journal of Electronics and Telecommunications}, publisher = {Polish Academy of Sciences Committee of Electronics and Telecommunications}, author = {Jasiński, Szymon and Mróz, Bartłomiej and Kostek, Bożena}, month = jul, year = {2025}, keywords = {IJET}, pages = {1--7} } - Procedural Creation of Atmospheric Effects for Information Systems using CUDAWiktor Sawaryn, Arkadiusz Koprowski, Paulina Szumała, and 3 more authorsIn Empowering the Interdisciplinary Role of ISD in Addressing Contemporary Issues in Digital Transformation: How Data Science and Generative AI Contributes to ISD (ISD2025 Proceedings), Nov 2025
This paper presents a Design Science Research (DSR) approach to addressing visualization bottlenecks in environmental Information Systems Development (ISD). By developing a CUDA-based atmospheric effects framework utilizing the Material Point Method (MPM) and Marching Cubes algorithms, we demonstrate how GPU acceleration transforms ISD methodologies for data-intensive decision support systems (DSS). This research contributes to digital transformation of environmental monitoring platforms by enabling real-time processing of complex simulation data that traditionally require significant computational resources. The prototype demonstrates scalable performance handling up to 6.5 million particles while enabling configuration-driven customization that allows information systems developers to integrate sophisticated environmental visualization without specialized graphics expertise. This approach democratizes atmospheric data visualization for environmental monitoring systems. Empirical results demonstrate real-time visualization capabilities suitable for operational deployment.
Sawaryn, W., Koprowski, A., Szumała, P., Tłuścik, K., Ul, G., & Mróz, B. (2025). Procedural Creation of Atmospheric Effects for Information Systems using CUDA. In Empowering the Interdisciplinary Role of ISD in Addressing Contemporary Issues in Digital Transformation: How Data Science and Generative AI Contributes to ISD (ISD2025 Proceedings), Belgrade, Serbia. https://doi.org/10.62036/ISD.2025.142
@inproceedings{sawaryn_procedural_2025, address = {Belgrade, Serbia}, title = {Procedural {Creation} of {Atmospheric} {Effects} for {Information} {Systems} using {CUDA}}, isbn = {978-83-972632-1-5}, url = {https://aisel.aisnet.org/isd2014/proceedings2025/newtopics/9}, doi = {10.62036/ISD.2025.142}, urldate = {2026-02-06}, booktitle = {Empowering the {Interdisciplinary} {Role} of {ISD} in {Addressing} {Contemporary} {Issues} in {Digital} {Transformation}: {How} {Data} {Science} and {Generative} {AI} {Contributes} to {ISD} ({ISD2025} {Proceedings})}, publisher = {University of Gdańsk, Department of Business Informatics \& University of Belgrade, Faculty of Organizational Sciences}, author = {Sawaryn, Wiktor and Koprowski, Arkadiusz and Szumała, Paulina and Tłuścik, Kinga and Ul, Grzegorz and Mróz, Bartłomiej}, month = nov, year = {2025} }
2024
- Reverberation divergence in VR applicationsPatryk Rolkowski, Piotr Odya, and Bartłomiej MrózInternational Journal of Electronics and Telecommunications, Jun 2024
This project aimed to investigate the correlation between virtual reality (VR) imagery and ambisonic sound. With the increasing popularity of VR applications, understanding how sound is perceived in virtual environments is crucial for enhancing the immersiveness of the experience. In the experiment, participants were immersed in a virtual environment that replicated a concert hall. Their task was to assess the correspondence between sound scenes (which differed in reverberation times and their characteristics) and the observed invariant visual scene. The research was conducted using paired tests. Participants were asked to identify the sound scene they considered more closely matched the concert hall seen in the VR goggles for each pair. Each sound scene differed in the employed impulse response. All the impulse responses were recorded in real venues such as concert halls, auditoriums, churches, etc. To provide a realistic auditory experience, the sound scenes were processed using third-order ambisonics and decoded using binaural techniques with HRTFs. The virtual concert hall was generated using the Unreal Engine and was the same for all the tests. One of the major conclusions drawn from the conducted research was confirming the role of spatial sound in creating immersive VR experiences. The study demonstrated that appropriately matching spatial sound to the VR visual scene is essential for achieving complete immersion. Additionally, expectations and preferences regarding reverberation characteristics in different types of spaces were discovered. These findings have significant implications for the design of virtual environments, and understanding these aspects can contribute to improving VR technology and creating more immersive and realistic virtual experiences for users.
Rolkowski, P., Odya, P., & Mróz, B. (2024). Reverberation divergence in VR applications. International Journal of Electronics and Telecommunications, 70(2), 373–380. https://doi.org/10.24425/ijet.2024.149555
@article{rolkowski_reverberation_2024, title = {Reverberation divergence in {VR} applications}, volume = {70}, copyright = {Creative Commons Attribution 4.0 International License}, issn = {2300-1933, 2081-8491}, url = {https://journals.pan.pl/dlibra/publication/149555/edition/131796}, doi = {10.24425/ijet.2024.149555}, language = {en}, number = {2}, urldate = {2025-11-08}, journal = {International Journal of Electronics and Telecommunications}, publisher = {Polish Academy of Sciences Committee of Electronics and Telecommunications}, author = {Rolkowski, Patryk and Odya, Piotr and Mróz, Bartłomiej}, month = jun, year = {2024}, keywords = {360-degree recordings, Ambisonics, Nauki Techniczne, VR}, pages = {373--380} } - A Comparison of Directional Beamforming Capabilities: High-Order Ambisonic Microphone vs. Shotgun MicrophonesPaweł Perkowski, Paweł Pławczyk, Bartłomiej Mróz, and 5 more authorsIn 156th Audio Engineering Society Convention, Jun 2024
This article presents the practical implications of the directional beamforming capability of a higher-order ambisonic microphone compared with popular shotgun microphones. Five different microphones were used in the study: Sennheiser MKH 416, Rode NTG2, Panasonic AG-MC200, Zoom SGH-6, and Zylia ZM-1 (ambisonic microphone). The results highlight the versatility of higher-order ambisonics for non-immersive use, which allows for beamforming in any direction even in post-production, as opposed to typical shotgun recordings. Measurements indicate that shotgun microphones show directional characteristics with apparent frequency-dependent directivity. The Zylia microphone has 5 beamforming modes, among which the S1 and S2 modes exhibit directional characteristics similar to shotgun microphones.
Perkowski, P., Pławczyk, P., Mróz, B., Kotus, J., Kujawska, E., Klonowski, K., Wierzbicki, R., & Kosior, P. (2024). A Comparison of Directional Beamforming Capabilities: High-Order Ambisonic Microphone vs. Shotgun Microphones. In 156th Audio Engineering Society Convention, Madrid, Spain.
@inproceedings{perkowski_comparison_2024, address = {Madrid, Spain}, title = {A {Comparison} of {Directional} {Beamforming} {Capabilities}: {High}-{Order} {Ambisonic} {Microphone} vs. {Shotgun} {Microphones}}, copyright = {Creative Commons Attribution 4.0 International License}, url = {https://aes2.org/publications/elibrary-page/?id=22588}, language = {en}, booktitle = {156th {Audio} {Engineering} {Society} {Convention}}, publisher = {Audio Engineering Society}, author = {Perkowski, Paweł and Pławczyk, Paweł and Mróz, Bartłomiej and Kotus, Józef and Kujawska, Ewa and Klonowski, Kamil and Wierzbicki, Radosław and Kosior, Patryk}, month = jun, year = {2024} } - Comparison of ambisonic and object-based spatial sound recording techniquesPatryk Kosior, and Bartłomiej MrózIn 156th Audio Engineering Society Convention, Jun 2024
This article presents a comparison of spatial sound recording techniques based on scene-based and object-based audio. The study aimed to make different mixes from a recording which consists of a higher-order ambisonic microphone and spot microphones. For spot microphones simple ambisonics encoding was used, which allows panning the individual channels on an ambisonic sphere as objects. Recordings were combined in various variants of spatial resolution, mainly varying the order of ambisonics used. In the next step, a MUSHRA-like test was conducted on a panel of experts in auditory experiments. The experiment was done on headphones using a binaural rendering with three degrees of freedom provided via a head tracker. The findings suggest that the optimal immersion approach involved using individual object stimuli rendered at a 5th-order ambisonic spatial resolution. Regarding the ability to localize sounds, the combination of 3rd-order ambisonic with 5th-order objects yielded the highest performance. Overall, the outcomes of this experiment provide insights into recording and mixing techniques within the field of spatial audio.
Kosior, P., & Mróz, B. (2024). Comparison of ambisonic and object-based spatial sound recording techniques. In 156th Audio Engineering Society Convention, Madrid, Spain.
@inproceedings{kosior_comparison_2024, address = {Madrid, Spain}, title = {Comparison of ambisonic and object-based spatial sound recording techniques}, copyright = {Creative Commons Attribution 4.0 International License}, url = {https://aes2.org/publications/elibrary-page/?id=22587}, language = {en}, urldate = {2025-11-08}, booktitle = {156th {Audio} {Engineering} {Society} {Convention}}, publisher = {Audio Engineering Society}, author = {Kosior, Patryk and Mróz, Bartłomiej}, month = jun, year = {2024}, pages = {1--13} } - SoundShape - Headphone Transfer Function databaseSzymon Jasiński, Bartłomiej Mróz, and Bożena KostekMOST Danych, Gdańsk University of Technology, Oct 2024
This publication introduces the SoundShape database, which contains closed-ear headphone transfer functions (HpTF) for fifteen headphone models. Several models included in this database are also found in other well-known databases, such as Virtuoso and Binaural Decoders. However, for some models found in the literature, HpTF filters were unavailable, so new measurements were conducted. The publication details the various stages of SoundShape’s implementation, including project assumptions, hardware and software used, and the measurement environment. Specifications for the microphones and the head and torso simulator are provided. Additionally, the script used in Pure Data is documented. The measurement process is explained through a schematic diagram and an algorithm description, and the construction and processing of signal files within SoundShape are discussed. The freely available ‘AKtools’ script in MATLAB was employed to derive the HpTF functions. Moreover, the publication includes detailed analyses of selected phonic signal samples from the database, highlighting similarities and differences among the three headphone models tested. The paper concludes with a summary of the results, including recommendations on how the database can be utilized.
Jasiński, S., Mróz, B., & Kostek, B. (2024). SoundShape - Headphone Transfer Function database. https://doi.org/10.34808/4WYA-Z425
@misc{jasinski_soundshape_2024, title = {{SoundShape} - {Headphone} {Transfer} {Function} database}, url = {https://mostwiedzy.pl/en/open-research-data/soundshape-headphone-transfer-function-database,10170650361036853-0}, doi = {10.34808/4WYA-Z425}, language = {en}, urldate = {2026-05-02}, publisher = {Gdańsk University of Technology}, howpublished = {MOST Danych, Gdańsk University of Technology}, author = {Jasiński, Szymon and Mróz, Bartłomiej and Kostek, Bożena}, month = oct, year = {2024}, keywords = {data base, headphone transfer function, hptf} }DOI: 10.34808/4WYA-Z425
2023
- A commonly-accessible toolchain for live streaming music events with higher-order ambisonic audio and 4k 360 visionBartłomiej Mróz, Piotr Odya, Przemysław Danowski, and 1 more authorIn 2023 AES International Conference on Spatial and Immersive Audio, Aug 2023
An immersive live stream is especially interesting in the ongoing development of telepresence tools, especially in the virtual reality (VR) or mixed reality (MR) domain. This paper explores the remote and immersive way of enabling telepresence for the audience to high-fidelity music performance using freely-available and easilyaccessible tools. A functional VR live-streaming toolchain, comprising 360 vision and higher-order ambisonic audio, is presented and described in detail. Two separate recordings with two different approaches are outlined. The results gathered from the audiences’ impressions are discussed. Finally, possible improvements to the immersive live streaming and recording processes were discussed.
Mróz, B., Odya, P., Danowski, P., & Kabaciński, M. (2023). A commonly-accessible toolchain for live streaming music events with higher-order ambisonic audio and 4k 360 vision. In 2023 AES International Conference on Spatial and Immersive Audio, Huddersfield, UK.
@inproceedings{mroz_commonly-accessible_2023, address = {Huddersfield, UK}, title = {A commonly-accessible toolchain for live streaming music events with higher-order ambisonic audio and 4k 360 vision}, copyright = {Creative Commons Attribution 4.0 International License}, url = {http://www.aes.org/e-lib/browse.cfm?elib=22204}, language = {en}, booktitle = {2023 {AES} {International} {Conference} on {Spatial} and {Immersive} {Audio}}, publisher = {Audio Engineering Society}, author = {Mróz, Bartłomiej and Odya, Piotr and Danowski, Przemysław and Kabaciński, Marek}, month = aug, year = {2023} }
2022
- Architecture Design of a Networked Music Performance Platform for a Chamber ChoirJan Cychnerski, and Bartłomiej MrózIn New Trends in Database and Information Systems, Aug 2022
This paper describes an architecture design process for Networked Music Performance (NMP) platform for medium-sized conducted music ensembles, based on remote rehearsals of Academic Choir of Gdańsk University of Technology. The issues of real-time remote communication, in-person music performance, and NMP are described. Three iterative steps defining and extending the architecture of the NMP platform with additional features to enhance its utility in remote rehearsals are presented. The first iteration uses a regular video conferencing platform, the second iteration uses dedicated NMP devices and tools, and the third iteration adds video transmission and utilizes professional low-latency audio and video workstations. For each iteration, the platform architecture is defined and deployed with simultaneous usability tests. Its strengths and weaknesses are identified through qualitative and quantitative measurements – statistical analysis shows a significant improvement in rehearsal quality after each iteration. The final optimal architecture is described and concluded with guidelines for creating NMP systems for said music ensembles.
Cychnerski, J., & Mróz, B. (2022). Architecture Design of a Networked Music Performance Platform for a Chamber Choir. In New Trends in Database and Information Systems, Cham. https://doi.org/10.1007/978-3-031-15743-1_40
@inproceedings{cychnerski_architecture_2022, address = {Cham}, title = {Architecture {Design} of a {Networked} {Music} {Performance} {Platform} for a {Chamber} {Choir}}, isbn = {978-3-031-15743-1}, doi = {10.1007/978-3-031-15743-1_40}, language = {en}, booktitle = {New {Trends} in {Database} and {Information} {Systems}}, publisher = {Springer International Publishing}, author = {Cychnerski, Jan and Mróz, Bartłomiej}, editor = {Chiusano, Silvia and Cerquitelli, Tania and Wrembel, Robert and Nørvåg, Kjetil and Catania, Barbara and Vargas-Solar, Genoveva and Zumpano, Ester}, year = {2022}, keywords = {Networked music performance, Platform design, Real-time system}, pages = {437--449} } - Creating a Remote Choir Performance Recording Based on an Ambisonic ApproachBartłomiej Mróz, Piotr Odya, and Bożena KostekApplied Sciences, Mar 2022
The aim of this paper is three-fold. First, the basics of binaural and ambisonic techniques are briefly presented. Then, details related to audio-visual recordings of a remote performance of the Academic Choir of the Gdansk University of Technology are shown. Due to the COVID-19 pandemic, artists had a choice, namely, to stay at home and not perform or stay at home and perform. In fact, staying at home brought in the possibility of creating and developing art at home while working online. During the first months of lock-down, the audience was satisfied with music performances that were fairly far from the typical experience of a real concert hall. Then, more advanced technology was brought to facilitate joint rehearsal and performance of better quality, including multichannel sound and spatialization. At the same time, spatial music productions benefited from the disadvantage of remote rehearsal by creating immersive experiences for the audience based on ambisonic and binaural techniques. Finally, subjective tests were prepared and performed to observe performers’ attention behavior divided between the conductor and music notation in the network-like environment. To this end, eye-tracking technology was employed. This aspect is related to the quality of experience (QoE), which in the performance area–and especially in remote mode–is essential.
Mróz, B., Odya, P., & Kostek, B. (2022). Creating a Remote Choir Performance Recording Based on an Ambisonic Approach. Applied Sciences, 12(7), 3316. https://doi.org/10.3390/app12073316
@article{mroz_creating_2022, title = {Creating a {Remote} {Choir} {Performance} {Recording} {Based} on an {Ambisonic} {Approach}}, volume = {12}, copyright = {Creative Commons Attribution 4.0 International License}, issn = {2076-3417}, url = {https://www.mdpi.com/2076-3417/12/7/3316}, doi = {10.3390/app12073316}, language = {en}, number = {7}, urldate = {2025-11-08}, journal = {Applied Sciences}, publisher = {Multidisciplinary Digital Publishing Institute}, author = {Mróz, Bartłomiej and Odya, Piotr and Kostek, Bożena}, month = mar, year = {2022}, keywords = {ambisonics, eye-tracking, networked music performance, quality of experience, remote music performance, virtual concert}, pages = {3316} }DOI: 10.3390/app12073316
- Pursuing Listeners’ Perceptual Response in Audio-Visual Interactions – Headphones vs Loudspeakers: A Case StudyBartłomiej Mróz, and Bożena KostekArchives of Acoustics, Mar 2022
This study investigates listeners’ perceptual responses in audio-visual interactions concerning binaural spatial audio. Audio stimuli are coupled with or without visual cues to the listeners. The subjective test participants are tasked to indicate the direction of the incoming sound while listening to the audio stimulus via loudspeakers or headphones with the head-related transfer function (HRTF) plugin. First, the methodology assumptions and the experimental setup are described to the participants. Then, the results are presented and analysed using statistical methods. The results indicate that the headphone trials showed much higher perceptual ambiguity for the listeners than when the sound is delivered via loudspeakers. The influence of the visual modality dominates the audio-visual evaluation when loudspeaker playback is employed. Moreover, when the visual stimulus is present, the headphone playback pattern of behavior is not always in response to the loudspeaker playback.
Mróz, B., & Kostek, B. (2022). Pursuing Listeners’ Perceptual Response in Audio-Visual Interactions – Headphones vs Loudspeakers: A Case Study. Archives of Acoustics, 47(1), 71–79. https://doi.org/10.24425/aoa.2022.140733
@article{mroz_pursuing_2022, title = {Pursuing {Listeners}’ {Perceptual} {Response} in {Audio}-{Visual} {Interactions} – {Headphones} vs {Loudspeakers}: {A} {Case} {Study}}, volume = {47}, copyright = {Creative Commons Attribution 4.0 International License}, issn = {0137-5075}, shorttitle = {Pursuing {Listeners}’ {Perceptual} {Response} in {Audio}-{Visual} {Interactions} – {Headphones} vs {Loudspeakers}}, url = {https://journals.pan.pl/dlibra/publication/140733/edition/122950}, doi = {10.24425/aoa.2022.140733}, language = {en}, number = {1}, urldate = {2025-11-08}, journal = {Archives of Acoustics}, publisher = {Polish Academy of Sciences, Institute of Fundamental Technological Research, Committee on Acoustics}, author = {Mróz, Bartłomiej and Kostek, Bożena}, year = {2022}, keywords = {3D perception, audio-visual interaction, binaural spatial audio, human perception, Nauki Techniczne}, pages = {71--79} } - The Computational Complexity Of Object-Based Audio (OBA) And Volumetric Scene-Based Audio (VSBA)Florian Grond, Marek Kabaciński, Bartłomiej Mróz, and 2 more authorsIn 153rd Audio Engineering Society Convention, Oct 2022
This paper focuses on computational complexity measurements between object-based audio (OBA) and volumetric scene-based audio (VSBA) techniques for 3D audio renderings. The primary purpose of this research is to investigate how each of the 3D audio representations influences rendering time and target bitrates with respect to their potential to represent multiple sources with realistic room acoustics. As a result of this research, it is possible to recommend VSBA rendering techniques and their overall performance advantages for specific use cases and applications. We conclude by discussing implementations of possible workflows that help to leverage VSBA advantages for various categories of sounds in VR and video games, static background atmospheres, sounds emanating from user interaction, and moving sound sources.
Grond, F., Kabaciński, M., Mróz, B., Rumiński, A., & Żernicki, T. (2022). The Computational Complexity Of Object-Based Audio (OBA) And Volumetric Scene-Based Audio (VSBA). In 153rd Audio Engineering Society Convention, virtual.
@inproceedings{grond_computational_2022, address = {virtual}, title = {The {Computational} {Complexity} {Of} {Object}-{Based} {Audio} ({OBA}) {And} {Volumetric} {Scene}-{Based} {Audio} ({VSBA})}, copyright = {Creative Commons Attribution 4.0 International License}, url = {https://www.aes.org/e-lib/browse.cfm?elib=21906}, language = {en}, booktitle = {153rd {Audio} {Engineering} {Society} {Convention}}, publisher = {Audio Engineering Society}, author = {Grond, Florian and Kabaciński, Marek and Mróz, Bartłomiej and Rumiński, Andrzej and Żernicki, Tomasz}, month = oct, year = {2022} }
2021
- Evaluation of six degrees of freedom 3D audio orchestra recording and playback using multi-point ambisonics interpolationTomasz Ciotucha, Andrzej Rumiński, Tomasz Żernicki, and 1 more authorIn 150th Audio Engineering Society Convention, May 2021
This paper describes a strategy for recording sound and enabling six-degrees-of-freedom playback, making use of multiple simultaneous and synchronized Higher Order Ambisonics (HOA) recordings. Such a strategy enables users to navigate in a simulated 3D space and listen to the six-degrees-of-freedom recordings from different perspectives. For the evaluation of the proposed approach, an Unreal Engine-based navigable 3D audiovisual playback system was implemented. Subjective listening tests were conducted which compare the quality of the prepared walk-through.
Ciotucha, T., Rumiński, A., Żernicki, T., & Mróz, B. (2021). Evaluation of six degrees of freedom 3D audio orchestra recording and playback using multi-point ambisonics interpolation. In 150th Audio Engineering Society Convention, virtual.
@inproceedings{ciotucha_evaluation_2021, address = {virtual}, title = {Evaluation of six degrees of freedom {3D} audio orchestra recording and playback using multi-point ambisonics interpolation}, copyright = {Creative Commons Attribution 4.0 International License}, url = {https://www.aes.org/e-lib/browse.cfm?elib=21052}, language = {en}, booktitle = {150th {Audio} {Engineering} {Society} {Convention}}, publisher = {Audio Engineering Society}, author = {Ciotucha, Tomasz and Rumiński, Andrzej and Żernicki, Tomasz and Mróz, Bartłomiej}, month = may, year = {2021} } - Production of six-degrees-of-freedom (6DoF) navigable audio using 30 Ambisonic microphonesBartłomiej Mróz, Marek Kabaciński, Tomasz Ciotucha, and 2 more authorsIn 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA), Sep 2021
This paper describes a method for planning, recording, and post-production of six-degrees-of-freedom audio recorded with multiple 3rd order Ambisonic microphone arrays. The description is based on the example of recordings conducted in August 2020 with the Poznan Philharmonic Orchestra using 30 units of Zylia ZM-1S. A convenient way to prepare and organize such a big project is proposed – this involves details of stage planning, collecting needed equipment, management, and running the recording. Additionally, the placement of 2D and 360 cameras as well as the design of moving camera paths are described. Two use cases of the collected Ambisonic audio are proposed. The first one is a production of a virtual reality application using Unreal Engine 4 and Wwise. The second one uses a combination of the virtual scene from the previously mentioned application and a footage from a mobile, moving camera to create a so-called “walkthrough movie”. The proposed approach for six-degrees-of-freedom Ambisonic interpolation was evaluated on listening tests. Those tests demonstrate that it is possible to recreate a navigable 3D audio taking into account Ambisonic only input and given assumptions for microphone placement.
Mróz, B., Kabaciński, M., Ciotucha, T., Rumiński, A., & Żernicki, T. (2021). Production of six-degrees-of-freedom (6DoF) navigable audio using 30 Ambisonic microphones. In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA), Bologna, Italy. https://doi.org/10.1109/I3DA48870.2021.9610970
@inproceedings{mroz_production_2021, address = {Bologna, Italy}, title = {Production of six-degrees-of-freedom ({6DoF}) navigable audio using 30 {Ambisonic} microphones}, copyright = {Creative Commons Attribution 4.0 International License}, isbn = {978-1-6654-0998-8}, url = {https://ieeexplore.ieee.org/document/9610970}, doi = {10.1109/I3DA48870.2021.9610970}, language = {en}, urldate = {2025-11-08}, booktitle = {2021 {Immersive} and {3D} {Audio}: from {Architecture} to {Automotive} ({I3DA})}, publisher = {IEEE}, author = {Mróz, Bartłomiej and Kabaciński, Marek and Ciotucha, Tomasz and Rumiński, Andrzej and Żernicki, Tomasz}, month = sep, year = {2021}, keywords = {Ambisonics, Cameras, Interpolation, Microphone arrays, Planning, Production, six-degrees-of-freedom, sound source localization, spatial audio, Three-dimensional displays, virtual reality, Virtual reality}, pages = {1--5} } - Techniki wielokanałowe wykorzystywane w koncertach i nagraniach muzycznych na odległośćBartłomiej Mróz, Bożena Kostek, and Piotr OdyaIn Postępy badań w inżynierii dźwięku i obrazu: nowe trendy i zastosowania technologii dźwięku wielokanałowego oraz badania jakości dźwięku, Sep 2021
W czasie pandemii koronawirusa COVID-19 nowego znaczenia nabrały możliwości transmisji dźwięku z obrazem – zwłaszcza do pracy zdalnej, która w przypadku muzy- ków jest szczególnym wyzwaniem zarówno w kontekście wspólnych ćwiczeń i prób, jak i koncertów. Wynikła konieczność wieloźródłowego połączenia ujawniła potrzebę uprzestrzennienia dźwięku w celu łatwiejszej lokalizacji źródeł dźwięku. Tworzenie zdalnych nagrań muzycznych stało się obecnie niepowtarzalną okazją do produkcji wielokanałowych, przestrzennych, wykorzystujących techniki ambisoniczne i binau- ralne. Techniki te umożliwiają stworzenie nowych, immersyjnych doznań dla słucha- czy. W rozdziale przedstawiono zrealizowane nagrania ambisoniczne Akademickiego Chóru Politechniki Gdańskiej. Zawarto opis związany z warsztatem realizatora dźwię- ku i obrazu oraz omówiono problemy związane z synchronizacją dźwięku. W pierw- szej kolejności przedstawiono krótko podstawy teoretyczne ambisonii. Podano również plan dalszych prac, które będą stanowić rozwinięcie wykonanych nagrań w kontekście ich oceny.
Mróz, B., Kostek, B., & Odya, P. (2021). Techniki wielokanałowe wykorzystywane w koncertach i nagraniach muzycznych na odległość. In Postępy badań w inżynierii dźwięku i obrazu: nowe trendy i zastosowania technologii dźwięku wielokanałowego oraz badania jakości dźwięku, Wrocław, Poland. https://doi.org/10.37190/ido2021
@incollection{mroz_techniki_2021, address = {Wrocław, Poland}, title = {Techniki wielokanałowe wykorzystywane w koncertach i nagraniach muzycznych na odległość}, copyright = {Creative Commons Attribution 4.0 International License}, isbn = {978-83-7493-183-0}, url = {https://dbc.wroc.pl/dlibra/publication/edition/112879/content}, doi = {10.37190/ido2021}, language = {pol}, booktitle = {Postępy badań w inżynierii dźwięku i obrazu: nowe trendy i zastosowania technologii dźwięku wielokanałowego oraz badania jakości dźwięku}, publisher = {Oficyna Wydawnicza Politechniki Wrocławskiej}, author = {Mróz, Bartłomiej and Kostek, Bożena and Odya, Piotr}, editor = {Opieliński, Krzysztof J.}, year = {2021}, pages = {67--82} }DOI: 10.37190/ido2021
2020
- Chór wirtualnyMariusz Mróz, and Bartłomiej MrózIn Era śpiewu: studia i refleksje z zagadnień chóralistyki, Sep 2020
Wiosna roku 2020 – czas epidemii koronawirusa – została zapisana emocjami, które należy zaliczać do niepożądanych. Praca on-line stała się jedyną możliwą formą pracy z zespołem muzycznym. Prekursorem pomysłu wirtualnego chóru był amerykański kompozytor i dyrygent Eric Whitacre. Wybrał do wykonania przez chór wirtualny utwory posiadające takie cechy, jak np.: nieskomplikowana rytmika, wolne, równomierne tempo, spokojna dynamika, współbrzmienia oparte na harmonii tonalnej. W niniejszym projekcie chóru wirtualnego ważnym zagadnieniem jest dźwięk ambisoniczny. Niewątpliwe walory chórów wirtualnych i ich możliwości twórcze są wartością kultury XXI w. Koncert w realnym świecie jest żywy, kreuje dzieło muzyczne jedynie „tu i teraz”. Ubarwia emocjami wszystkich uczestników koncertu w danym miejscu i czasie. Wirtualna rzeczywistość może być piękna, jednak przeżywanie czegoś wyjątkowego zawsze wiąże się z koniecznością przebywa- nia w centrum wydarzeń.
Mróz, M., & Mróz, B. (2020). Chór wirtualny. In Era śpiewu: studia i refleksje z zagadnień chóralistyki.
@incollection{mroz_chor_2020, title = {Chór wirtualny}, isbn = {978-83-958626-0-1}, language = {pol}, booktitle = {Era śpiewu: studia i refleksje z zagadnień chóralistyki}, publisher = {Oficyna Wydawnicza Atut}, author = {Mróz, Mariusz and Mróz, Bartłomiej}, editor = {Dancewicz, Małgorzata}, year = {2020}, pages = {175--187} } - Comparison of sound of organ pipes in contemporary and historical instrumentsMarta Kalman, Damian Koszewski, and Bartłomiej MrózIn 148th Audio Engineering Society Convention, Jun 2020
The aim of this research is to examine the differences in the timbre of organ pipes’ sound between a historical and a contemporary organ instrument. The historical instrument is the Oliwa organ from Gdansk, Poland, and the contemporary one is from Kartuzy, Poland. Recordings are made of single notes played by an open labial pipe that belongs to the Principal rank. The analyses and comparison of several sound features compatible with audio descriptors defined in MPEG-7 standard are performed in the MATLAB environment. The influence of the distance between the microphone and the sound source on sound features is also examined, in order to judge whether the comb filter appears in close distances from the sound source.
Kalman, M., Koszewski, D., & Mróz, B. (2020). Comparison of sound of organ pipes in contemporary and historical instruments. In 148th Audio Engineering Society Convention, virtual.
@inproceedings{kalman_comparison_2020, address = {virtual}, title = {Comparison of sound of organ pipes in contemporary and historical instruments}, copyright = {Creative Commons Attribution 4.0 International License}, url = {https://www.aes.org/e-lib/browse.cfm?elib=20801}, language = {en}, booktitle = {148th {Audio} {Engineering} {Society} {Convention}}, publisher = {Audio Engineering Society}, author = {Kalman, Marta and Koszewski, Damian and Mróz, Bartłomiej}, month = jun, year = {2020} }
2018
- Eksternalizacja w binauralnej ambisonicznej auralizacji źródeł kierunkowychBartłomiej Mróz, and Bożena KostekZeszyty Naukowe Wydziału Elektrotechniki i Automatyki Politechniki Gdańskiej, Jun 2018
W artykule przedstawiono najważniejsze składniki procesu skutecznego renderowania trójwymiarowego obrazu dźwiękowego za pomocą słuchawek. W tym celu badany jest stopień oddziaływania poszczególnych czynników wpływających na eksternalizację dźwięku: śledzenie położenia głowy (ang. head tracking), indywidualne funkcje przenoszenia głowy (HRTF –Head Related Transfer Function, odnoszące się do matematycznej funkcji propagacji dźwięku wokół głowy), model pomieszczenia, jak również tzw. efekt zgodności pomieszczenia oraz indywidualne wyrównywanie charakterystyki przenoszenia słuchawek. Uzyskane wyniki wskazują, że śledzenie głowy, a także indywidualne funkcje przenoszenia głowy mają kluczowe znaczenie dla wiernej reprodukcji dźwięku. Z przeprowadzonych badań wynika również, że efekt zgodności pomieszczenia i wyrównywanie charakterystyki przenoszenia słuchawek są znaczącymi elementami procesu auralizacji.
Mróz, B., & Kostek, B. (2018). Eksternalizacja w binauralnej ambisonicznej auralizacji źródeł kierunkowych. Zeszyty Naukowe Wydziału Elektrotechniki i Automatyki Politechniki Gdańskiej, 2018(2018/60), 75–80. https://doi.org/10.32016/1.60.15
@article{mroz_eksternalizacja_2018, series = {Zastosowanie {Komputerów} w {Nauce} i {Technice} 2018}, title = {Eksternalizacja w binauralnej ambisonicznej auralizacji źródeł kierunkowych}, volume = {2018}, copyright = {Creative Commons Attribution 4.0 International License}, issn = {2353-1290}, doi = {10.32016/1.60.15}, number = {2018/60}, journal = {Zeszyty Naukowe Wydziału Elektrotechniki i Automatyki Politechniki Gdańskiej}, publisher = {Politechnika Gdańska, Wydział Elektrotechniki i Automatyki}, author = {Mróz, Bartłomiej and Kostek, Bożena}, year = {2018}, pages = {75--80} }DOI: 10.32016/1.60.15
- Examination of the factors influencing binaural rendering on headphones with the use of directivity patternsBartłomiej MrózIn 144th Audio Engineering Society Convention, May 2018
At the 19th International Conference Digital Audio Effects (DAFx-16) in 2016 in Brno, Czech Republic, Wendt et al. have presented a paper covering the topic “Directivity patterns controlling the auditory source distance” [1]. In their paper various directivity pattern designs enabling to modify the auditory source distance were proposed. The paper also presents a comprehensive experimental study investigating the audio effect and its behaviour by auralisation of directional sound source and room using a 24-channel loudspeaker ring inside an anechoic chamber. This study aims at performing the same investigation, but binauralised over headphone playback. The study includes not only the auditory source distance, but also tries to discover the influence of auralised room characteristics, source-to-receiver distance, signal on auditory externalisation.
Mróz, B. (2018). Examination of the factors influencing binaural rendering on headphones with the use of directivity patterns. In 144th Audio Engineering Society Convention, Milano, Italy.
@inproceedings{mroz_examination_2018, address = {Milano, Italy}, title = {Examination of the factors influencing binaural rendering on headphones with the use of directivity patterns}, copyright = {Creative Commons Attribution 4.0 International License}, url = {https://www.aes.org/e-lib/browse.cfm?elib=19470}, language = {en}, booktitle = {144th {Audio} {Engineering} {Society} {Convention}}, publisher = {Audio Engineering Society}, author = {Mróz, Bartłomiej}, month = may, year = {2018} } - Experiment on externalization in binaural directional-source auralizationBartłomiej Mróz, Franz Zotter, Florian Wendt, and 2 more authorsIn DAGA 2018 - 44. Jahrestagung für Akustik, Mar 2018
Real-world sources are typically perceived to be located outside the head. Dynamic binaural rendering, however, sometimes suffers from a collapse of externalization so that sources are perceived inside the listeners head [7]. Parameters influencing the externalization of binaurally rendered sources include (i) individualized head-related transfer functions (HRTFs) [10], (ii) head tracking [3], (iii) reverberation [4], (iv) listening room (e.g. room divergence effect [15, 14]) and (v) individual headphone equalization [2, 5]. Supplementing what is known from previous studies, e.g. [1, 12], we aim at covering and revisiting most of the recent and relevant aspects in the experimental study presented below.
Mróz, B., Zotter, F., Wendt, F., Zaunschirm, M., & Frank, M. (2018). Experiment on externalization in binaural directional-source auralization. In DAGA 2018 - 44. Jahrestagung für Akustik, Munich, Germany.
@inproceedings{mroz_experiment_2018, address = {Munich, Germany}, title = {Experiment on externalization in binaural directional-source auralization}, copyright = {Creative Commons Attribution 4.0 International License}, isbn = {978-3-939296-13-3}, url = {https://pub.dega-akustik.de/DAGA_2018/data/articles/000252.pdf}, booktitle = {{DAGA} 2018 - 44. {Jahrestagung} für {Akustik}}, publisher = {Deutsche Gesellschaft für Akustik e.V.}, author = {Mróz, Bartłomiej and Zotter, Franz and Wendt, Florian and Zaunschirm, Markus and Frank, Matthias}, editor = {Seeber, Bernhard}, month = mar, year = {2018}, pages = {336--338} }