Urban soundscapes at five locations in the city of Zadar were perceptually assessed by on-site surveys and objectively evaluated based on monaural and binaural recordings. All locations were chosen so that they would display auditory and visual diversity as much as possible. The unique sound installation known as the Sea Organ was included as an atypical music-like environment. Typical objective parameters were calculated from the recordings related to the amount of acoustic energy, spectral properties of sound, the amount of fluctuations, and tonal properties. The subjective assessment was done on-site using a common survey for evaluating the properties of sound and visual environment. The results revealed the importance of introducing the context into soundscape research because objective parameters did not show significant correlation with responses obtained from interviewees. Excessive values of certain objective parameters could indicate that a sound environment will be perceived as unpleasant or annoying, but its overall perception depends on how well it agrees with people's expectations. This was clearly seen for the case of Sea Organ for which the highest values of objective parameters were obtained, but, at the same time, it was evaluated as the most positive sound environment in every aspect.

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This paper discusses the soundscape assessment approaches to soundscape interventions with musical features introduced to public spaces as permanent sound art, with a focus on the ISO 12913 series, Method A for data collection applied in a laboratory study. Three soundscape interventions in three cities are investigated. The virtual soundwalk is used to combine the benefits of the on-site and laboratory settings. Two measurement points per location were recorded—one at a position where the intervention was clearly perceptible, the other further away to serve as a baseline condition. The participants (N = 44) were exposed to acoustic environments (N = 6) recorded using the first-order Ambisonics microphone on-site and then reproduced via the second-order Ambisonics system in laboratory. A series of rank-based Kruskal–Wallis tests were performed on the results of the subjective responses. Results revealed a statistically significant positive effect on soundscape at two locations, and limitations related to sound source identification due to cultural factors and geometrical configuration of the public space at one location.

In this paper different well-established methods of reverberation time measurement are compared. Furthermore, the results obtained using these methods are compared to the results provided by some additional methods which could serve as an in situ tool if, for any reason, the reverberation time measurements cannot be carried out using the standardized methods. The methods compared in this paper include the standardized methods (EN ISO 3382:2000), namely the impulse response measured with pink noise, exponential sweep, MLS, but also pistol shots of different calibers, balloon bursts, gated external pink noise, and the B&K filtered burst method. In order to make the comparison, the measurements were performed in four acoustically very different spaces - a rather small and well-damped listening room, a much bigger damped listening room, a rather reverberant atrium, and a large and very reverberant shoebox-shaped room. The results were evaluated according to signal-to-noise ratio criterion as well. Special attention has been given to the influence of room modes on measurement results.

an impulse-like source that will comply with certain demands concerning its spectral content and sound pressure levels it can provide. Although the relevant standards state that such kind of sources should be avoided due to the lack of measurement repeatability, their use has proved to be necessary due to inability of conventional omnidirectional loudspeakers to provide adequate sound pressure levels, especially at the low end of the frequency range of interest, thereby ensuring sufficient dynamic range. Therefore, the emphasis of this investigation has been made on peak sound pressure levels and the amount of low frequency content each source is able to provide. The investigated sources include 6 mm and 8 mm pistols, firecrackers with different amount of explosive compound and explosive mixtures of acetylene gas.