Virtual or active acoustics refers to the generation of a simulated room response by means of electroacoustics and digital signal processing. An artificial room response may include sound reflections and reverberation as well as other acoustic features mimicking the actual room. They will cause the listener to have an impression of being immersed in virtual acoustics of another simulated room that coexists with the actual physical room. Using low-latency broadband multi-channel convolution and carefully measured room data, optimized transducers for rendering of sound fields, and an intuitive touch control user interface, it is possible to achieve a very high perceived quality of active acoustics, with a straightforward adjustability. The electroacoustically coupled room resulting from such optimization does not merely produce an equivalent of a back-door reverberation chamber, but rather a fully functional complete room superimposed on the physical room, yet with highly selectable and adjustable acoustic response. The utility of such active system for music recording and performance is discussed and supported with examples.

In this article some key events concerning founding Polish Section of the Audio Engineering Society were presented. In addition, the history covering International Symposia on Sound Engineering and Mastering was outlined. Also, papers contained in this issue were shortly reviewed.

Available methods for room-related sound presentation are introduced and evaluated. A focus is put on the synthesis side rather than on complete transmission systems. Different methods are compared using common, though quite general criteria. The methods selected for comparison are: Intensity Stereophony after Blumlein, vector-base amplitude panning (VBAP), 5.1-Surround and its discrete-channel derivatives, synthesis with spherical harmonics (Ambisonics, HOA), synthesis based on the boundary method, namely, wave-field synthesis (WFS), and binaural-cue selection methods (e.g., DiRAC). While VBAP, 5.1-Surround and other discrete-channel-based methods show a number of practical advantages, they do, in the end, not aim at authentic sound-field reproduction. The so-called holophonic methods that do so, particularly, HOA and WFS, have specific advantages and disadvantages which will be discussed. Yet, both methods are under continuous development, and a decision in favor of one of them should be taken from a strictly application-oriented point of view by considering relevant application-specific advantages and disadvantages in detail.