# Creating a Remote Choir Performance Recording Based on an Ambisonic Approach
## 6 Summary  
This paper presents and briefly discusses what has been achieved in the field of remote audio-visual recording. The difficulties related to remote music performance are presented. The examples of spatial transmission and remote production are also discussed. The production process of a remote choral recording performed by the Academic Chair of Gdansk University of Technology is presented in detail. Despite the fact that the existing platforms for remote communication do not provide the full possibility of music recording, which is offered by immersive technologies, this recording presents a high artistic level--it received a number of positive opinions and comments not only from the conductor, chair members, and listeners of the Academic Chair of the Gdansk University of Technology but also from the jury of the following virtual choir festival: Bandung Choral Society World Virtual Choir Festival 2021 in Indonesia, where the recording won a gold award for the following: \"[... ] outstanding classical performance\". Additionally, this means that providing the listeners with new artistic experiences resulting from immersion in virtual reality may emphasize the virtues of virtual choirs, especially their innovative character and new creative opportunities that may become an added value in 21 st-century culture. Undoubtedly, the outlined aspect requires ensuring a careful process of postproduction of the prepared recording.  
Initial examination of the eye-tracker data leads to interesting conclusions. Regardless of the virtual setting of the recording, the participants were still generally focused on the conductor, similarly as in regular singing situations. The fixation point remained on the conductor's face, which allowed observation of the conductor's hand movements simultaneously. However, one of the factors unaccounted for was the participants' familiarity with the sung piece and their ability to read music notes fluently. This is especially important as most members of the academic choir are not trained musicians, but students of engineering degrees, and their ability in this regard varies significantly.  
The next stage of this artistic project will be performing subjective tests, especially in evaluating various aspects of the ambisonic recording by the audience. The context of familiarity with the piece and fluency in reading notes will also be examined.  
Figure 11: Region of interest and all fixation points for a participant with lesser familiarity with the sung piece but a relatively fluent ability to read music notes _a vista_.  
**Author Contributions:** Conceptualization, B.M. and B.K.; methodology, B.M., B.K. and P.O.; software, B.M. and P.O.; validation, B.M. and P.O.; formal analysis, B.M.; investigation, B.M., B.K. and P.O.; resources, B.M.; data curation, B.M.; writing--original draft preparation, B.M. and B.K.; writing--review and editing, B.M., B.K. and P.O.; visualization, B.M.; supervision, B.K. All authors have read and agreed to the published version of the manuscript.  
This research received no external funding.  
**Institutional Review Board Statement:** Ethical review and approval were waived for this study, due to the following type of tests: listening to music at the normal level of loudness and using the eye-tracker as recommended by the manufacturer-no possible harm entailed by tests.  
**Informed Consent Statement:** Informed consent was obtained from all subjects involved in the study.  
**Data Availability Statement:** Not applicable.  
**Acknowledgments:** The authors thank the Academic Chair of Gdansk University of Technology and the conductor, [PERSON], for their participation in the recordings and the experiment. Thanks are also due to the reviewers for their thoughtful comments.  
**Conflicts of Interest:** The authors declare no conflict of interest.