# Design and Evaluation of a Web- and Mobile-Based Binaural Audio Platform for Cultural Heritage
## 5 Evaluation
### Part 2--Soundscape Curation  
#### 5.2.1 Methodology  
In the second part participants were asked to become curators, and use what they had learnt about the Soundscape Create app in part 1 to recreate, as faithfully as possible, a virtual soundscape from a real one. For this purpose, we set up a room (rectangular--14 \(\times\) 16 \(\times\) 6 m) to look like it was part of an exhibition about space exploration. Specifically, we prepared an installation about the Voyager space program. We collaborated with a professional musician who composed and recorded a 5 min piece of music to use as accompaniment to speech excerpts from the _Golden Record_Golden (1966). The content was mixed into 6 tracks, each of which was assigned to 1 of 6 loudspeakers placed around the room. A MaxMSP patch was used to control two laptops (a master and a slave) each one driving 3 loudspeakers. The patch allowed to assign tracks to speakers, set the volume of each track, control the playback--and used the Open Sound Control (OSC) protocol for communication between master and slave laptop.  
Participants were first asked to listen and observe the real soundscape; they were also given a floor-plan of the room which they could use to take notes about the setup. Participants were asked to pay attention to the following: (1) match the track to the loudspeaker (each loudspeaker was labelled with the track assigned to it), (2) the loudspeakers' position (e.g., position in the room and height) and (3) the sound sources' reach (i.e., from how far the sound of each loudspeaker could be heard). Participants were allowed to listen to the soundscape  
\begin{table}
\begin{tabular}{c l c c c} \hline \hline  & **Task Description** & **SEQ** & **Completion Time (s)** & **Baseline Completion** \\  & **Avg (Std)** & **Avg (Std)** & **Time (s)** \\ \hline
1 & CREATE a new Soundscape exhibition & 6.8 (0.5) & 73 (35.9) & 66 \\
2 & Set the ROOM SIZE & 7.0 (0.0) & 16 (5.9) & 10 \\
3 & Set the ROOM FLOORPLAN image & 6.6 (0.9) & 20 (9.9) & 17 \\
4 & ADD a new sound source & & & \\  & (search, position and reach) & 4.2 (1.6) & 154 (64.5) & 48 \\
5 & ADD a new sound source & & & \\  & (search, position, reach and hidden) & 6.6 (0.6) & 62 (18.1) & 38 \\
6 & ADD a new sound source & & & \\  & (search, position, and fade) & 6.6 (0.6) & 82 (46.7) & 43 \\
7 & Set all sound sources to START & & & \\  & PLAYING WHEN ENTERING reach & 5.6 (0.9) & 70 (63.5) & 25 \\
8 & Set sound sources TIMINGS to play in order & 6.2 (0.5) & 74 (60.1) & 40 \\
9 & PLAY the soundscape and MOVE the & & & \\  & listener around to listen to the soundscape & 7.0 (0.0) & 12 (11.0) & 5 \\
10 & Add TAGS to the exhibition & 5.8 (1.8) & 50 (36.7) & 15 \\
11 & SAVE and PUBLISH the exhibition & 7.0 (0.0) & 18 (2.9) & 16 \\
12 & EXPORT the metadata to the laptop & 6.8 (0.5) & 14 (10.3) & 8 \\ \hline \hline \end{tabular}
\end{table}
Table 1: Evaluation: Part 1—Single Ease Questions scores and completion times (average and standard deviation).  
as many times as needed, and after having noted down all the information, they needed to recreate the soundscape using the material (images and sounds) already available on the PLUGGY social platform. After completing the task, participants were asked to fill in the System Usability Scale (SUS) questionnaire [47] (Table 2) to measure usability. We used a 7-point Likert scale from _strongly disagree_ (1) to _strongly agree_ (7). Furthermore, to score how likely users would recommend PlugSonic to others, we adopted the net promoter score (NPS) [48] which is defined as the percentage of \"promoters\" (users rating their likelihood as 9 or 10 on a scale from 0 to 10) minus the percentage of \"detractors\" (6 or below); users rating 7 or 8 are considered \"passive\". Therefore, the NPS ranges from \(-100\) (all detractors) to \(+100\) (all promoters). We recruited 5 participants for part 2 (the same ones who participated in part 1).