Staff profile

Dr Bruce Wiggins


Associate Professor (Research) in Audio Engineering

Dr Bruce Wiggins presenting at Sounds in Space, 2018

Subject

Electrical and Electronic Engineering, Music and Music Production

College

College of Science and Engineering

Department

School of Computing and Engineering

ORCiD ID

0000-0002-7345-6098

Campus

Markeaton Street, Derby Campus

Email

b.j.wiggins@derby.ac.uk

About

I graduated with a first-class honours degree in Music Technology and Audio System Design from the University of Derby in 1999.

My interest in audio signal processing spurred me to continue at Derby. I completed my PhD, entitled “An Investigation into the Real-time Manipulation and Control of 3D Sound Fields” in 2004. In this, I solved the problem of generating ambisonic decoders for irregular speaker arrays. I also carried out work on binaural/transaural reproduction systems.

I'm now an Associate Professor (Research) in Audio Engineering in the College of Science and Engineering. I teach electronics, audio programming and digital signal processing. These are all fed from my continuing research interests in ambisonic surround-sound systems. I earned excellence awards for my promising research in 2005/6, my application of technology in 2006/7 and excellence in learning, teaching and assessment in 2007/8.

My work on ambisonics was also featured as an impact case study in our 2014 Research Excellence Framework submission. My work has also been used in the REF2021 impact case study. I organise and run the yearly Sounds in Space Research Symposium.

Teaching responsibilities

Lecturer on the courses:

Module leader for the modules:

Also contributes to the modules:

Have previously led the modules:

Research interests

Membership of professional bodies

Qualifications

Experience in industry

Additional interests and activities

Recent Projects

2022/3 - Odyssey VR Project with Derby Theatre

Bruce provided a live immersive audio system for Derby Theatre Plus One’s groundbreaking live Virtual Reality Theatre Production. The system used software that came directly from Bruce’s research into Ambisonic audio. The project was recognised after winning The Stage’s Digital Project of the Year

The project was centred around young people across the care sector, who often didn’t see themselves as participating in arts.

Odyssey was Derby Theatre’s imaginative response to that research. Producer Tom Craig and digital curator John Whall ran virtual-reality workshops to investigate the idea of offering an immersive state of play that would encourage young people to create without committing to the idea of ‘art’.

There were initially no rules: just turn up and try on a headset. They were then invited to design their own bedroom. How would it look and what if there were no limitations?

Playwright Simon Marshall and spoken-word poet Ndukwe Onuoha joined the team and together they created an immersive digital VR performance experience.

As the young people curated their worlds, stories emerged. Leicester organisation MBD created the virtual experience, and to make it as immersive as possible, Bruce Wiggins, and his team, designed an Ambisonic speaker rig that surrounded the audience to give them a more realistic, and immersive group experience than could be achieved over headphones (which is how VR material is usually presented to the listener). Musical composition, songs and sound were added via the company, participants and a composer.

At the Roundhouse at Derby College, audiences experienced the piece performed live by the young people with the audience immersed in the virtual world of their ideas. Stepping through a series of rooms, audiences saw ‘home’ and the reality of transient lives but also looked towards hope for the future, with the final space, a large open stage that looked out, not into an audience but an endless sea and a bright horizon.

A video detailing the project can be found at: https://vimeo.com/775774623

More information on Derby Theatre’s Plus One creative partnership can be found at: https://derbytheatre.co.uk/programme/plus-one/

2011 to 2019 - Sounds in Space Research Symposium.  Organise, host and present at our annual Sounds in Space Research Symposium, which looks at the aesthetics, production and technical details of spatial audio.  See videos, pictures and programmes of past events here.

Wigware Plug-in Suite (Windows and Mac)

Wigware Ambisonic Decoder (WAD)

This program now comes in two flavours, as a Direct Show filter and a VST plugin. The Direct Show Filter allows any Direct Show capable audio player software (such as Windows Media Player) the ability to read and decode B-format wave files (the format of which is specified here on Richard Dobson's web page - details on the Waveformat extensible file format used can be found on Microsofts web site here - details on Ambisonics can be found here).

The VST version comes in 1st and 2nd order versions (3rd and 4th order versions to follow) and allows you to alter the polar patterns of the speaker feeds either across the whole frequency range or using 'Shelf Filters' with a variable cut-off. Both of the VST plugins will derive outputs for a standard ITU 5 speaker array, with higher orders giving better frontal resolution.

Check my personal website (www.brucewiggins.co.uk) for updates to this software:

Wigware Ambisonic Panner (mono to 1st and 2nd order)

Panning plug-in taking mono in, and passing out 1st or 2nd order B-format. These currently include near-field compensation and distance filters, but the panning only currently works on the surface of the sphere. These have been released early due to issues found with currently available Ambisonic encoders.

Wigware Ambisonic Reverb (1st Order....2nd order coming soon)

A simple, recursive, 4-channel, reverb plug-in. Perfect for 1st order Ambisonics.

In the media

A laptop, phone and notepad
How to stay social at a distance: Top technology tips during lockdown

Bruce Wiggins, Senior Lecturer in Electronics and Maths at the University of Derby, discusses some of the best apps on the market to help you remain sociable… at a distance.

Posted: 7 May 2020
By: Dr Bruce Wiggins
  • Middlicott, C.J. and Wiggins, B.J., (2022) Capsule Calibration Approaches for Low-Cost Higher Order Ambisonic Microphone Arrays. In Audio Engineering Society Convention 153. Audio Engineering Society.
  • Dring, M. and Wiggins, B., 2021. WHAM: TO ASYMMETRY AND BEYOND!. Reproduced Sound 2021, Vol. 43 Pt. (2). Available at: <https://www.ioa.org.uk/catalogue/paper/wham-asymmetry-and-beyond>.
  • Dring, M., Wiggins, B. (2021) WHAM: To Asymmetry and Beyond.  Reproduced Sound 2021 – Proceedings of the Institute of Acoustics, Vol. 43. Pt. 2 2021, UK
  • Werner, D., Wiggins, B., Hart, M. (2021) An Immersive Guitar System: GASP - Guitars with Ambisonic Spatial Performance. 21st Century Guitar online conference in Lisbon, Portugal, March 2021: https://youtu.be/IiDcWAm31EA?t=5822 
  • Dring, M., Wiggins, B. (2020) WHAM: Webcam Head-tracked AMbisonics.  Reproduced Sound 2020 – Proceedings of the Institute of Acoustics, Vol. 42. Pt. 3 2020, UK
  • Dring, M., Wiggins, B. (2019)  The Transparency of Binaural Auralisation Using Very High Order Circular Harmonics.  Reproduced Sound 2019 – Proceedings of the Institute of Acoustics, p165-173, Vol. 41. Pt. 3 2019, Bristol, UK 
  • Wiggins, B. (2017) Analysis of Binaural Cue Matching using Ambisonics to Binaural Decoding Techniques.  4th International Conference on Spatial Audio, 7-10 Sept., Graz, Austria
  • Wiggins, B. (2017) Measured Reverbs for Ambisonics and VR.  Sounds in Space Research Symposium 2017, Derby, UK. (Video)
  • Werner, D., Wiggins, B.  Guitars with Ambisonic Spatial Performance.  Klingt Gut 2017, Hamburg, Germany
  • Wiggins, B. (2016) Head tracked audio for all – the 3D audio VR revolution.  Reproduced Sound 2016, Institute of Acoustics, Southampton, UK (Invited Talk)
  • Wiggins, B. (2016) Surround Audio for Virtual Reality. Sounds in Space Research Symposium 2016, Derby, UK
  • Wiggins, B. (2015) AmbiFreeverb 2 - Ambisonic 3D Reverb Plug-in Talk and Demonstration.  Sounds in Space Research Symposium, Creative Technologies Research Group, University of Derby, UK
  • Wiggins, B. (2014) Practical Ambisonics, the Pros, Cons and Pitfalls of 3D Audio.  Invited speaker at Sound Recording Techniques, Organised by the Musical Acoustics and Electroacoustics Group Sound Recording Techniques and their influences on Musical Composition, Interpretation, Performance and Appreciation, MediaCityUK, Salford, UK
  • Wiggins, B. (2012) Practical Ambisonics.  Invited speaker at Institute of Acoustics’ Reproduced Sound 2012, Brighton, UK
  • Wiggins, B. (2012) Practical Ambisonics.  Invited speaker at 15th International Conference on Digital Audio Effects Conference (DAFx-12), University of York, UK
  • Wiggins, B. (2012) Future-proof surround sound mixing using Ambisonics and Reaper. 25th AES UK Conference: Spatial Audio in Today’s 3D World in association with the 4th International Symposium on Ambisonics and Spherical Acoustics, University of York, UK
  • Wiggins, B. (2012) Bringing Audio to [Ambisonic] Order.  Invited speaker at COMPASS (Centre for Composition and Associated Studies), University of Birmingham, UK
  • Wiggins, B., Spenceley, T. (2009)  Distance coding and performance of the mark 5 and st350 SoundField microphones and their suitability for Ambisonic reproduction.Reproduced Sound 25 – Proceeding of the Institute of Acoustics, Vol 31, Pt 4
  • Wiggins, B. (2009) Future Proof Surround Sound Mixing Using Ambisonics.Presentation given at the Forum for Innovation in Music Production and Composition, Leeds College of Music, UK
  • Wiggins, B. Spenceley, T. (2009) Distance Coding and Performance of the Mark 5 and ST350 Soundfield Microphones and their Suitability for Ambisonic Reproduction. Presentation given at the Institute of Acoustics' Reproduced Sound 25 International Conference
  • Wiggins, B. (2009) Future Proof Surround Sound Mixing Using Ambisonics. Presentation given at the Forum for Innovation in Music Production and Composition, Leeds College of Music, UK
  • Wiggins, B. (2008) Has Ambisonics Come of Age? Presentation given at the Institute of Acoustics' Reproduced Sound 24 International Conference
  • Wiggins, B. (2007) The Generation of Panning Laws for Irregular Speaker Arrays Using Heuristic Methods.Presentation given at 31st International AES conference, London, UK
  • Wiggins, B. (2008) Screencasts for Education using BB Flashback and Adobe Captivate. Presentation given at Faculty of Arts, Design and Technology Teaching, Learning, and Assessment Conference, Derby, UK

Conference Papers

  • Duncan Werner; Wiggins, Bruce; Emma Fitzmaurice; and Matthew Hart. Guitars with Ambisonic Spatial Performance (GASP): An immersive guitar system. Torres, R., Brandon, A., & Noble, J. (Eds.). (2023). https://digitalcommons.du.edu/twentyfirst-century-guitar/vol1/iss1/13
  • Middlicott, C.J. and Wiggins, B.J., (2022) Capsule Calibration Approaches for Low-Cost Higher Order Ambisonic Microphone Arrays. In Audio Engineering Society Convention 153. Audio Engineering Society.
  • Dring, M. and Wiggins, B., 2021. WHAM: TO ASYMMETRY AND BEYOND!. Reproduced Sound 2021, Vol. 43 Pt. (2). Available at: <https://www.ioa.org.uk/catalogue/paper/wham-asymmetry-and-beyond>.
  • Werner, D., Wiggins, B., Fitzmaurice, E. (2021) ‘Development of an Ambisonic Guitar System GASP: Guitars with Ambisonic Spatial Performance’, in Hepworth-Sawyer, R. (ed.), Paterson, J. (ed.), Toulson, R. (ed.) Innovation in Music Future Opportunities, Abington, Routledge pp. 125-145
  • Dring, M., Wiggins, B. (2020) WHAM: Webcam Head-tracked AMbisonics.  Reproduced Sound 2020 – Proceedings of the Institute of Acoustics, pxxx, Vol. 42. Pt. 3 2020, UK
  • Dring, M., Wiggins, B. (2019)  The Transparency of Binaural Auralisation Using Very High Order Circular Harmonics.  Reproduced Sound 2019 – Proceedings of the Institute of Acoustics, p165-173, Vol. 41. Pt. 3 2019, Bristol, UK 
  • Middlicott, C., Wiggins, B. (2019). Calibration Approaches for Higher Order Ambisonic Microphones. In: 147th AES Convention. [online] New York: Audio Engineering Society. Available at: http://www.aes.org/e-lib/online/browse.cfm?elib=20673
  • Middlicott, C., Wiggins, B. (2018) Development of Ambisonic Microphone Design Tools—Part 1, ebrief 489 at Audio Engineering Society Convention 145, New York, USA
  • Dring, M., Middlicott, C., Wiggins, B., Vilkaitis, A., (2017) Modelling The Performance of Speaker Arrays In Domestic Listening Environments. Reproduced Sound 2017 – Proceedings of the Institute of Acoustics, p119-128, Vol 39. Pt. 1 2017, Nottingham, UK
  • Wiggins, B. (2017) Analysis of Binaural Cue Matching using Ambisonics to Binaural Decoding Techniques. 4th International Conference on Spatial Audio, 7-10 Sept., Graz, Austria
  • Vilkaitis, A., Wiggins, B. (2017) WFS and HOA: Simulations and evaluations of planar Higher Order Ambisonic, Wave Field Synthesis and Surround Hybrid Algorithms for lateral spatial reproduction for in theatre. 4th International Conference on Spatial Audio, 7-10 Sept., Graz, Austria
  • Vilkaitis, A., Wiggins, B. (2017) King Lear in Surround – Theatrical Ambisonic Sound Design. Klingt Gut 2017, Hamburg, Germany
  • Vilkaitis, A., Dring, M., Middlicott, C., Wiggins, B., Hill, A.J., (2016) Room Acoustics and Virtual Reality: An Implementation of Auralisation and 360 Degree Image Techniques to Create Virtual Representations of Spaces. Reproduced Sound 2016 – Proceedings of the Institute of Acoustics, p45-56, Vol 38. Pt. 2 2016, Southampton, UK
  • Wiggins, B., Dring, M., (2016) AmbiFreeVerb 2—Development of a 3D Ambisonic Reverb with Spatial Warping and Variable Scattering.  2016 AES International Conference on Sound Field Control.  University of Surrey, Guildford, UK
  • McKenzie, I., Lennox, P. and Wiggins, B. (2015). Inside-Outside: 3-D music through Tissue conduction.  International Conference on the Multimodal Experience of Music, Sheffield, UK
  • Wiggins, B. (2014). Improved Spatial Audio from Ambisonic Surround Sound Software.  Impact Case Study submitted to the Research Excellence Framework (REF) 2014
  • McKenzie, I., Lennox, P. and Wiggins, B. (2014). Tissue-conducted Spatial Sound fields. Proceedings of the Institute of Acoustics, 36(2)
  • McKenzie, I., Lennox, P. and Wiggins, B. (2014). Hearing Without Ears. In: 20th International Conference on Auditory Display (ICAD2014). New York, NY: Georgia Institute of Technology International Community for Auditory Display
  • Wiggins, B. Spenceley, T. (2009) Distance Coding and Performance of the Mark 5 and ST350 Soundfield Microphones and their Suitability for Ambisonic Reproduction. Reproduced Sound 25, Institute of Acoustics, Vol. 31. Pt 4
  • Wiggins, B. (2008) Has Ambisonics Come of Age? Reproduced Sound 24 - Proceedings of the Institute of Acoustics, Vol 30. Pt 6
  • Wiggins, B. (2007) The Generation of Panning Laws for Irregular Speaker Arrays Using Heuristic Methods. Proceedings of the 31st International AES conference, London, UK
  • Wiggins, B. Paterson-Stephens, I., Lowndes, V., Berry, S. (2003)The Design and Optimisation of Surround Sound Decoders Using Heuristic Methods. Proceedings of UKSim 2003, Conference of the UK Simulation Societyp.106-114
  • Schillebeeckx, P. Wiggins, B., Paterson-Stephens, I. (2001) Using Matlab/Simulink as an implementation tool for Multi-Channel Surround Sound. Proceedings of the 19th International AES conference on Surround Sound, Germany, p. 366-372
  • Wiggins, B. Paterson-Stephens, I., Schillebeeckx, P. (2001) The analysis of multi-channel sound reproduction algorithms using HRTF data. 19th International AES Surround Sound Convention, Germany, p. 111-123

Professional journal

  • Paterson-Stephens, I; Wiggins, B; Denormal numbers in floating-point processor applications, GlobalDSP On-line Journal July 2003
  • Paterson-Stephens, I; Wiggins, B; Quadrature filtering using an optimised Hilbert transform, GlobalDSP On-line Journal March 2003

Other publications

Other public output (reports, exhibitions)

  • Wiggins, B., Lennox P., Flat Worm - 2.5D. 12 speaker 1st and 2nd order Ambisonic installation demonstration, Maxis festival, 2003
  • Wiggins, B., Lennox, P., Worm - Real-time 32 speaker 1st and 2nd order Ambisonic installation demonstration, Maxis festival, 2002