During May 2023, we recorded B-format, balloon pop impulse responses of various iconic sites in Venice, such as San Marco Square, Rialto Bridge, inside Chiesa di San Stefano, Chiesa die San Giorgio, Chiesa, Ex Chiesa dei Santi Cosma e Damiano, and Basilica di Santa Maria della Salute. We also recorded Campo Santo Stefano, Campo San Apanol, the staircase entrance at the Museo Correr, and some little alleyways. We used ISO 3382-1 as a guideline [1]. We also recorded the soundscapes of Campo Santa Margarita, campo San Stefano, and San Marco Square during the days and nights with church bells in counterpoint, human ambiance, water, birds, canals, boats, and more. The aim was to explore the echoes of Venice via recording acoustic fingerprints and soundscapes. Next, this material would inform two compositions and a sonic map. We take a humanities approach to research sound, informed by acoustics. We include a list of the spaces made audible via Acoustic Atlas URLs [2] where they can be sonically experienced in the browser. Next, we contemplate, through sonic composition, individual perspectives on the relationships between body, time, space, echo, and working with sound. We also consider acoustic fingerprints as spatiotemporal data structures and when adding the dimension of the listener, what gets evoked emotionally and perceptually when working with parameters such as variations in enveloped-ness, magnitude, intimacy, distance, material properties of sound and space, what the shapes of reverberation tails do to us, decay times, flutter echoes and more. We answer this last question, from three subjective perspectives (or two) via compositional/sonic art interventions as pracetice-led research.