My take is a bit difference. When I perform with players with a Stradivarius violin, it isn't the violin that is impressive - up close they have a "scratchy" sound and sound like a lot of work to play. No what is wonderful is the inspired playing by those fortunate to have access. They are also the first ones to say that there are enough great contemporary instruments and their playing is not "better" on a Stradivarius.
If we look at speakers, how many are acoustically in phase? How many can be set up in phase without rebuilding them - just about NONE. There is also a reason for that. The sheer volume (not cost) of equipment necessary to "do it right" limits the amount of customers to those with the real estate, the cooperative partner, the time to care. Those people will find there Macondo without us - generally from people like Jeffery Jackson.
I think that the only customers for a Macondo have the advanced musical taste and the physical and financial means to pull it off. I know of perhaps a handful that give a shit enough to do something this substantial. Out of that handful, most of them have more important decoration themes to appease the other half.
I would think that the first step in building a business like this would not start with hardware, it would start with recordings.
I used to play in a jazz quartet for brunch at a Holiday Inn. I could picture a venue like that for serious applied listening (a definitive, historic recording with a presentation of the circumstances and then like a concert, listening all the way through). Then perhaps common denominators could be found and a following built.
I think it makes little sense to have a Macondo if there is not the active reference to and love of live music of similar scale.
Whenever I feel blue, I start breathing again.
I guess I would like to be able to do something better than anyone else - and still be better after 100s of years.....