noviygera wrote:

I think most people, as audience find fascination in unusually capable performance of the performers, as in a live music event. So if there is no performer there is nothing to give homage to, really. Other than good reproductive properties of a sound system, which can get kind of old quickly to the non-involved observer, there is so much time they are held interested and then drift off to casual interaction. During that live performance the performer keeps the audience involved, no? But at home in your listening seat, what keeps you involved is not the performer but the performance.

Jorge wrote:

Same happened to me when I first started living with my wife,  she would come over lay in the couch besides me and start chatting:  It was very soon I let her know this is a ceremony, and she should not talk or make any noise, and if I am listening with my eyes closed, she should not come in talking, she should turn the light on and wait for me to come back from Jupiter! Sometimes when she comes in instead of making any noise or turming the light on she dances in front of me, of course that messes the soundstage and I open my eyes immediately looking for smoke on the amps!

It was very interesting event last night. Amy and I were visiting Living Voice Company. We did some listening and Kevin, the company owner, who very devoted to chamber mystic, played his favorite selections of Beethoven quarters. Amy mostly did not participate in your listening and spent time with Kevin’s wife but during the Beethoven quarters she was attracted to listening room, partially by the quarter that she played recently and partially by the tasty sandwich that Kevin’s wife made. So, she sat on the listening couch for whole two movements and in very dignified “default” posture, listening the music. She was very involved, was closing her eyes and was very full of attention.

As we left I asked Amy what she feel is difference in sound between Vox Olympians and our home installation.  She said that Living Voice  is more optimized for chamber quarters but Macondo is more optimized for large scale of music.  That was superbly interesting comment.

I pointed out to Amy that during the 1.5 years that she is living with our installation there was no single time when she discipline herself to listen a whole movement of any quartet. She always distract herself by putting clothes on and off, by laying more comfortable,  by drinking wine or eating cheese, by engaging me,  by doing whatever she does but she never did a truly full time listening. Here at Living Voice she was a guest of the house and she was not able to behave as he would do at home, so the circumstance made her to sit and to listens, just like that, not multitasking, no other activities then just to listen.  Suddenly, she loved it as she recognized that if she can focus only on the audio listening part then she understood that it might be very stimulating as well.

Of course I was very much disagree with her assessment of comparative capacity of Macondo and Vox Olympians  but it is very much not about the designers egos but about  give to Amy illustration  and to teach her how to listen. I brought to her the argument that I has in the paragraph above and pointed out to her that at home she never made an effort over herself to dedicate herself to just unadulterated listening.  She suddenly …. “got” is and she agreed. She also said that she will try home to do some focus listening with any behavioral cheating.

I am very glad for this development. I do not know it that will “work” but if it  does then for sure Amy will have a lot of interesting discoveries in her way.