It is good to keep in mind that VOTT speakers were originally designed for theaters. The last installation I personally heard had two VOTTs in a theatre seating max 700. They were loafing with 35-watt tube amps each. They were on dollies behind a flyable sound screen -- the theater was multi-use, with movies and live performances. They were only used for movies and were coupled directly to a pair of pro projectors. Other stuff did sound reinforcement.
Repurposing them for a much smaller room might be like trying to get more comfort by replacing a Bentley with a Greyhound bus. You can readily get them to play not-so-loud, but they are still floor space hogs. And while they sound good played softly, they were definitely designed to loaf along at very high SPLs in huge spaces.
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I agree with those who raise the issue of compression in bookie-size speakers. In my experience, the small speakers typically have lots of compression. It really shows up in playing recordings of pianos, horns, crash cymbals, and tympani for example. The little speakers shave off the tops' of percussive peaks. Casual listeners may not notice or take issue with this, but like everything else that's wrong, once you hear it, you can't unhear the effects. VOTTs don't typically do this. This may be why we worship them.
Compression is why I generally insist on hearing an excellent concert piano recording (Elton John or Billy Joel notwithstanding) when auditioning a new speaker. (For piano, I tend to select modern recordings by DG; Jan Lisiecki, Jussen Brothers, Lang Lang, etc.)
Here are some typical numbers: A concert grand piano, heard at 1 meter, can provide SPLs from near ambient (~30 dBA) to instantaneous peaks of upwards of 115 dBA. Modern digital recording can capture that. Few speakers can reproduce that at near-concert levels. Most will start serious compression at ~100 dBA at 1 meter. So what's the effect you hear at 90 dB at 4 meters? Small speakers play the main body of piano tone but shave off the top peaks. To the untrained listener, it still sounds like a piano, but to the trained listener, it sounds like the instantaneous peaks are missing. A dullness. Once you've heard it...
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I've had this discussion with technical listeners who are more serious about hearing tonality and timber. Often, they don't hear what classical piano-trained listeners find missing. They find my piano listening to be some sort of outlier fetish. But the same effects may apply to acoustic guitar. Xylophone. Steel drum. Celeste. Snare drum. Ad musicum...