In this brief article, the author discusses the utilisation of loudspeaker orchestras for the projection of multi-channel electroacoustic music. He argues that in concerts where a work is not being diffused by the composer her/himself, but an 'interpreter', there are often weaknesses in terms of the interpretation of the work relative to the loudspeaker system through which it is being diffused. His suggested solution is that interpreters should spend more time with works, that they should know a work by heart, and that perhaps specific training is needed to create specialised interpreters - specialised not only in technical matters but above all in musical interpretation.