In my mind, my Pepsi story negates your audio listening hypothesis.
The two of you are right and wrong together and at the same time...
There is always a placebo effect and a nocebo effect at play...
For sure it is so....
We all are played by our expectation biases...Then my pepsi is your coke and vice versa....This is a common place fact in life and in science too...
But when this is said, all acoustic cues contributing to every acoustic factors exist objectively, they can be implemented and put in place with objective ratios between surfaces,volumes, various acoustic material content and various devices...
In the sound experience there is expectation biases and placebos, but what i listen to from my speakers/room emerge MOSTLY from my ability to control the room too or from my unability to do so...Not from my expectation biases...But from my acoustic knowledge and experiments...
Then explaining everything by expectation bias dont usually means much...
"Measuring tools fetichists" tend to negate any value to the expectation bias of the " subjective gear tasting fetichists"... And debates goes without end because they argued about the GEAR and they dont know HOW TO MODIFY AT WILL ALL ACOUSTICAL CUES contributing to the main acoustic factors and experiences in their room ...
The two main opposing groups of fetichist focus their attention on the gear pieces, one group subjectively, the other objectively...They ignore acoustic and psycho-acoustic or treat it like a secondary factor but it is the main one...
Acoustic/psycho acoustic is the science correlationg subjective and objective dispositions, ratios, and devices...
Buying an upgrade and plugging it in the wall with or without an objective measures set is SECONDARY business for the ultimate sound/music quality experience...Not the main business...
Acoustic is the sleeping princess and all pieces of gear are the 7 working dwarves, and the kissing prince is the psycho acoustic factor....
😁😊
There is also with the acoustic embeddings controls , the vibration/resonance mechanical control and the control over the electrical noise floor of the sysyem/room/house...
These three embedding controls are the KEY of a good sound experience not decimals about different piece of gear so important measures are for the design of a good piece of gear...
Is it not simple?
It is incredible that most people argue without end ignoring this three factors to audiophile perception and debating subjectively or objectively about a piece of gear...
All audio magazine are marketing sellers points not science , and almost useless to create our sonic heaven... It is not exagerated too much if i say so....By the way it is not because someone use technological tool that it is de facto science... Science need concepts not only tools...In audio the concepts come first and last from acoustic...
Anybody can buy a good basic piece of gear but knowing how to embed this working piece of gear in his mechanical, electrical and acoustical environment is the KEY...
i learn it the hard way...
And listening is not a placebo journey in deception, it is something we must learn, not by comparing various pieces of gear and calling our favorite brand name product the winner, but by training ourself in acoustic control : bass, timbre perception, dynamic, imaging, soundstage, LEV/ASW ratio, etc....