But it still doesn't explain how audiophile listeners only seem to find extreme positives when they listen to traditional studio recordings on expensive stereos.
How do you come to this statement. The bulk of recordings that have "extreme positives" are a small minority. I'd say that far less than 10% of my collection is audiophile quality recordings, with the bulk coming from small specialty labels that are obsessed with sound quality.
The rest of the recordings have lots of issues but I don't post about how my system lets me hear the issues.
In fact there are far to many recordings that are so bad I can only listen to them as backround music.