The guru on fuses:

We're pretty lucky in that John Curl is a member of our local audio society and he regularly attends our Friday Zoom Happy Hours. After most of the crowd breaks for dinner we have the Happy Hour after party where John gets a bit more involved in the discussions. Let's put it this way, the man didn't get to where he is today by not respecting the laws of physics and electrical engineering. He does place an emphasis on listening, but understands that you have to have a solid circuit with which to base that listening off of. That involves ensuring the test measurements are up to snuff.

Roger Modjeski was also a member of the audio society prior to his passing. He used fuses from the Little Fuse company in his designs. I've got hundreds of them here to resupply customers with the proper fuses for their amplifiers. To say the least, Roger was not very enamored with the expensive exotic fuses.

Sure you can use your ears but hopefully nothing will blow up or catch on fire while you are listening.

I'm confused. Since when did John Curl have anything to do with designing a McIntosh system for the Grateful Dead? I know about the system of course, it's famous, but he didn't design amps for McIntosh, did he? What was he then, a consultant putting it all together for them?

For those of you who think you are authorities, and especially for those of you who only read the half paragraph on fuse measurements, READ THE WHOLE ARTICLE!  The gist is neither that fuses matter or don't, even though his explanation clearly shows why they should make a difference, nor is it that measurements do not matter.  Curl clearly explains how critical listening shows differences that have not yet been measured, and how this experience clearly leads to better instrumentation that finds measureable electrical differences. 

roxy54  No, John Curl did not design McIntosh products, but he used for the system.  He designed the crossovers, and worked with two other engineers on the monitor less dual microphone system (wired and positioned out of phase with each other to remove any feedback from the speakers behind the mics).  He also provided his expertise for other wiring issues for the Dead's Wall of Sound system.  There were two to four semi trucks, depending on the venue, each with sets of scaffolding.  As the band played one venue, the second structure was being assembled at the next destination.  Acid King Owlsley Stanley built the speaker cabinets, and JBL made many of the drivers, along with Electrovoice, I believe, abut Curl designed the electronics other than the amps. BTW, at Miami Jai Alai, about two and a half dozen 300 wpc transistor amps ran the instrument speakers, while 350 wpc tube amps were used for the singers, in order to get pleasing harmonics.  Interestingly, there were no mixing boards, nor monitors.   Check out the system below.  I saw and heard it indoors at Miami Jai Aai, where a smaller number of amps, were used than at the outdoor stages, only a few dozen.    https://en.wikipedia.org/wiki/Wall_of_Sound_(Grateful_Dead)#:~:text=The%20Wall%20of%20Sound%20was,as....

millercarbon  RE: "I am always amazed how people..." and others:   Read the entire article.  Too many people just read and comment on the parts that they think they already know.