What direction should Hi Fi tune fuse be installed

I'm gonna reverse the direction of all the fuses in my rig, listen to it, reverse some of them, reverse the other ones, re-reverse the previously reversed ones, and then return the entire thing to its non reversed state. Allowing for reversal and return burn in, I should finish comparing the results by late August.

I disagree that the sound of live music is not a valid standard for judging a component's or system's sound because of the "influence of personal perception", and as Wolf wittily says : "ear wax and one's hat". Of course there will be much variability from one live situation to another; different venues, different instruments, and different performers. However, there is much that is consistent in the sound of live regardless of situation to allow a valid comparison. It is true that we each perceive sound uniquely due to our own physiology (or hat), but it is important to remember that these will be the same when judging the sound of a component or system, so a valid comparison is valid. That we each "hear differently" as is often pointed out is irrelevant. Unless, of course, if there is some psychological factor that alters our auditory system's characteristics due to the simple knowledge that we are listening to electronics vs live; after all, the Fedora in my closet does have the power to make me feel hipper than not :-) The problem, as I see it, is that most are not very familiar with the sound of live at all.

@Frogman- If you HAVE to explain; they WON'T understand!

Al wrote,

"However, I have yet to see a technically defensible explanation of how a fuse would have any "knowledge" of the direction in which power and energy are being conveyed through it."

It's really rather simple. The sound is different depending on the direction of the fuse, any fuse. Therefore, the fuse must "know" which direction the signal, the music signal, the electromagnetic wave, is being conveyed through it. You're mincing words.

Cheers

Frogman, live music is a difficult standard and has gotten worse. As I said, most groups cannot perform without it and those choosing professional audio gear are indifferent to the quality of that gear. At last year's Newport Beach audio show I listened to both Nnenna Freelon and Tierney Sutton perform live. I arrived as they were setting up and sat in the center about twenty feet away from the singers. There were two very large speaker arrays on either side. Everyone had their own mic. Especially when Freelon was on it was too loud.

Both singers gave great performances but Freelon is a showwoman without competition. I have her recording live and in my room I can turn up the volume and it sound very similar. I think increasingly that is about as good as you can be of using live as a standard. I have heard grand pianos live and they are loud. I have a few recordings that get very close to this. Forget about drums unless you have horns with compression drivers.

Finally, there are the halls. My University has a terrible venue. It has fluted concrete walls on either side of the stage and absorbent material on all walls intended to absorb all music. In turn the music is captured electronically and delayed in an echo chamber to get the needed delay and then sent to speakers throughout the hall. Some live music. One can sit in the center in the first two rows and get live music. Few want to be that close, but I do.

You say that "..most are not very familiar with the sound of live (music). I doubt that many can be familiar with live or that It is even real when they hear it. It probably isn't.

The real point is that there are no other standards for reproduced music other than live sound. I hate when some say that we should give up on reproducing "live music" as it is impossible. That our goal should be less lofty, namely "musical" sound. I say to them, go ahead and abandon the quest, I want "live."