Interestingly, the changes in the sound associated with the replacement and orientation of the wires can be recorded and played back. After digitizing, the difference will not be heard as clearly as in live, but the nature of several consecutive changes will already be recognizable and based on the recordings, you can track how much you have progressed in setting up your system or, conversely, how much you have been led away somewhere. The recording allows you to repeatedly return to the evaluation of the results and eliminates the influence of momentary deviations in perception related to mood, health, fatigue, etc.
Serious changes in the recording system, when you orient every wire, including the mains wiring in the room and select every detail of the system by ear, lead to a fairly noticeable difference in sound. For example, the violin, the most sensitive instrument to recording and playback errors, becomes more flexible, begins to SING more expressively, and the intelligibility of the individual instruments in the group improves. Here I can give a lot of examples, for instance, Grappelli's violin in its usual form sounds sharp, Django's guitar is lost in its background. https://www.youtube.com/watch?v=h-zSlE5ZgOA
The 78 record gives us a completely different impression - the violin sings and at the same time does not obscure the guitar, which, as it turns out, can also sing if it is in the brilliant hands of Django.https://www.backtomusic.ru/19652
The frequency response in the recordings is quite different and this is the first thing that catches your ears. If you listen to the recording for at least 30 seconds, this difference ceases to interfere with the evaluation of the musical properties of the recordings.
When tuning up a system for digitization, almost always subjectively positive changes in the sound occur against the background of deterioration in technical characteristics caused by the rejection of the negative feedback, the use of imperfect homemade radio components (capacitors, resistors and coils), ancient triodes, and so on. As a result, we have a completely illogical situation: the most important moments for the perception of music are improved, while the technical characteristics of the system are deteriorated.
A question I've been asking myself for years - how can this be, if the technical (electrical) characteristics determine everything?