Experiences like that are precious, not only because they unexpectedly shine a light on the emperor's new clothes but also because they may reveal greatness in places and gear pairings where we wouldn't have necessarily expected it.
In a related vein, I believe that the first step to successful system building is to take an honest inventory of one's musical tastes and listening habits. I say "honest", because there are still pontificating buffoons out there who call themselves audiophiles who disparage others' tastes as they relate to the "lesser" musical genres.
You know the type: classical music is the bees' knees; soporific chanteuses like Diane Krall are bliss incarnate; small-ensemble jazz comes next; and rock, well, rock is déplorable but they tolerate classic rock because that's easier than going up against the tastes of tens of millions of ageing boomers.
As the result of this jackboot orthodoxy, some folks, particularly new folks, are browbeaten into keeping their true tastes to themselves for fear of Audiophile judgment.
Why is that important? Because folks should always audition gear with the very music they're going to play on it, at the sound level at which they're going to play it.
But if you're intimidated by the thought of blasting your industrial and sludge metal and Japanese noise tracks at the hifi shop, then you'll never know how that system that's so suavely and wonderfully playing Adele at 60 dB will sound playing the Melvins at 105 dB.
In short: know yourself, your musical tastes, and your listening habits (how loud do you really like it?) and proudly embrace them.
This isn't being discussed so often, yet it's huge; it is the very foundation upon which a person successfully builds a system for themselves.
