One of the first things I learned once I could hear music properly was that I had favorite "versions" of different albums. They truly are NOT created equally, but it's not something you can really appreciate on a crummy Bluetooth headset either. Once you can you really start to appreciate the work that folks like your friend do.
That can be a real double edged sword.
When you realise how good things can be it means many of the everyday/average things can become intolerable.
I'm happy that I've got slightly dodgy eyesight in that I don't really care whether something is in HD or 4K (I can still tell if my wife has selected the SD version of a TV channel, and I'm still way above the minimum standard to be able to drive).
I'm also happy I didn't inherit my father's audiophile hearing. I can do blind listening tests of different bits of audio equipment and barely hear the difference between them whilst my father (even in his 80's) can provide a whole list of things that are wrong/better/different about each of them (and he's not just making stuff up).
The biggest test is that I can also drink most supermarket instant coffee without complaint. I've got some friends that walk 25 minutes each way to their favourite coffee vendor multiple times a day as "everything closer is awful", but then that's more about them having a nice routine to get them away from their desk.
I was the same way for years and appreciated it but unfortunately I did start to treat myself more and it's hard to go back, but my financial situation is also much better. I think it's valuable to stick with the lowest sufferable quality of something until you have the ability to meaningfully upgrade or improve upon it.
Hearing the two masters side by side on some incredible speakers really gave me an appreciation for how different 'versions' of an album can transform the experience of the music.
It's possible (likely) that those prerecorded cassettes had boosted high frequencies because they were intended to be played on a deck that supports Dolby B noise reduction, and will do the reverse operation to get the level back to where it's supposed to be.
Dolby B noise reduction didn't actually reduce noise at the source. Instead:
- During recording: Boost the volume of high frequencies (where tape hiss is most audible)
- During playback: Apply the inverse.
When you reduce the treble during playback, you're reducing the hiss along with it, but the original signal (which was boosted before) ends up at the intended level. This improves the signal-to-noise ratio in the high frequencies.
This is similar to the RIAA equalization curve used for vinyl records.
- During mastering: Reduce bass, boost treble.
- During playback:The RIAA phono preamp applies the inverse curve—boosting bass and reducing treble.
IIRC the reasons for the RIAA curve aren't just about improving signal-to-noise ratio, but something about the physical limits of vinyl.