Lets look that the bottom-line, and that is the human mind and its great need to have some kind of control over things.
In audio some 30 years ago and more, they had all kinds of things to play with. The turntable was most likely the favorite audio play toy. You could change the audio cartridge, play with the balancing of the audio cartridge, to get those right grams of force. Play with the anti-skate adjustment. Adjusting the pitch of the cartridge, find the right pad to absorb unwanted vibrations on the turntable. Boy, what a good play toy the turntable is and or was.
The thing is, getting mechanical adjustments like tracking force and anti-skating force and electrical adjustments like the load resistance and capacitance presented to the cartridge adjusted correctly really did make a difference in the turntable's perfomance, as did things like getting the geometry of the tonearm-turntable relationship right. These differences were
measurable.
Back in the day when recording studio control rooms invariably contained turntables, my job included periodically checking these adjustments, as well as putting on a test record (after inspecting the stylus with a magnifier for wear), checking the frequency response and channel separation of the turntable/preamp combination and fixing or adjusting anything I found to be off.
If you can find a copy, H.M. Tremaine's
The Audio Cyclopedia contains a wealth of information about that stuff, as well as everything you could possibly want to know about the film sound technology of the '50s and '60s.
OTOH, stuff like coloring the edges of a CD
don't make any difference in the performance of the disc and player, and if you produce measurements showing that the green Sharpie doesn't affect the read error rate in the least, you'll never get an audiopill to believe it.
So I said to an audiophile friend of mine after that test "Look, we will put a lot of knobs on the front of your CD player, they won’t do any thing, but it will give you something to adjust and play with anyway.
On a recording console, that's called the "producer's knob". There are stories of studios installing do-nothing knobs for just that purpose, but I've never seen one in the flesh. I can, however, verify that after a certain
Far Side cartoon was published, live sound boards all over the place started sprouting "suck" knobs.
Back when I did live sound work, I found that when a musician was zarking about his monitor mix, I could "fix" the problem at least 7 out of ten times by reaching down to the board, twiddling a knob on an unused channel and asking "how's that?".