You are paying for the things the spec table hides, and whether you will hear them depends almost entirely on your speakers and your room.

Two AVRs can list the same channel count, the same watts per channel and the same HDMI features, and still be built very differently. The premium one usually has a larger power supply and an amp section that holds its composure with all channels driven, which is the condition films actually create. The budget one's rating is often a two-channel figure into 8 ohms; ask it for seven channels at reference level and it sags. Better DACs, deeper room-correction suites, more pre-outs for adding external power later, better build and cooling, and longer firmware support round out the list. None of that fits in a comparison table, which is why the tables look so similar.

Is the gap audible? Here is where I separate plausibility from what you will notice. Into an easy load in a modest room at sensible volumes, the difference can be small, and I would not pretend otherwise. Into low-impedance or low-sensitivity speakers in a large open-plan hall, played at the levels a proper film deserves, it stops being subtle: the cheaper unit compresses, gets shouty and eventually trips protection. Same specs on paper, very different evenings.

Firmware support is the quiet one. An AVR lives at the centre of a system for eight to ten years, and HDMI standards, EDID quirks and streaming formats keep moving. The premium tier tends to be updated for longer. Nobody puts that in a brochure because it is not exciting until the day it matters.

Our approach is to match the AVR tier to the speaker tier and the room, not to the biggest number the budget allows. If your speakers are easy and the room is a bedroom, I will tell you where the extra rupees will not be heard and suggest you spend them on a subwoofer or on calibration instead. Send us the speaker models and the room dimensions and I will tell you which tier is the right one, and which one is just heavier.

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