Can a Amp be "timeless" and compete with todays amps?

Negative feedback does not work, in the final aspect of looking for perfection in it, in looking for perfection that is reasonably attainable (compared to other possible solutions).

Positive feedback might, if it is programmed correctly. A mighty big if, if there ever was one.

Problem is, that in an entire playback chain, that positive feedback aspect has to be carefully programmed. But some impossibilities remain, or at least seem impossible. Chaos/’infinite variation’ aspects, at least with our normal level of ability to unwind their complexities.

Negative feedback, one might say, is the simplified method of getting past those potentials in error within executing positive feedback. One that fails to take on the fundamental. Rather that it is ’clever’ and sidesteps it all, instead.

I did do a design where I combined negative feedback with a specifically shaped interference in the given amplified signal. It tends to sound like the best of both worlds. People remarked that they’d never heard anything like it before.

An example of this sort of area of thinking is found in Jim Strickland’s Accoustat TN amplifier circuit. It looks kinda dumb at first glance. The trick is that it is dynamically active.  It is transient wave shaping, in it's feedback effects, in the realm of time and level.

Case in point. 

You're welcome.

Irony is a must, in all things that are observed in moderation.

Take..er.. your 'give and take', in it's norms. It's ambiguity, and shortness, for some, is designed from the ground up, to speak in ways of inflicted harm, via the least words possible. Trolling without seemingly being trolling. I see you.

It has become an interesting thread. Two people are talking about negative feedback. One clearly understands the topic and appears to be able to talk about it in great length. The other appears to talk at great length. It is up to the reader to decide who is correct. I enjoy both, but for different reasons.

I did not cover the aspect of trailing layers of various odd ordered harmonic distortion patterns, as I try to take care of that when I'm messing with an amplifier execution, at the fundamental level. It is a huge part of the coloration, as Ralph says. But so is the other aspect that I speak of. Have to be careful, though, or we'll be delving into some thing about big boxes on cables and an infinity of poles of articulation.😉