RGA, I won't argue anybody's preference -- you don't have to convince me that you prefer your OTL.

I prefer the most accurate amp because I believe that the very best recordings sound best played through more accurate amps. Lousy recordings can definitely sound better filtered by amps of lessor accuracy but prettier character. I discovered that when I tried the Monarchy SM-70 Pros which aren't class A's, aren't zero feedback, but are high bias with only local feedback only in the driver section, (an opamp).

The Monarchys sounded better on 70% of recordings vs. the Bel Canto eVo2i they replaced. But they were the less good recordings. When I moved to the Class D Audio amp, the Monarchys still sounded better on about 30% of recordings, but they were the worst recordings.

Recording practice leaves a lot to be desired. Few or no recording engineers will take the time or spend the money to make really capture the sound of a fine concert hall. Most use many microphones close to the instruments and "fix it in the mix". Sir Terrence as assured us that it excellent results can be achieved with close microphoning and I believe him that they can because I have many excellent recordings made that way. Unfortunately there are many, many recordings, (old and new; CD and LP), that have a raunchy quality of sound that you will never hear from a good seat in a good concert hall.

However I personally am not disposed to compensate the shortcomings of recording by adding pleasant sounding distortion.