Are future improvements in Amp/PreAmps slowing to a crawl?

Kosst should move for a directed verdict.

Mr. Paul.  I apologize if I missed it.  How are you testing the "perfection?"  By looking at measurements, or by listening through speakers, which, by any objective standard, are imperfect?  If the latter, how then can you or anyone really discern perfection?

I know I've given you a little bit of difficult time, but I am actually interested.  I just don't understand it.

stfoth,

Early on in the project (years) you can see the THD drop to low levels by making a specific part of the circuit take over the handling of the input signal.
Once the distortion hits the noise floor - two possibilities exist. If the noise is seen on a spectrum analyzer is -100db  then the distortion is either -100 as well (or less). Listening tests at that point reveal a caliber of resolution that can be associated with those numbers. After that point any further improvements (hearing more resolution/less distortion) is happening below -100db. If you monitor it over time you can see the random nature of the noise will occasionally drop below -100 for a brief time. When this happens it exposes the harmonic measurement which if it was -100 then even in the absence of noise it would still read -100.
Instead it measures -130db. This quick peak indicates that the distortion is still being driven to deeper levels and you can verify by what you hear that you are going in the right direction. After that point the THD analyzer is of no use. Now we take over with the math to determine how far down it wold be. Because of the phase lock kicking in and stopping it from being able to generate harmonics - you now can use the degree of resolution as a gauge going forward. As I continue to raise the sensitivity of the detector by X amount - it translates directly into an increase in resolution. It is obvious when resolution goes up - other instruments that you never heard before are now "visible". Again, continuing to raise the detector output gives you the numbers needed to calculate the degree of lock presented to the fundamental. At this point it no longer can distort at least as seen by harmonic output. Now we are down to how much bandwidth are we limiting the fundamental to vary. As the detector continued to improve I can calculate how much phase shift is now allowable as far as deviation from the fundamental frequency. Since I know that the detector sensitivity can be triggered by as little as a few micro-degrees, It ensures that the smaller the allowable phase shift - the tighter the focus. Remember the detector drives the auto-focus.

The correction uses phase shift countermeasures that are extremely tiny and guarantees the fundamental is now the only thing that can exit the stage. The red shift / blue shift torque is held at a balanced point by a hair trigger which is the velocity detector. All of the correction as I mentioned is done on the horizontal axis. (time domain line). To do this the detector has to be rotated by 90 degrees so that it is literally seen by the music signal as a path that it must travel through to reach the output. (unlike monitoring the voltage or amplitude levels as in the vertical axis).

Trying to use negative feedback driven by amplitude measurements is no way to accurately correct anything. As you may know by the time you get this "sample" of output to use as a countermeasure its too late. That "piece" of music already left the circuit as distortion.

By using 90 degree phase detection capable of seeing a micro-degree of phase shift you have plenty of time to fix the problem in real time. Once this process takes over and we know the sensitivity of the detector we know the max deviation from the true fundamental. At this point it is right in the ballpark of the same phase shift you would expect sound to experience traveling through air. (virtually zero).

At this level of phase purity we have emulated the linear property of air.
The sound of the unit now seems more like a hole in the wall or portal through which sound waves are allowed to pass through unaltered.
The hardware is cloaked.

Hope this helps.

As you can probably tell this is not a conventional means of amplifying.
A totally different approach was needed to remove distortion. 

@roger_paul How do you know your circuit works??

I ask simply because in the past you've not indicated that you have any means of quantifying this timing thing you talk about. Just so you know, that's a bit of Red Flag.

@stfoth. 

You see my dilemma. I too am curious, but he speaks in jargon that defies understanding. I don't understand how he interprets gain as "velocity". 
Beyond the problem of jargon and measurements, there are technical questions. 

@roger_paul 
You say you focus your effort on the voltage gain. How do you address the necessity of accurate current gain, which must be a high priority if one is to drive a modestly reactive high impedance load? It's not at all difficult to pair devices and end up with vanishing noise and distortion. It's a matter of how many parts you want to throw away in the process of pairing them. What you seem to describe is just a very complicated feedback and filtering technique. 
As far as my question about the perfect medium, I'm talking about the recording medium. 
I seriously question your claim that high quality imaging requires extremely low distortion. The popularity of SET amps seems to question that premise. The nature of spacial cues is distortion. Much of music is distortion. I think that the ideal of zero distortion has been tried and rejected. I'm happy to try your pre-amp out so long as I'm not in the hook for shipping or damage. My F5 is a brutally revealing amp though, and that characteristic about it is making me seriously consider a tube based pre-amp as opposed to JFETs. I'm already listening to a system who's transparency challenges my ability to listen to some of my favorite music on account of less than ideal recording techniques. Many people face that issue. I seriously doubt anybody honestly wants a stack of truly zero distortion electronics.