On high-end audio fora, amplifiers with feedback are often rated low on their perceived quality, whereas the theory learns that all kinds of undesirable misery are suppressed by feedback. How come? This paper analyses the problems with feedback and comes to the conclusion that the often applied equations for feedback are fundamentally in error. The gratuitous application of these may introduce audible artefacts. So feedback can improve the perceived quality of equipment, if applied with in-depth knowhow, but it is certainly no miracle cure.