I'm reminded yet again of the Stereophile Challenge, which was successfully met by Bob Carver. He had a hotel room, test equipment, and electronic components available to him, and in 72 hours, revised the hardware of an amp to match the sound signature of a very different amp. This was before DSP, of course. What did he do? He use null testing to reveal (sonically) the differences between the amps, and then fiddled with components until the differences were reduced to a level below (as I recall) -60 dB. At that point, the expert judges could not subjectively distinguish between the amps (at -30 dB they could).
Note the most important aspect of this that is not mentioned: Carver's objective was not absolute linearity, but rather to match the non-linear behavior of one amp to the non-linear behavior of another amp under the same operating conditions. The target amp had been subjectively judged to be superb, but I take that to mean it had a subtle coloration that was pleasing to their ears.
Is there anything that Carver heard in that null test that could not be measured? Of course not. If his only tool for eliminating the difference was changing the values of specific components, the result must clearly be measurable. Play that null difference into test equipment, and everything about the differences would result in squiggles of either frequency, phase, or amplitude.
In one of those RMAF Youtube videos, John Atkinson was asked what made a good amp, and his response was a healthy measure of even-order harmonic distortion. He had his tongue in his cheek, of course, but not all the way. I suspect the fellow from Yamaha was "tuning" his amp to sound good by that sort of measure, not necessarily to be absolutely transparent.
The problem is with the shibboleths that are subsequently added or edited by the marketers. They will show design specs rather than test results, and claim linearity when their designer's real objective is not necessarily absolute linearity.
Rick "for whom 'musical' means that instruments sound like themselves, and a high second-harmonic might be pleasing but can violate that objective" Denney