No more op-amps then.

Given op-amps are present in most commercial designs and widely used on the recording end it will limit the amount of good sounding gear/recordings.

The reason why high feedback is often rejected by most audiophiles is because of their open loop bandwidth.
This is needed for most cheaper op-amps to get them stable.

The thought behind op-amps 'removing' plankton is thought to be in the fact that because of this low speed (in open loop) the internal stages are 'clipped' and thus the small signals are not amplified any more as there is no 'room' for it.
The dreaded TIM is the evidence.

A way to 'test' whether or not this happens is easy to do.
a small sinewave (say 400Hz) mixed with a large signal squarewave just below clipping levels (with a variable slew rate for the test) and see at which slew rate the sinewave gets mangled in the process.
This is why most high feedback amps have low pass filters on the input... to prevent this.
It gets worse the higher the input signal becomes.

I can imagine op-amps getting in trouble when non post filtered NOS DACs or poorly filtered single/low bit DACs stress out the limits of the amps behind it. This could have implications in the audible band.

Not many really measure this though.