Sometimes it's really a matter of language, for example what you interpret "transient problem" to mean. I come from a lot of experience with tape and DSD and to my ears the subtle timing of Redbook is pretty atrocious. If you listen to the same recording in DSD the attack and release are much faster and more effortless, the envelope of sound is more fluid and natural, and the spacial localization is vastly better. PCM doesn't even approach this until 24/192 and above, and usually requires some unique filter designs.
Now, I'm trying to be clear: I don't prefer MQA, and after a few samples I scarcely listen to it. To me the problem with it is that it lacks precision, and the top end is dark compared to regular PCM. I can't speak for how they process the majority of releases for Tidal etc, but I do know that they have a database of mastering converters in order to apply the processing. This is more complicated than it seems though, because that likely does not take into account the tracking and mixing converters used, so I would take some of it with a grain of salt.
But I do have to put the timing processing into a separate bucket from their data compression and rights protection schemes. Their filter kernel is actually a pretty elegant design, and from the examples I've heard it did get PCM sounding a bit closer to DSD in terms of fluidity and speed. If you know what aliasing sounds like, that's not the major element in the sound of MQA, although there probably is a little bit in there. It's not a big problem to me as I usually prefer DACs with slow rolloff filters, and lots of us like the sound of NOS or non-digital filtering DACs which all have aliasing.
A few years ago 2L re-released a Mozart album, one of the first DXD recordings done, as an MQA "Remix". This is a PCM file, but what they did was apply the MQA processing to the individual instrument recordings. So, no data compression or anything, just the timing/filter algorithm. I also happen to have the original DXD recording, and the MQA remix one sounds better. It seems like a pretty useful technology, and does help with what seems to be a real problem with PCM recordings. If there was a way to record, mix and master in a new non-Nyquist digital format I think there would be real sonic gains. Unfortunately, it was invented by Meridian who have been all about right protection schemes from the days of the MLP on the old DVD-Audio discs (which, 15 years later I still can't rip), and is tied with data compression.