Personally I like a little bit of feedback, but it depends on the blade, the rubbers and the frequency.
I'd also draw a distinction here between vibration and feedback, as people constantly confuse them and use the terms interchangeably, when really, they're totally different.
When designing a blade, I typically define Feedback as "Vibration that actively enhances player performance". Feedback related specifically to all the sensory information in your hand that informs you of how the blade is performing.
Feedback in a blade is extremely useful and necessary to a player as it's how you measure all the nuanced aspects of impact play: the strength of your shot, the amount of opponents incoming spin on the ball, how much you're engaging the sponge in your strokes, the amount and nature of your brushing contact, whereabouts on the blade the ball made contact, and so on. A complete lack of feedback would be like your hand feeling nothing at all... Like it was either numb, or almost as if you were swinging a cloud of gas. Some balsa blades are like this -- there's very little impact information coming back to your hand, and it can make it difficult to judge the strength of your gentler pushes or drop shots -- myself I really hate that feeling. I find the best blades for feedback usually give you lots of soft, low frequency vibration due to high density wood in the core (like a really good one ply).
Vibration in a blade however is very different to feedback. This I define as "Vibration that actively detracts from player performance'. Vibration in a blade is all those sensations that interfere with or sometimes even drown out the feedback a blade gives you, and it's something I fight hard to actively avoid and design a blade around.
Vibration is any sort of impact energy transfer to your hand that impedes performance, and we all have our own definitions of it -- for most players this means high frequency vibrations or "Buzz" ... That sharp feeling like you're holding an electric razor or hand blender in your hand as opposed to a table tennis blade. After ten minutes of using a blade with high frequency vibration your hand can almost start to feel numb. Bad vibration is channelled through the bones of your hand, whereas good feedback is channelled through your skin and/or muscles.
The dividing line between feedback and vibration can be a fine one sometimes, depending on the player, especially if they have a preference for mid-to-high frequency vibrations. Some people (granted not many) actually like a little high frequency vibration in their blade, so long as it's not too strong. It's actually really hard to both create and limit high frequency vibrations in the same blade though, as it requires making the whole blade stiff, and from similar density material. You also have to use hard stiff light woods that are known to be boneshakers, then team them with very hard glue of similar density. It's a combo that's really not pleasant to work with, as you only want to create buzz in the skin of the players hand, not rattle their teeth like they're using a jack hammer (I'm looking at you, heat-treated Ayous!!).
Making a lower frequency blade with lots of feedback requires the opposite approach: you use lots of softer heavy wood and soft glues, and while some materials give lots of lovely soft low frequency feedback (eg hinoki), too much of it can rob you of sensory definition and it's hard to judge the amount of impact force with gentle touch shots, through having too much of a good thing. Again, you want the feeling to be soft, pleasant and confined to their hand -- not shooting up their forearm like they're leaning against a ten foot sub-woofer at a Skrillex concert (not that there's anything wrong with that 😎😎).
Long story short, creating and managing feedback and vibration is a huge chunk of a blade makers job. Get it right and you've got a blade that's a potential best seller. Get it wrong and you've got a blade that spends its entire life either sitting in a cupboard gathering dust, or else loitering at the bottom of a bargain bin.
