It’s a compromise to have active speakers and is technology mostly embraced by the professional audio sound people. They listen for frequencies, not tonal shadings or micro dynamics...certainly not for the differences in instrument voicing or spatial imaging.
I cannot find who posted this, but this is a complete inaccuracy. Pros listen for frequencies? I’ve worked in pro my entire life and I have yet to meet someone who "listens for frequencies". The tonal shadings and micro dynamics is exactly what pros listen to. Instrument voicing and spatial imaging is exactly what a real engineer in a real studio listens to for hours and hours, days upon days. It is not exaggeration to say that someone like Al Schmitt can listen to one track a thousand times before he’s tweaked everything to his and the artists satisfaction. The exact harmonic presentation of the piano with this mic or that one? The position of the mic and how it changes the way the piano sounds. Fixing the small error in a vibration of a snare when one particular tom tom was struck. Building an image out of separately tracked instruments. Using a specific type of compressor on the orchestra that gives it a sexier presentation than a simple full band compressor. This absolutely blows my mind that someone would think pros [specifically recording engineers] don’t understand the details or are ignorant of the very details that audiophiles value. They are obsessed with it!
A comment I read in this thread that recording engineers gave us loudness wars- complete BS. RADIO gave us loudness wars, and Record companies responded as records had to compete to be popular on the radio. Fletcher Munson curves say the loudest song wins and Record companies who controlled everything told their Mastering Engineer to make it louder. The mastering guy absolutely hates this as much as you do! Fortunately record companies do not have the level of control they used to and now artists are creating, funding, recording their own record.