Arihant
This discussion about great actives and a bias towards "not so great passives" is in my view missing the point. I have been a happy owner of four sets of outstanding passives and have no desire to move to actives. Why? Because I like them, and they work for me. The speaker is only one element of the listening experience-and I presume that the listening experience is the holy grail that we all seek( at least that's what I am seeking), right?
IMHO it is more productive to talk about the other elements that might improve the experience-maybe gear, the environment, well recorded music, etc.
My last post on this thread.
If you have tried to activate your home speakers by simply using off-the-shelf active crossovers designed for public address systems and just any individual amps for each driver, you are missing the point here. How would you be able to set all the necessary parameters if you do not have: a complete indepth understanding of the science of loudspeakers and acoustics, the measuring equipment (lab) and the resources. The intricacies of active loudspeaker technology is not exactly a DIY hobby thing. Even normal analog active crossovers used in high end audiophile loudspeaker systems do a whole lot of work:
1) Proper split of the various bands for two-way, three-way etc with low phase distortion & low group delay
2) Circuitry to adjust time alignment & phase alignment between drivers
3) Baffle step compensation filtering
4) Driver response compensation filters
5) Constant directivity waveguide compensation filters
6) Input signal tracking to activate driver / amplifier overload protection
7) High pass filter placed just below the lowest operating frequency of the loudspeaker
8) Low pass filter placed just above the highest operating frequency of the loudspeaker
9) Loudspeaker system calibration controls for various acoustic spaces
DSP active crossovers can do a whole lot more with better precision, (like compensation of loudspeaker nonlinearities) but it is too vast to try to explain it here, and the information is useful only if you understand the intricacies and details of the problems in loudspeakers
The amplifier-speaker relationship can also be vastly improved in active speaker designs leading to a huge benefit in overall performance
http://www.pteacoustics.com/linked/the case for powered speakers.pdf
The other elements that might improve the experience-maybe gear, the environment, well recorded music, etc. will have the same effect on both, state of the art active speaker systems or dated passive speaker systems. It like saying, its no point going for the latest technology BMW cars have to offer, if you can try to get a satisfying driving experience from a good old Maruti by concentrating on improving the road conditions and your driving skills. Does that make any sense? If you could improve the road conditions and your driving skills, would it not make your driving experience in the latest BMW even better?
Bro,
The regular term active speakers are often "used" [sometimes by habit]for studio domain near field listening environment speakers where the room treatment is always present and what you get is almost near to neutral response to monitor the recordings/playback in studio environment.
But when you have home[living room] as your listening environment where the room treatment is often not present you end up with a place having lot of uneven reflections/absorptions which are way different then what you expect in studio and using active monitors in such environment which are meant for near field listening often results in response which is nowhere near to expected
Kanwar, I beg to differ from your above explanation of the performance of nearfield monitors in studio enviornments and homes. Before I moved to the UAE, I worked for some years in AR Rahman's studio. I can tell you that nearfield monitors never sound neutral in studios, as they are usually sitting on the console meterbridge or just behind the console meterbridge on stands, so most of what you hear from them is reflected sound off the console. No sensible engineer depends solely on nearfields mounted near the console.
Real proper reference is always from the main monitors mounted against the front wall or flush mounted in the front wall in a half space far away from the console. They are always the main monitoring tools of a good engineer during recording and mixing. The nearfields provide only a decent free space reference for comparison. Nearfield monitors are also used for editing as you dont want them too loud during the process
If great active nearfield monitors like Genelec are properly installed in almost any home and properly calibrated, they sound almost perfect and easily much better than any nearfields can play in the best studios on top of the console meterbridge or just behind the console meterbridge on stands.