I'm reluctant to jump into this food fight, but I will. I won't shout "FACTS" in all caps, but the following is pretty much beyond reasonable dispute:
1. In engineering, almost everything involves trade-offs, in cost, various desired performance parameters, or both.
2. It's pretty much been acknowledged since almost the beginning of time that active crossovers offer performance advantages over passive ones--both theoretical and actual audible differences. Probably mostly in the former category today is the fact that two or more amps being driven with bandwith-limited signals will produce fewer intermodulation products, all other things being equal. More practical, perhaps, is that passive crossovers require large component values at the impedance speakers operate at. This usually necessitates bipolar electrolytic capacitors which, among other things, have crappy unit to unit consistency, and sometimes even iron core inductors, which are subject to hysterisis nonlinearities. Connecting each driver directly to a separate amplifier enables greater control of the speaker by the amp, especially important for dynamic woofers. Finally, active crossovers offer finer control over the crossover parameters. Even in the analog domain, 24dB/octave is no problem. You can have Butterworth, Linkowitz-Reilly, anything your heart desires. Thanks to elegant circuits like "negative inductors" and "gyrators", you don't need coils of wire at all. And if you're willing to use DSP, the sky's the limit, as far as tweaking filter parameters.
3. PA amplifiers, of the kind designed to drive "70 volt line", with multiple crappy little in-wall speakers each with its own step-down transformer, should not be confused with the type used to play large rooms and theaters (where highly regarded "audiophile" brands like McIntosh are often to be found). Nor should it be confused with an electric guitar, amp and speaker, which is a musical instrument unto itself.
When one of the first commercial actively crossed over speaker systems came out, the Infinity Servo-Static, the Crown DC 300 was frequently recommended to drive the power hungry mid-range. Since that time, Crown has drifted more into the pro market. In my time in broadcasting I saw many D-75's and D-150's used to drive studio and control room monitors. Doesn't mean they started to sound worse than before. I don't believe for one instant that all competently designed amplifiers not driven into distortion sound the same, but I do believe they sound more the same than they did, say, 30 years ago. Thanks in part to better components, true complimentary power transistors (in the case of SS), better output transformers (in the case of hollow state) and better construction and manufacturing techniques.
No matter how much you may love the "magical liquid mid-range" Stereophile and TAS reviewers may rave about a $30,000 or $300,000 amplifier, it's pretty much irrelevant driving a woofer up to 300hz. I wouldn't hesitate to use a class D amp for that application. And you have to ask yourself in any case at what point the law of diminishing returns kicks in.