Mix engineers often work at huge consoles, which can be a bad (reflective) listening environment with small near fields (narrow dispersion) placed on the meter bridge. The narrow dispersion reduces reflections but it makes for a very narrow sweetspot - good for one person at work but not the best way to hear music. They don't care what the speakers look like (no WAF issues so exotic shapes or veneers are a waste of money to them). Finally, they care about accuracy and that mixes "translate": self powered speakers tend to suffer less from IMD distortion and phase/crossover issues compared to passive designs and there is one less variable (amp/speaker interaction) to worry about.
Audiophiles listen at home and therefore it often makes sense to choose speakers with a more natural sound with wide dispersion, for an even soundfield and a larger sweetspot. It also makes sense to choose a pretty speaker design rather than a purely functional one, as the environment is domestic. Audiophiles also do not need to worry about whether the speaker presents a precise balanced sound at different listening levels, as they simply adjust volume to suit their taste on the equipment they have.
Mastering Engineers however will use tend to use some designs that are closer to what audiophiles use.
Examples (and you will see that not all are "different" but many are)
Bob Ludwig used ATC's (in the past) and now uses Egglestons at work and ATC's at home. Alan Parsons uses B&W 802D. Doug Sax uses ATC's at work. Elliot Scheiner uses Yamahas. George Massenburg uses ATC and Genelecs. Bob Katz (Chesky) uses Lipinski's. Chuck Ainlay uses ATC. Ed Cherney uses Custom Tannoy SGM 10's/Mastering Lab at home and KRK E-8 at the studio. Michael Bishop uses ATC. Al Scmitt uses custom Tannoy/Mastering Lab design. This is the Mastering Lab custom design by Doug Sax of Sheffield Direct to Disc fame; a mastering engineer with famous credits list almost as long as Bob Ludwig, Incidently Doug Sax bought the last production run of Tannoy's famous SGM10 - so these are a are collectors item. There are many other custom designs by Ausberger with TAD components and perhaps ten other popular makes that I did not mention (Adams, B&W, K+H, Meyer, JBL, PMC, Wilson, Dunlavy, JM Lab, Von Schweikert, Westlake etc. - go to Gearlutz.com to learn more) Not all but several of the custom designs are "in walls" which requires flush mounting the speaker baffle with the front wall in an acoustically designed setting. In walls are rarely used for mixing and most often used for bass checks and to impress clients or discuss the mix with the band (the nice even soundfield means a large sweetspot which makes group discussions practical). Examples of "In walls" can be seen at the final critical LP mastering stage on the link Albert gave and here at Nashville's Blackbird Studio.
So lots of variety, however, there are some common themes in studios. Reliability is very important so you rarely see ribbons or electrostatics. Loud and dynamic is important so you rarely see electrostatics and you may see more horns. You rarely if ever see speakers with "ambience" drivers. You rarely if ever see dipoles. You rarely if ever see a Studio 5.1 system with a different center channel and/or placed at different height from main left and right. Studios tend to use small nearfields for one purpose and much bigger main monitors for another.
Audiophiles listen at home and therefore it often makes sense to choose speakers with a more natural sound with wide dispersion, for an even soundfield and a larger sweetspot. It also makes sense to choose a pretty speaker design rather than a purely functional one, as the environment is domestic. Audiophiles also do not need to worry about whether the speaker presents a precise balanced sound at different listening levels, as they simply adjust volume to suit their taste on the equipment they have.
Mastering Engineers however will use tend to use some designs that are closer to what audiophiles use.
Examples (and you will see that not all are "different" but many are)
Bob Ludwig used ATC's (in the past) and now uses Egglestons at work and ATC's at home. Alan Parsons uses B&W 802D. Doug Sax uses ATC's at work. Elliot Scheiner uses Yamahas. George Massenburg uses ATC and Genelecs. Bob Katz (Chesky) uses Lipinski's. Chuck Ainlay uses ATC. Ed Cherney uses Custom Tannoy SGM 10's/Mastering Lab at home and KRK E-8 at the studio. Michael Bishop uses ATC. Al Scmitt uses custom Tannoy/Mastering Lab design. This is the Mastering Lab custom design by Doug Sax of Sheffield Direct to Disc fame; a mastering engineer with famous credits list almost as long as Bob Ludwig, Incidently Doug Sax bought the last production run of Tannoy's famous SGM10 - so these are a are collectors item. There are many other custom designs by Ausberger with TAD components and perhaps ten other popular makes that I did not mention (Adams, B&W, K+H, Meyer, JBL, PMC, Wilson, Dunlavy, JM Lab, Von Schweikert, Westlake etc. - go to Gearlutz.com to learn more) Not all but several of the custom designs are "in walls" which requires flush mounting the speaker baffle with the front wall in an acoustically designed setting. In walls are rarely used for mixing and most often used for bass checks and to impress clients or discuss the mix with the band (the nice even soundfield means a large sweetspot which makes group discussions practical). Examples of "In walls" can be seen at the final critical LP mastering stage on the link Albert gave and here at Nashville's Blackbird Studio.
So lots of variety, however, there are some common themes in studios. Reliability is very important so you rarely see ribbons or electrostatics. Loud and dynamic is important so you rarely see electrostatics and you may see more horns. You rarely if ever see speakers with "ambience" drivers. You rarely if ever see dipoles. You rarely if ever see a Studio 5.1 system with a different center channel and/or placed at different height from main left and right. Studios tend to use small nearfields for one purpose and much bigger main monitors for another.