@kenjit don't let a lack of industry knowledge stop you. Studio monitors in the past were all over the place. That is changing. They are moving to DSP corrected frequency response, optimal crossover via DSP, and low distortion.
Where they vary is in their bass extension, which ideally is addressed with subwoofers, and dispersion, which ideally is addressed with room acoustics. Distortion characteristics of speakers are much different and gets much more distinct as the volume increases.
With a listening setup where the speakers are toed-in so that they point directly at the listener, and the room is somewhat damped to control reflections, corrected studio monitors sounds surprisingly similar with the caveat you use proper subwoofer integration to fill in the bass and you don't have large room response deviations.
Where the differences are amplified are obvious non-corrected speakers, where the toe-in is reduced exposing more off-axis frequency deviation, and first reflection control and room response which is a combination of environment and speaker dispersion. Direct at the listener with reduced reflections is the best indication of the recording. As you stray from that you are using the speaker dispersion and room response to create a very indeterminate transfer function that often is pleasant, but would be hard to label as accurate.
Must always walk back to 2 channel both throws away large amount of information during recording and is often simulated. Whatever comes out the other end and reaches your ears is both a representation, and interpretation, and manufactured illusion. None of that implies that we cannot set goal within our reproduction equipment to "perfect" aspects of reproduction that maximizes the communication of information within the recording. "Perfect" frequency response improved beginning to end tonal accuracy, or timbre. Perfect frequency response also improves the ability to locate sounds. Perfect frequency response and unit matching also significantly improves instrument positioning. "Perfect" off axis response, defined as smooth frequency response off axis, smoothly rolling off w.r.t. angle (horizontal and vertical), no off axis resonances, etc. allows the ability to create a room response that is also smooth without anomalies, this also plays into tonal accuracy and timbre. I should not have to write the importance of low distortion as a requirement for accurate reproduction.