There seems to be no standard for monitoring speakers in recording studios. Different recording studios will choose suitable speakers according to their environment and needs. However, before the 1970s, so-called monitoring speakers were usually manufactured according to specifications set by authoritative organizations, and sometimes even had to obtain certification to count. Early monitoring speakers only required features such as flat range balance, precise parsing ability, and low staining, and it was not important whether they sounded good or not. Since the 1970s, there has been a shift in mindset. Recorders believe that too loud a sound can affect their work mood, so monitoring speakers must take into account both. The JBL, which is independent of AltecLansing, is a good example. Their 4300 series, which is quite pleasant to hear, caused a great sensation in Japan. In fact, speakers such as 4320, 4333, 4343, 4344, and 4350 did not have any "monitoring standards". At that time, recording studios were also accustomed to using Alte C's 604, 605, and other series speakers.

In the early days of the UK, the monitoring speakers were dominated by Tannoy. After the 1950s, state-owned BBC radio stations began designing monitoring speakers for different needs, such as speech, music, live recording, and auxiliary control monitoring. A series of standards were developed, including Rogers, Harbeth, Spend or, KEF, etc., which all produced BBC standard speakers. Evergreen LS 3/5a is one of the BBC standards, designed for near field monitoring, and its sound is widely recognized as very charming. The LC1 series of speakers designed by Dr. RCA Osson in the United States became popular in the 1940s, and were gradually replaced by Altec and JBL. Westlake and Woolray, which were improved by these two companies, also achieved good results. The national NHK radio station in Japan also formulated the BTS specification with reference to the BBC standard. According to this specification, the Diatone 2S205 and 2S305 manufactured by Mitsubishi Electric in the 1950s have almost become the common standard of Japanese recording studios for a while. Until Pioneer and Yamaha joined, the monitoring horn had diversified development