akaspeedy wrote:I’m looking to spend around 3000 pounds a new set of monitors and would like some help in narrowing down from this list
They're all pretty respectable monitors, but with different features and intended uses. So the 'thought' I expect you're seeking is that, from that list, I'd rate and recommend the Neumanns very highly.... However, the thought I'd prefer to share with you is you probably don't need a second set of monitors from the list you've given!
As your post title says these are to be a second set of monitors, that raises more questions for me. If your main set are some massive soffit-mounted beasts in the front wall of a professional studio control room, then a more compact nearfield as a second set makes some sense.
However, if you're working in a spare room or garage etc and these new speakers are going to sit alongside similar 'main monitors', you'd be wasting your money... and probably degrade the monitoring quality of your mains boxes in the process!
My view is that there's really no point in having a second set of similar monitors in the same acoustic space. One set of high-quality monitors, well placed, in a well-treated room is all you need. Switching to a second pair of monitors will sound a bit different, but what good is that? Their sound will still be influenced, if not dominated, by the standing waves in the room, so they'll over-emphasise and attenuate all the same bass notes...
What you want to know is what is going on in the mix as accurately as possible, and the biggest thing that prevents that -- regardless of how expensive the speakers are -- is the room acoustics. So adding a second pair of conventional monitors really won't tell you anything useful, and usually just adds more confusion while degrading the stereo imaging or both sets!
You'd be massively better off if you go and listen to the mix in a different physical space -- the living room, kitchen, car, a mates studio, or wherever. In a room which is a different size and has standing waves at different frequencies! Only then will you become aware that you've processed the bass to compensate for your own room's acoustics, rather than doing what the recording actually required... for example.
Having said that, what can be very helpful as a 'second monitor' is a separate mono speaker -- and ideally one with a single full-range driver design like the Auratone or its more modern equivalents -- in a sealed cabinet.
Listening to a track in mono, on a bandwidth-limited speaker (and ideally one with precise low-end time-alignment which the sealed box will give you) will genuinely complement and extend the information you get from your main monitors. It will really help you tie down the balance and timing of the kick and bass, and get the mid-prominent vocals and guitars where they need to be.
And as an upgrade to your monitoring it will also be a great deal cheaper, so you can invest some of your original budget in improving the room acoustics even more!
Win win! :-)