Killer Floor Standing Speakers under $4000 for Rock?

Atmasphere..
i do not nessesarily agree....
first we have the problem of what it was mixed and mastered to sound like....so IF the studio is using NS1000 as the be all end all monitor well...the reults are going to vary...or a big JBL with a 8" or larger paper cone mid with breakup and ringing including sigificant out of phase 2nd order distortion ( that junk also counts as output...er efficiency...but that is a shall we say dirty secret)
My theory and it is shared is the lower distortion pistonic systems are truth tellers and they lay bare the recording and a lot of rock sounds really crappy on them...
hence some of the popularity of old tube stuff with tones of  higher order distortion to add back in..
my vintage system w 1960's Mac stuff sounds fab with rock...
run a modern hyper excellent say 2 L recording thru it and well it sucks..
to the OP just get some big JBL,s
or the best used Wilson you can afford..paper cones and all

I’ve been a mostly "rock" professional musician for nearly 50 years, recording, live stuff, still play a little too loud. I’m also going through a "late stage beatnik" phase of being a jazz freak, listening to lots of it (hooked on piano trios), and mixing some live jazz shows (a rewarding sideline…highly recommended). My hifi rig is tonally substantial enough for the room it occupies with 2 subs and clear mains, and again I utterly agree with Atmasphere regarding the silliness of "rock" or any other style really, being sonically speaker specific. Baloney. I hear jazz things with enough drive to overdrive your drivers and drive you out to the driveway. Vijay Iyer? Julian Lage? John Scofield? Mahler? Also, agreeing with Atmasphere so often should get me a discount on one of his tube amps…I just wonder if they work equally well with Norwegian Death Metal and Mumblecore.

I am 95% progressive rock, prog metal, classic rock and jazz/fusion. Pretty much all vinyl too.....I have a set of Rega RX5 ($2995), 2.5 way that has a very singular sound, drivers work very well together. In metal the drums and bass guitar play such big roles in that big sound. The double kick by Mike Portnoy (Dream Theater, Transatlantic) has never sounded better and defined. And these speakers play very loud and clear....89dB and side firing woofer to help control too much bass.
These are voiced real nice for vocals and acoustic guitar which makes for excellent jazz experience.

I power these with a NAD C356BEE @ 80 wpc, very satisfying.

ZUs! The Zu Audio speakers are real party rockers. 

i do not nessesarily agree....
first we have the problem of what it was mixed and mastered to sound like....so IF the studio is using NS1000 as the be all end all monitor well...the reults are going to vary...or a big JBL with a 8" or larger paper cone mid with breakup and ringing including sigificant out of phase 2nd order distortion ( that junk also counts as output...er efficiency...but that is a shall we say dirty secret)
My theory and it is shared is the lower distortion pistonic systems are truth tellers and they lay bare the recording and a lot of rock sounds really crappy on them...
hence some of the popularity of old tube stuff with tones of  higher order distortion to add back in..

...And If the studio didn't use that particular loudspeaker? A lot don't! Some use Westlake, some JBL, some ATC, some Snell, some even Magnaplanar. IOW the monitor thing is all over the map. We use High Emotion Audio.

If you try to generalize with rock you meet a dead end. Some of it is recorded live, some in the same studio that yesterday was recording an acoustic jazz section. In fact studios have to stay in business and can't be too picky about what type of music they record!

BTW, tube electronics in general as compared to solid state tends to have **less** 'higher order distortion' (I assume you mean higher order harmonic distortion), which is why tubes tend to sound smoother.