That said, professional engineers and producers also check and adjust their mix for a variety of speakers and listening environments before committing to a final mix. Because the goal is making things sound as good as possible in as many situations
as possible. That's the hardest part of recording and mixing. Anybody can optimize a mix for studio monitors. It takes considerably more talent and skill to make a mix sound really good everywhere. Commercial recording releases are usually masterpieces of audio compromise.
Which is why professional studios have multiple
sets of playback speakers with varying degrees of quality. After the preliminary and candidate mixes are completed on a set of near field studio monitors that can cost around $3000 each, the producer next shifts over to high-end audiophile, then quality home stereo, and finally cheap speakers. Old rule of thumb used to be to take your mix out and play it in a car with a standard dealer supplied stereo system - or on a portable "boombox.". If it sounded really good with that, it generally sounded really good anywhere. Today, they're more likely to use digital modeling to emulate club settings, living rooms, headphones, and other anticipated listening environments as xtabber alluded to earlier.
However, for unbelievably realistic and gorgeous sound when recording live
performances, nothing IMO can beat binaural recordings. That's as close as you'll ever get to real life because it very closely models how our ears work. And as close to "being there' as you can get with current technology. And the really funny thing is it's one of the oldest
and simplest stereo recording techniques ever tried. Goes all the way back to the dawn of audio recording.
The only problem is you need to listen to a binaural recording on headphones to get the full experience, which is why it never became hugely popular.