I don't know the Events at all. In school (sound engineering) no one even talks about them, nor in the local insustry when I lurk for advice.
I've heard a few KRK's, and have a different model here at school then the one you're mentioned (maybe V6), and I wouldn't even think about going KRK. IIRC I heard the one you mentioned in an acoustically treated room 2 weeks ago, but I'm not %100 sure of the model because it didn't interest me more then a few moments.
Either KRKs are unbalanced (especially bass lacking), harsh, lifeless or wierd.
Any of them translated %80 of my reference music in an unreliable way. Only finely produced hip hop was very nice, and the V6 are quite alright for vocal tracking, but still unreliable.
Avoid lower end Tannoy at all cost. I don't know the higher end.
I like the old coaxial LGM (little gold monitor) as mains. They are brutally revealing, many people think of them as bright because of that (well, mostly sound engineering students that are having hard time to admit that they are still students, put any good mix or a mix of my teacher and the mix is a blast).
I would sure split that budget you mentioned to nearfield/midfield in the price range I'm talking about and good main, not forgetting ****boxes available.
Any pro studio has a minimum of 2 quality sets of reference, and yes, NS-10 is quality because it get the job done, so no need to go wild with the monitors as I see it.
We have Genelcs in here, I believe it's the 1032A (or a very very similar model if the 1032A on the site is a newer version). It's a nice monitor, although roughly as colored as the ANF-10, definetly at the same league but I would still pick the ANF-10 and carefully match an amp to hit my "sweet spot". A lot more expensive that's for sure.
Personally, I have DIY monitors called Modulas. They are less revealing then the Adams or Dynaudio to some extent but have a much better imaging and naturalness. It's fun to mix on and although I'm still a student, for me they are the most reliable thing from anything mentioned, I like the Adams but the colored tone bothers me, but I've been called a spoiled baby, that's for sure (-: I came from high quality audio before going into recording/mixing, although my taste in sound was always something upfront, fast and unforgiving like monitors, I just never found anything like the Modulas. They are a bit less upfront then the average nearfield, and I like that.
I cannot recommend the Modulas because I didn't mix a lot with them, and I don't want the responsibility of telling you "build this monitor and you won't be disappointed". I just felt the need to mention them after all of that discussion. But what I did mix translated very nicely to other places, to ER-4P and MDR-7506 (now THAT says something). I listen a lot to complex electronica (be it hard hitting Squarepusher or multi layered Steve Roach) besides lots of acoustic and fussion music, and there's no speaker I ever heard I like better then these little bastards.
The modulas cost about $220 in parts, not including cabinets.
I asked the designer today if he has any similar design which is more revealing. It would probably be more expensive, as the Modulas use the Dayton RS180 speaker, which is a new low cost, excellent performing model. Maybe I'll redo the boxes from MDF instead of Plywood with better acoustic fillings (that absorves lower frequencies better) inside and it will do the trick. I'm just afraid to ruin such a nice speaker as there's no guarantee it will be better
If he has, some day I will certainly try his design, he's a freaking genious, from what I'm hearing as we speak.
