In this article we ask some of the Experts Team to share their choice of studio headphones. What do we use and why did we choose that particular pair?

Julian Rodgers

Austrian Audio HiX-65 - $429

Neumann NDH 20 - $499

For years I’ve spent most of my waking hours with a cheap pair of Sennheiser HD598SE’s on my head. These headphones aren’t especially good sounding but they are lightweight and supremely comfortable, to the point that I often forget I’m wearing them until I walk further away from my interface than the lead is long and they get yanked off my head! The reason I’ve favoured them over all my other headphones is that they are open backed. I have always found closed back headphones to be unpleasant to wear for any length of time and even a cheap pair of open backed headphones is better to me than any pair of closed back.

To illustrate the point, I have had a pair of Neumann NDH 20 closed back headphones for a few years. These are the ultimate in tracking headphones, they keep sound both in and out better than any other headphones I’ve tried. Spill onto the mic will only be an issue if you are running the cans dangerously loud and because they keep sound out so effectively you’re unlikely to want to run them loud in the first place. The sound is impeccable, the build premium and as long as your headphone amp can drive their high impedance adequately they deliver top class results, for a price.

But they are still closed back and I find I tolerate wearing them but I take them off when I’m not actually using them. The same can’t be said for open back headphones which I’ll happily wear for hours at a time. Of course they aren’t suitable for tracking but I don’t spend much of my time tracking, under 5% of my day is spent in front of an open microphone.

This is why I recently bought a pair of Austrian Audio HiX-65 open back headphones. They are well built, comfortable (though not as comfortable as the forget-they-are-there Sennheisers) and the sound is just wonderful. I’ll spare the adjectives but as someone who finds it hard to get excited about headphones these really grabbed my attention, particularly the effortless bass extension. They aren’t ‘bassy’ in any hyped way but they do go all the way down. They aren’t cheap but they are cheaper than the Neumanns. Highly recommended.

James Richmond

Beyer DT100 - £155

Beyer DT770 Pro - £115

Beyer DT990 Pro - £125

B&W P7’s - £330

Apple AirPods Pro £249

Let me start by saying that I kinda hate headphones, as in I don’t like wearing them. When I am tracking I always have one ear off the headphone so I can hear myself in the room- yes I am one of ‘THOSE’ people.

I don’t mix with them unless I have absolutely no choice either. My preference for talent headphones are Beyer DT100s.  They were an industry standard for a reason, replaceable/removable cables and ear pads – they survive musician abuse better than anything else I have found. They aren’t the best sounding headphones in the world though, but they are highly functional. I bought a few pairs in the mid 2000’s and they lasted ages. The removable cable is something that, frankly, should be on every single pair of headphones marketed for recording studio use. 

Beyer DT770 Pro

I also currently have several pairs of DT770 Pros that I use for tracking. They are reasonably hardy and have minimal amounts of spill being a closed back design. I got them on a multibuy deal when I was living in Singapore when at that time I couldn’t source DT100s for a reasonable price. The lack of a removable/replaceable cable is annoying. They sound quite good. When they die they will be replaced with DT100s though.

Beyer DT990 Pro

Pretty much everything I have to say about the DT770s also applies here but these are open backed so they do sound better. Non-removable cable is still annoying.

B&W P7s

I bought these on a whim at an airport (hey remember when we used to fly?). Do. Not. Rate. On my head (which is, admittedly,  shaped like a pumpkin) they are pretty uncomfortable. I can wear them for about an hour before my temples ache. They were expensive because they have wireless and wired capability. Brilliant idea and they sound excellent but I can’t wear them for long. They aren’t suitable for tracking – cable is too short.

Apple AirPods Pro

These are the headphones I wear most of the time. I wear them running, when out and about listening to podcasts. Of course these aren’t ‘studio headphones’ and aren’t designed as such but they sound great, work perfectly and, provided I remember to take them out of my jeans before they go in the washing machine, they seem very hardy indeed.

Mike Thornton

Sony MDR7506

Sony MDR7509

Sony MDR7510

Beyer DT100

It all started when I was undertaking some location recording projects in noisy environments and needed some quality closed backed headphones. Digging around I learnt about the Sony range, and chose the Sony MDR 7509, which I was also able to get from my local dealer at half price, which sealed the deal. 

They are great, provide a reasonable amount of isolation, can be driven hard, and although some people say they are bright, for me they show up any defects. I know that if I cannot hear any problems on these headphones, there definitely won’t be any problems when I get back to the studio and play the material on my PMC speakers.

My first pair lasted around 5 years, before one ear stopped working. On investigation, it transpired that there was a break in the wire that goes up and over the folding headband, and it's a common fault. I looked at trying to repair it myself but decided it was too fiddly to do.

At the time I couldn’t find a replacement pair as Sony had decided to discontinue the 7509s. However I was able to find a pair of Sony MDR 7510, which are pretty close, and I have used them so heavily that I am on my second set of replacement ear pads, but I was able to find some velour covered ones which are very comfortable. I am on the lookout for the Sony MDR 7520 but, as they too have been discontinued, I have a watch on them.

I also have a pair of Sony MDR 7506, which are the only model Sony haven't discontinued yet, which I use for normal location recording work with my Fostex F8, as they fold up nicely whereas the 7510 and 7520 do not fold up. However, for me, the one drawback with the 7506s is that they sit on my ears rather than go round them. That was one of the things I really loved about the 7509s – the cup was big enough so that the headphones fitted to my head rather than squashing my ear lobes. These larger cups make them very comfortable to wear for long periods of time, which is another big plus point in my book.

I use the Beyer DT100 for artist headphones. They are tough, easy to get spares for and do the job. 

Russ Hughes

KRK KNS8400 - $149.99

Apple AirPods Pro - $249.99

I'm a big fan of the KRK KNS8400, I wrote a review of the KRK KNS 8400 some time ago.

Here is a summary of my review; Starting with the sound. The sound is very open and transparent, in particular at the very top end (often referred to as ‘air’) and was more present.  In particular, when listening to the acoustic and classical tracks, I was hearing more of the ambient stuff such as feet moving on sound stages (really) and other artefacts like the movement of the playing on acoustic guitars, or piano pedal noise. I’m not sure I had heard this before, so to be sure I put my regular pair of trusty headphones on and some of this detail was less noticeable.

The bottom end is nice and round without trying to flatter the sound—the last thing you need from a pair of studio headphones is someone trying to gild the lily when it comes to the bottom end.

Overall, the sound is pretty transparent and without any real peaks and troughs often prevalent in Hi-Fi headphones (an intended effect) which have been dressed up to be studio-grade headphones.

The other headphones used are the Apple AirPods Pro. Used for anything outside the studio including listening to podcasts, radio shows, talking books and taking headphones. I also use them with my Apple watch when running to listen to music, everything from Apple’s pick of the charts to classic albums from The Police and The Killers.

The sound is great and they fit my ear well. I like the smart design features, such as the fact that they mute when one gets pulled out, or drops out your ear. This means you know one is missing and may have hit the floor. Thanks to the fit though this rarely happens.

Soundwise they offer a good sound and more bass than one would expect from an earbud. They are far superior to the cheap and free ones that often ship with phones.

Ufuk Önen

AKG K240 - $69

Beyerdynamic DT770 Pro - $159

Over the years, I have tried many headphones, different brands, and models, and I kept coming back to AKG K240. There are two reasons for that, but before I go through them, let me admit that I'm not a big fan of headphones. Don't get me wrong. I think that headphones are a great invention. Sometimes they make life easier, and sometimes they can even be lifesavers. My 'dislike' for headphones is purely physical! I don't like carrying a piece of equipment over my head! For me, earbuds are much more comfortable, but that's a different story since we don't use them for professional work.

The first reason I kept returning to AKG K240 was that they aren’t uncomfortable to wear because of their semi-open design. Plus, semi-open and open-back headphones sound more neutral than closed-back ones - at least that's what I think. The second reason, which is equally important, is that I know how the AKG K240s sound. I have been using them for years! I know their deficiencies and their strengths. When I'm listening through AKG K240s, I can make an educated guess how a mix, or any piece of audio, will sound when played back on other systems.

Besides a pair of semi-open headphones, I also keep one with a closed-back design at hand for the obvious reasons of isolation and spill. I choose the Beyerdynamic DT770 Pro. Mine are the 250 Ohm version. Headphone amp-wise, they are harder to drive it than the 80 Ohm model, but I find the low-frequency response tighter. 

I think DT770s are good-sounding headphones. In my book, "good-sounding" means that the particular pair of headphones in question does not exaggerate any frequency band too much (I have already said that I'm not a big fan of headphones). Another plus side of DT770s is that they are sturdy. I use them when I absolutely have to and take them off when I finish what I'm doing because, as I mentioned earlier, I find wearing closed-back headphones uncomfortable. 

I have a plea for headphone manufacturers:  Please do not use spiral cords (coiled cable), or at least make them optional! When I'm working, the coiled cable either pulls the headphone or gets in my way or, sometimes, both!

Korey Pereira

Blue Mix-Fi $299

Sennheiser HD 25 $149

Over the years I have been through more headphones than I choose to list publicly. Some were replacements of the same pair when they wore out, others were to try something new.

These days I have narrowed my regular use headphones to two pairs: The Blue Mix-Fi and the Sennheiser HD 25. When I am in the studio or working around town, the Blue Mix-Fi headphones have been my go-to. They are a little bulkier than I would probably like, but the quality of sound coming out of them translates better to my speakers and the dubstage than anything else I have used. There is a built-in headphone amp that is rechargeable via USB, but I find that a standard studio headphone amp or even a MacBook Pro will drive them fine in the amp “off” position, which is where I leave them instead of having to keep track of another pair of cans.

The other thing I really like about the Mix-Fis is that they can serve as a great reference tool for clients as well. With more reviews happening remotely these days, sending a client or asking them to purchase a $299 pair of headphones that are identical to what I have in the studio is a great way to get on the same page when going back and forth with notes. I know these headphones well enough that I know how they will compare to what I am mixing in my room and when I get a note back from a client that I know is listening on these, I can throw my pair on and hopefully hear exactly what they are.

The other pair still in regular use are the Sennheiser HD 25. They are compact and come wired with a very manageable 1,5 m cable that is terminated to a 3.5mm right-angle connector. When I am going out of town or doing some light work at a cafe, they have enough clarity to make mic selects or pull sound effects without having to lug the Mix-Fis along. They are also my go-to when recording sound effects out in the world. I have also found them as my pair of preference when mixing for 360 video.

One thing I am looking to pick up sooner than later is a Rupert Neve RNHP headphone amp. After years of dutiful service, my Presonus HP headphone amp that sits on my studio desk has started going out. I look forward to seeing how moving up to a higher class of amplification makes the Mix-Fis sound!

Luke Goddard

Audeze LCD-X

Sony MDR 7506

Beyerdynamic DT100

The planar magnetic Audeze LCD-X are the most exotic headphones I’ve ever used, but the most striking thing about them is how they don’t sound. They’re not bright, boomy, resonant, or any of the other things that get in the way. Yes, they’re enormous, but the build quality is fantastic, and if you have a headphone amp with balanced outputs knocking around, they promise to deliver some of the purest audio you’re likely to hear on cans.

I bought the Sonys quite by accident about 8 years ago. I was looking for a do-it-all pair of cans when I came across a favourable mention from a very trusted review and decided to give them a go. I haven’t been disappointed. These folding cans are one of those pieces of gear that works so well you don’t even know they’re there. Whether on location, studio recording, or mixing, these headphones get the job done. It’s true to say that they have ‘a sound’ which is actually quite pronounced presence and low mid bumps to my ears, but once I got used to that the only time they made their presence known was when they started to shed little black flakes off the pads about 5 years in … Soon fixed with a pair of nice felty Beyer DT250 pads which fit well.

My DT100s are primarily for artists to wear/sit/stand on, which also have felty pads and the XLR mod suggested to me by Julian Rodgers. This lets you plug into wall boxes (difference only), or put a mic lead in-line. I’ve been meaning to do the same to the Sonys but I’ve kind of grown to like the curly lead which is admittedly a love or hate...

Mike Thorne

HEDDphone $1899

I picked up the HEDDphones during lockdown last year: For various reasons, I wanted to work in the house and not be completely tied to my studio control room.

The HEDDphones are (as far as I know) unique in featuring an Air Motion Transformer (basically a full range ribbon driver). They are the best monitoring experience I’ve had to date. Paired with a great DAC and headphone amp (I’m using the Chord Hugo TT2), the best description I can give the HEDDphones is that they’re like a portable version of my control room, albeit an even more accurate one.

I’ve found that using a touch of crossfade (I used GoodHertz’ Canopener plugin before moving to the Chord Hugo, which has a built-in crossfade feature) helps me judge balances and use the cans longer without fatigue setting in.

Transients are incredible - I’ve always liked ribbon tweeters for this reason - the Unity Audio Boulder monitors that I’ve used daily for the last ten years have ELAC ribbon tweeters. So the HEDDphones are not only perfect for QC’ing production masters, but they’re also enjoyable enough to get a vibe from when mixing. They extend down to 10 Hz and up to 40 kHz (my own limit is about 16 kHz these days!).

The downsides? Well, the HEDDphones are expensive (although perhaps not relative to the cost of building an acoustically designed control room). They’re heavy (although very comfortable), and they’re open-backed, which means they let tons of sound in as well as out. You’re not going to use these on the bus! And it’s possible a few people may find they look slightly OTT, but they’re just missing out.

The positives? I can work anywhere, without compromise, confident of what I’m sending to my clients.

What About You?

What headphones do you use in your studio? Do you have different pairs for different jobs or does one pair cover everything? Share you thoughts in the comments below.