The 14 Best Studio Headphones For Mixing, Mastering, And Music Production

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Greetings mate, and Welcome Aboard!

Stuart Charles here, HomeStudioBasics.com helping YOU make sound decisions leading to a beautiful audio experience that will make you fall in love with music (NOT gear), all over again, so…

Today we’re going to list out the absolute best headphones I’ve had experience with dating back to 2010.

You can rest assured these finalists have been hand-picked with the utmost attention and care based on what actually works for mixing, not what is marketed as such.

The article will be divided into closed-backs and open-backs, and we’ll cover an array of price ranges.

Also,

I will mostly only be going over their mixing capabilities while touching on build and comfort last in a sort of ranking/list format.

To wrap up, I’ll give a top recommendation in 3 categories: Closed Back, Mid-Fi, & Hi-Fi.

This page will also be updated as I gain new experiences mixing down tracks with different types of headphones so bookmark it and share if you find it helpful!

By the end, you should be able to quickly decide which one is best for you.

Let’s dive in!

The Best Headphones For Mixing, Mastering, And Music Production

Closed Back

#5

Shure SRH440

Price: Check Amazon! | Check Sweetwater! | Check eBay! | Official Review: Here!

Shoutout to Crinacle for the graph

• Type: Closed Back.
• Fit: Circumaural.
• Impedance: 44 Ohm. What is Headphone Impedance?
• Sensitivity: 105dB/mW.
• Frequency Response: 10Hz to 22kHz.
• Material: Plastic, Pleather.
• Headband: Minimal padding.
• Color: Black, Red, Blue.
• Needs Amplification: No.

First up is Shure’s SRH440: a solid option for mixing in the entry-level price range, offering a well-balanced, neutral sound that works well for critical listening.

Compared to the Sony MDR-7506, the 440 is noticeably less aggressive in the treble, making it easier on the ears over long sessions.

The midrange is nearly flat, providing an accurate representation of vocals and instruments without unwanted coloration.

The bass response follows a subtle shelf, but with a cut around 200-300Hz to prevent muddiness (critically important).

While the low end remains controlled and doesn’t overpower the mix, it’s important to avoid overcompensating when making adjustments. This is one reason why the SRH440 ranks slightly lower on the list, but it’s still a strong contender.

In terms of detail retrieval, the 440 is incredibly revealing, making it a great choice for catching flaws in a mix. Imaging and separation are also solid, allowing for precise instrument placement. However, it does have a somewhat dry and clinical sound, which may not be as engaging for casual listening.

What You Won’t Like

• Build Quality – The SRH440 is known to degrade over time, with its plastic construction feeling a bit fragile.
• Fit & Comfort – It sits awkwardly on the head, feeling somewhat bulky and stiff.
• Dry Sound – While excellent for accuracy, its clinical nature may not be the most enjoyable for all users.

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#4

Sony MDR-7506

Price: Check Amazon! | Check Sweetwater! | Check B&H! | Check eBay! | Official Review: Here!

Specs/Graph

Graph: RTINGS

• Type: Closed Back. Closed back vs. Open back headphones.
• Fit: Circumaural.
• Impedance: 63 Ohm. What is Headphone Impedance?
• Sensitivity: 106dB/mW.
• Frequency Response: 10Hz – 20 kHz.
• Material: Plastic, a bit of metal, faux leather.
• Color: Black, Blue, Red, Some Gold.
• Needs Amplification: No.

I first received a 7506 for Christmas around 2010, and I’ll never forget the experience.

• Required Reading: Sony MDR-7506 Review

Hearing one was actually my very first foray into the hobby. It was the first time I had ever heard anything better than your typical drugstore dog food headphones, and to say I was hooked would be an understatement.

I talk about the Audiophile Rabbit Hole quite a bit with subscribers, followers, and friends alike, and 2010 was my rabbit hole year. It was a moment that changed my entire perception of music forever.

I had always naively thought that those drugstore headphones were as good as it got. When I first listened to a 7506, all of that was completely shattered and I found out that I was in fact missing a good chunk of, well, everything.

These types of headphones almost literally fill in the gaps of information previously unheard of or thought about.

In reality, you didn’t have any idea what you were missing.

It’s like when people talk about some food that you’ve been predisposed to hate without ever tasting it.

“Mm.. you don’t know what you’re missing!” And then you’re like “Yeah, ew. Gross” but have never actually tried it.

That’s what the audiophile hobby is like only no one ever walks around with good headphones saying that to people who have never heard them.

The 7506 is great for reference because it’s mostly neutral and incredibly revealing.

This is a studio standard and has been for over 3 decades now dating back to 1991. There’s a reason it’s still recommended to this day and a reason I bought another one in 2023 after so many years. It’s just good. It’s right. You can hear everything.

They’re the type of headphones you’ll likely reach for by default when you want to analyze a mix and see how it really sounds.

Soundstage and Imaging

While the 7506 shines in terms of detail, the soundstage is a bit more intimate. You won’t get the expansive, open feel that some other headphones offer, but for mixing and critical listening, it’s tight and focused.

Imaging is precise, though, with clear separation between instruments and vocals. It’s not the widest soundstage, but it’s definitely accurate.

Noise Isolation

Being closed-back, the 7506 does a solid job of isolating sound. It’s great in studio environments, and while not perfect for total isolation in loud places, it’ll block out enough ambient noise to help you focus on the task at hand.

Cable Length

The coiled cable, while convenient in some situations, can be a hassle in others. It’s long enough for studio use, but if you’re moving around much, it can get in the way. And as mentioned earlier, it tangles easily, so that’s something to keep in mind.

What you won’t like

• Treble can become hot and essy at times.
• Pads flake and peel over time.
• The cup itself can become dislodged from the headphones. This happened to me with hard daily use. Your mileage will vary depending on how often you use them.
• Mid-bass may have a bit too much energy at times.

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#3

Status Audio CB-1

Price: Check Amazon! | Check eBay! | Official Review: Here!

Specs/Graph

Credit: DIY Audio Heaven

• Type: Closed-back, dynamic.
• Fit: Circumaural.
• Driver size: 50mm.
• Frequency Response: 15 Hz – 30 kHz.
• Impedance: 32 Ohm. What is Headphone Impedance?
• Sensitivity: 97dB/mW. What is Sensitivity in Headphones?
• Cable Length: 3m. Comes with a Coiled and Straight version.
• 1/4 adapter: Yes.
• Cable Detachable: Yes.
• Fold-able. Yes.
• Case included: No.
• Needs Amplification: No.

I know we’re kicking off with closed backs, but the CB-1 is one of the few headphones out of the 140+ I’ve demoed that actually sounds almost completely like an open-back.

Out of all the open-backs I’ve ever heard, the CB-1 gives a lot of them a run for their money considering just how good the Soundstage is.

You’ll likely be amazed by its open and spacious presentation, but what exactly makes it great for mixing and production?

When I think about being able to find flaws in a mix quickly, many headphones come to mind. But the one I always think of first is the CB-1.

Why do you ask?

BECAUSE I SAID SO!

Haha, just kidding (running joke on the blog and channel).

It’s because I’ve heard things with the CB-1 that even the producers and engineers may not have even wanted me to hear.

You can imagine then how well this translates to a mix when you’re really trying to clean it up.

The CB-1 picks up sounds I never thought I’d hear in a million years.

It’s just that revealing.

This kind of kicks to the curb the notion that bright treble = more detail and an easier time finding said flaws.

That’s not to say that those types of headphones aren’t good for mixing.

They are.

It’s just that the CB-1 may actually be better because you’re given the absolute naked truth.

If I could only take a few headphones with me on a deserted island to mix a bunch of tracks, the CB-1 would certainly be right up there.

The reason is that it delivers surprisingly precise imaging and instrument separation for a closed-back headphone, allowing you to easily pinpoint the placement of sounds within a track.

Panning decisions, stereo width, and depth cues are well-defined, making it easier to dissect a mix and identify potential balance issues. While not as holographic as some open-backs, the CB-1’s ability to create a clear and organized soundscape sets it apart from many similarly priced closed-back options.

Bass

I won’t lie—the CB-1’s bass response isn’t completely flat, but it doesn’t have to be. It subtly boosts the right areas (60Hz and up) while keeping the 200-300Hz range clean and free of muddiness. There’s also a slight lift in the 30-50Hz region, but the CB-1 manages to keep it controlled without overdoing it.

This type of bass is similar to the DT 770 but more refined and controlled. Compared to the ATH-M50x, it’s also quite similar, though the M50x’s bass doesn’t roll off and features a more pronounced boost—around 5dB.

It’s also balanced for the most part and leans neutral, but there are a couple of caveats to consider:

1. 2-3kHz Recession. This region is crucial for presence and body in vocals, guitars, and other midrange instruments. A dip here can make the sound feel distant, thin, or hollow, reducing perceived weight and impact.
2. 7kHz Peak. This can add a sense of detail, but when combined with a recessed midrange, it might make transients (like snare hits, cymbals, and consonants in vocals) sound a bit unnatural or plasticky rather than full-bodied.

What you won’t like

• These 2 things (7k and 2-3k) are why I believe the CB-1 can sometimes sound “light,” “feathery” or “papery” which is the best way i can describe it. It’s not a dealbraker but should be noted.

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#2

AKG K553

Check Amazon! | Check Sweetwater! | Check eBay! | Official Review: Here!

Specs/Graph

Graph: RTINGS

• Type: Closed Back.
• Fit: Circumaural (Around the Ear).
• Impedance: 32 Ohm. What is Headphone Impedance?
• Sensitivity: 114dB/mW. What is Sensitivity in Headphones?
• Driver size: 50mm. What is a headphone driver?
• Frequency response: 12Hz – 28kHz.
  
• Material: Replaceable leatherette with slow-retention foam, plastic, and brushed aluminum.
  
• Cable detachable: No.
• Pads replaceable: Yes.
• Connector: Screw-on jack combo (1/4″ and 1/8″), gold plated.
• Color: Black.
  
• Weight: 10.75 oz.
• Needs Amplification: No.

Like the CB-1, the K553 sounds like an open-back. Its frequency response also very closely mimics a 7506 but it’s more neutral and has a much better Soundtage.

I’ll never forget the first time I demoed one at Guitar Center.

I looked at the sales rep and said, “I can’t believe how open these headphones are. It sounds like an open back.”

The sound signature here is incredibly neutral for the most part, with a flat bass response and sparkling treble.

The bass is well-extended, reaching deep without rolling off, which helps maintain a sense of fullness and body without sounding bloated. This might be one reason why the treble doesn’t feel overly harsh or “essy”—there’s a natural balance between the two.

From graphs, you may notice a rise around 10kHz. While it looks somewhat threatening on paper, the K553 doesn’t exhibit the artificial or metallic quality found in something like the M40x. Instead, the treble comes across as refined and natural.

The mid-range, however, is where the K553 truly shines for mixing. It’s incredibly revealing, allowing for a detailed and lifelike presentation of instruments and vocals. Tonality is spot-on, making it easier to pinpoint imperfections and make accurate adjustments. This is a big reason why the experience of listening to it has stuck with me since I first heard it back in 2016.

Imaging & Soundstage

Beyond its openness, the K553 also excels in imaging. Instrument separation is precise, allowing you to easily pick apart layers in a mix. While not as wide as a true open-back, it still provides an excellent sense of space that helps with critical listening.

Build & Comfort

One drawback of the K553 is its fit. It’s notoriously difficult to get a proper seal, and it sits somewhat loose on the head. This can impact bass response until you find the right positioning.

Comfort-wise, it’s decent, but not the best for long sessions due to the somewhat stiff padding and clamping force.

What You Won’t Like

• Fit & Seal Issues – Getting a proper fit can be frustrating, and a poor seal affects bass response.
• Mids Can Be Slightly Recessed – While still excellent for mixing, some might prefer a touch more forwardness in the midrange. The dip around 3.5k can be bothersome.
• Not the Most Comfortable – The padding and fit could be better for extended use.

Note on the K371

Some of you may be wondering about the K371. While it’s a good headphone in its own right, I wouldn’t personally mix on it due to the bass shelf. It’s more tuned for casual listening, whereas the K553 variants are better suited for production work.

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#1

Sony MDR-CD900ST

Price: Check Amazon! | Official Review: Here!

Specs/Graph

Graph: Crinacle

• Type: Closed Back.
• Fit: Circumaural.
• Impedance: 63 Ohm.
• Sensitivity: 106dB/mW.
• Frequency Response: 5Hz – 30 kHz.
• Material: Plastic, a bit of metal, faux leather.
• Color: Black, Blue, Red.
• Needs Amplification: No.

Despite the MDR-7506 being the most popular out of the 3 (V6,7506), the CD900ST is certainly worth a hard look.

Made in Japan, it was originally built for producers in East Asia following the success of the original MDR-CD900 in 1986.

The “ST” in its successor stands for Studio, and this updated version included a redesign of the voice coil and housing structure, eventually hitting the market in 1988.

That’s right, Sony specifically made these for a certain demographic of people, and it’s evident in the way they sound.

The 900ST differs from the 7506 and V6 in that it rolls off in the sub-bass, the mid-bass is more natural/neutral, and the treble is much more subdued.

When comparing the 7506 and 900ST side by side, I prefer the latter, and thus why it gets my top recommendation for closed backs on this list.

You’ll find that the 7506’s bass sounds too boosted by contrast, and while it does a decent job of not cluttering the mids, I think the 900ST is tuned better overall.

For a more in-depth look at the 3, check out my Sony MDR-CD900ST review!

What you won’t like

• Pads flake and peel over time.
• The cup itself can become dislodged from the headphones. This happened to me with hard daily use. Your mileage will vary depending on how often you use them.

While there aren’t too many closed-backs I would seriously consider for mixing duties, open-backs are a different story.

Let’s dive in!

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Open Back

#9

Koss KPH30i

Price: Check Amazon! | Check Drop! | Official Review: Here!

Specs/Graph

Graph: Crinacle

• Type: Semi-Open back, Dynamic.
  
• Fit: Supra-Aural (On-Ear).
• Frequency response: 15Hz – 25kHz.
  
• Impedance: 60 Ohms. What is Headphone Impedance?
• Sensitivity: 101dB/mW.
• Material: Plastic, Foam.
• Color: Beige, White/Blue, Grey/Black.
  
• Cable: Non-Detachable 3.5mm.
• Weight: 12.5 Oz. (75g).
• Needs Amplification: No.

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#8

AKG K240 Studio

Price: Check Amazon! | Check Sweetwater! | Check B&H! | Check eBay! | Official Review: Here!

Shoutout to Crinacle for the graph!

• Type: Semi-open.
• Fit: Circumaural (Over-ear).
• Impedance: 55 Ohm. What is Headphone Impedance?
• Sensitivity: 91dB.
• Frequency response: 15hz to 25khz.
• Material: Plastic, Faux leather.
• Headband: Self-adjusting.
• Cable Length: 9.8 ft.
• Color: Black, some Gold.
• Needs Amplification: Yes.
• Suggested Pairings: JDS ATOM, FiiO K11/K7.

The K240 Studio has been around in some form or fashion for many years dating back to the ’70s.

• Required Reading: AKG K240 Studio Review: Shattering Expectations Since A Long Time Ago

What makes it stand out for mixing is its insane levels of detail; almost as if the instruments are under a microscope.

Every element in the track feels like it’s been isolated and given its own space, allowing you to pick up on things you might normally miss.

Whether it’s the subtle texture of a guitar pluck or the minute inflections in a vocal performance, the K240 reveals it all with precision.

Bass

Because the bass doesn’t drown out other frequencies, you’re really able to hear instruments and voices in an incredibly lifelike way.

The balance of the frequencies is done in such a way that nothing feels masked, and you can focus on the full spectrum of the track.

The bass is present but controlled, offering just enough depth without overshadowing the mids or treble, making it a fantastic choice for mixing where clarity is key.

The realistic nature of how the K240 presents music is almost alarming at times.

It’s like peeling back layers of a song you’ve known forever, only to find new depth and nuance.

I remember listening to Motown tracks and thinking I was hearing them for the first time. These were songs I grew up with, but the K240 made them sound completely fresh and new, with layers of detail I was previously unaware of.

Instruments I didn’t realize were there suddenly became front and center, providing an entirely different experience.

This is something common in audiophile-type headphones, but the K240 is certainly one of the most unique sound signatures I’ve ever come across.

It’s got a special way of presenting sound that makes everything feel more intimate and alive, but not in the usual, hyped-up way you might expect from headphones that are just pushing for a big sound.

Soundstage & Imaging

Its Soundstage isn’t the widest, but imaging and placement are excellent.

You’re not going to get that massive, immersive feel you get with some high-end open-back designs, but it’s not narrow either.

It’s more about the precision and placement of each sound within the space.

And because the resolution is spot-on, you’ll be able to pinpoint loads of small nuances—similar to the way you will with a CB-1. You’ll hear everything from slight reverb tails to the subtle interplay between background instruments, making it a great tool for mixing and editing.

For this reason, it’s a huge asset in the studio, but far from perfect, and thus why it’s ranked lower than the other options on this list.

The somewhat heavily rolled-off bass below 60Hz means it will simply sound anemic at times so be careful about overcompensating in your mixes.

Still, the K240 is a fantastic solution for mixing and should be considered at or near the top of any list of open-back headphones. Its clarity, detail, and accuracy make it an invaluable tool for critical listening in the studio.

What you won’t like

Comfort on the K240 has always been sub-par to downright bad.

Because the cups are incredibly shallow, your ears will touch the drivers over top of the cloth material, and it starts to hurt after about 30-45 minutes.

Compound this with the fact that the already flat-ish earpads will flatten out even more over time, and you’ve got a recipe for plenty of pain.

If you’re not careful with how you wear them, that discomfort can limit how long you’re able to listen without having to take breaks.

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#7

Philips SHP9500

Price: Check Amazon! | Check B&H! | Check eBay! | Official Review: Here!

Graph: Home Studio Basics

Crinacle’s graph

• Type: Open back.
• Magnet Type: Neodymium.
• Impedance: 32 Ohm. What is Headphone Impedance?
• Maximum power input: 200mW.
• Sensitivity: 101dB.
• Speaker Diameter: 50mm.
• Frequency Response: 12 – 35,000 Hz.
• Needs Amplification: No.

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#6

OneOdio Monitor 80

Price: Check Amazon! | Check OneOdio! | Official Review: Here!

Putting a Monitor 80 on your head when you’re in dire need of something incredible for mixing is like the feeling right after you lay down for the best nap ever. It’s that perfect, satisfying moment where everything just clicks and you know you’re in the right place.

These headphones truly make you realize just how unbalanced others are, but it only becomes apparent when using them to mix a track in real-time.

I would liken the Monitor 80’s sound to something like an HD600, only it’s cheaper in terms of price.

The tonal balance and neutrality of the 80s are what make them so special.

To my ears, they’re flat and very neutral, almost to a fault.

That said, this is what you want for accurate mixing, and the Monitor 80 delivers in spades.

The lack of exaggerated bass or treble means you’re hearing the mix as it is—nothing hyped, nothing masked.

It allows you to hear everything clearly, so you can make adjustments without worrying that you’re compensating for some frequency imbalance.

The sound signature is detailed, with a smooth mid-range that doesn’t get overly colored, and it does a great job of letting vocals and instruments come through with clarity.

The highs are present but not overbearing, giving you enough space to hear the subtle elements that make a mix come to life.

The low-end is precise, though not as heavy or thumping as some headphones, so you won’t get that “club” feel here.

Spot-on for mixing, it offers just enough bass to hear the foundation of your tracks without bleeding into the rest of the spectrum.

OneOdio models these after the M50x, and you’ll likely appreciate the design choice.

It’s a tried and tested form factor, which means these headphones are built to last.

In addition to that, they’re super comfortable and don’t weigh a whole lot, which is awesome if you mix into the wee hours of the morning and forget to pee or sleep.

The lightweight design ensures that you won’t feel fatigued even after long listening sessions, and that comfort is key when you’re in the middle of a 3 a.m. mixing session.

The pads are made of velour and feel fantastic on your head, giving you a soft, breathable fit that helps with comfort over extended periods. The headphone itself comes with a couple of different detachable cable options, giving you some flexibility depending on your setup.

All in all, this is an excellent choice for mixing and is currently what I’m using. It’s a perfect blend of quality, affordability, and comfort for anyone who needs a reliable tool for mixing and production.

What you won’t like

Not much, but I will say these can sound a tad dry at times.

The flat, neutral sound profile is great for accuracy, but it can sometimes feel a little less engaging if you’re looking for a more emotive or colorful presentation.

The dryness is subtle, but it may not suit every genre or mixing style, especially if you want something with a bit more warmth or depth in the mid-range.

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#5

Beyerdynamic DT880 Pro

Price: Check Amazon! | Check Sweetwater! | Check Drop! | Check eBay!

Crinacle’s graph

• Type: Semi-Open.
• Fit: Circumaural (over-ear).
• Impedance: 250 Ohm.
• Frequency Response: 5 – 35000 Hz.
• Material: Velour earpads, Plastic.
• Headband: Soft padded headband construction.
• Color: Black, Grey, Silver.
• Needs Amplification: Yes.
• Suggested Pairings: FiiO K5 Pro.

The DT880 is just about the most neutral out of the entire bunch; arguably even more so than an HD600.

If you’re looking for a headphone that lets you hear exactly what’s in the mix without embellishment, the 880 is your go-to.

Unlike the HD600, this headphone opts to raise the treble a bit around 6kHz, adding a bit of extra sparkle and clarity to the high-end.

But beyond that, everything else is almost ruler flat, which makes it incredibly versatile for mixing and critical listening.

David Mahler out of Brooklyn, NY gave only 4 headphones an A+ value rating back in 2012, and both the DT880 and HD600 comprised 2 out of the 4.

The other 2 are the AD900 and HE-500. I can understand why.

The 880 nails that perfect balance between being detailed and accurate without pushing any frequency too far, and it’s easy to see why it earned such high praise.

The 880’s bass has plenty of extension and digs down fairly deep, which is something you’re not going to get with a lot of headphones in this price range—or many at all.

Many headphones tend to boost the mid-bass at the expense of the sub-bass, but the DT880 keeps things balanced, offering clear definition without exaggeration.

It’s a bass response that allows you to hear the full depth of your music while staying true to the original recording.

Mid-Range

The mid-range is neither too forward nor recessed, which makes it almost perfect for dissecting music in a completely honest way without any added color.

Whether you’re listening to vocals or intricate instrumentation, the DT880’s midrange allows everything to come through clearly, making it ideal for critical listening.

One of the strengths of the 880 is its ability to remain completely neutral without losing any detail. It’s a headphone that will let you hear every nuance in a track, from subtle reverb to minute panning, and that’s a hallmark of true audiophile-grade sound.

What you won’t like

• The treble may be a bit hot for some, especially around that 6kHz boost.

It adds clarity and crispness, but for listeners sensitive to higher frequencies, it can feel a bit sharp at times. However, by and large, this is a mostly perfect signature for those who prioritize accuracy and balance over any kind of coloration.

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#4

Sennheiser HD600/HD6XX

Price: Check Amazon! | Check Sweetwater! | Check eBay! | Official Review: Here!

Crinacle’s graph

• Type: Open Back.
• Fit: Circumaural (over-ear).
• Impedance: 300 ohms. What is Headphone Impedance?
• Frequency Response: 12 – 39000 Hz.
• Material: metal grilles, carbon fiber, velour ear pads.
• Color: speckled blue finish, black.
• Weight: 260g.
  
• Needs Amplification: Yes.
• Suggested Pairings: Best Headphone Amp for the Sennheiser HD 600 and 650 [Video]

The Sennheiser HD600 has long since been a staple in the audiophile diet, but it’s also great for mixing. For those who want to save a bit of money, the HD6XX is also great for mixing and bears a similar profile.

The sound signature is almost completely neutral save for some mid-range emphasis around 3kHz, and it’s easy to listen to for hours while you’re working on a track because of the fantastic comfort level.

I recently just got back into beat-making and the HD600 is definitely one of my top options, the others being the K702 and Monitor 80 which we just discussed.

The great thing about the HD600 is that it gives you a blank stare, providing a very raw and honest representation of exactly what you’re hearing.

I would almost describe it as an empty paint palette if I could use an analogy.

You’re the one who colors the sound to your liking, but it translates well because there aren’t any overhyped frequencies.

That said, the mid-range can sound a tad forward so do prepare accordingly, but other than that this is an almost perfect headphone for music production.

The bass has just the right amount of roll-off in that you can mix it quickly and easily without having to do a lot of guesswork.

I will never forget the first time I read this review on Amazon.

The reviewer claimed that buying the HD 600 would revolutionize not only the music you may listen to in the future but also what you already own!

It’s a very powerful concept that stuck with me.

Being able to re-discover old sounds is truly priceless and timeless.

Everyone loves music.

Imagine if the feeling you got from an old album was like hearing it for the first time again, only better and completely amazing.

Now translate that to your mixes.

You’ll really get a sense of how a mix actually sounds vs. the way you think it sounds in your head.

And, if you can get it to sound good on an HD600, it will likely sound good on many sources.

What you won’t like

• The Soundstage is pretty narrow and boxed in. Instrument separation is there, but the image can feel claustrophobic at times and a tad slow. They ain’t the swiftest headphones around.
• Some call the treble veiled, which has been a point of contention for what seems like an eternity. I did a thought-provoking video on that here. The great part about the treble is that while it can sometimes sound a bit relaxed, it’s absolutely never going to sound grainy, harsh, or sibilant. 

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#3

AKG K702

Price: Check Amazon! | Check Sweetwater! | Check B&H! | Check eBay! | Official Review: Here!

Crinacle’s graph

• Type: Open back.
  
• Fit: Circumaural (Over-Ear).
• Frequency Response: 10Hz to 39,800 kHz.
• Impedance: 62 Ohms. What is Headphone Impedance?
• Sensitivity: 91dB/mW.
• Material: Leather headband, plastic, velour padding.
• Color: Midnight Blue/Silver/Grey.
• Cable: Detachable Mini-XLR (9.8 ft.).
• Needs Amplification: Yes.
• Suggested Pairings: The Best Headphone Amp for the AKG K701 & K702

Ah, the AKG K702; one of the most talked-about and misunderstood headphones of all time.

I bought one of these in 2019 and haven’t looked back.

It’s become my daily driver now, almost replacing the HD600 for everyday duties entirely.

The Reason?

Its Soundstage, Timbre, Decay/Release, and Resolution are all a bit better to my ears than the HD600.

Soundstage is most certainly a better trait, but Timbre and decay/release are a bit more complicated to discuss.

The K702 to me almost sounds as good as a planar magnetic headphone which is one of the main reasons I listen to and love it so much.

I did a DEVA vs. 702 vs. 9500 shootout and found that the 702’s sonic qualities came eerily close to being as good as the DEVA.

The DEVA’s Timbre, attack, sustain, and decay all will sound better than a 702, but not by much.

Listening with a 702 is almost like being in a studio space with the right recordings: Acoustic, Jazz, Classical, and lighter genres all sound so delicately beautiful that it becomes hard to describe.

I almost feel as though I could reach out and touch the instruments in listening to certain recordings; an example being Sufjan Stevens.

His voice feels so immediate and present with you that the sounds take on a new dimension.

For Mixing

It’s great for mixing because of all of these same qualities.

Like the CB-1, the K702 will help to reveal even more going on beneath the surface because of its propensity to space things out better while also adding an element of depth that may be missing in other headphones.

Some say this can make it sound a bit unnatural, and I can understand the sentiment.

That said, it’s almost an afterthought to me and something I care little about when I’m mixing down a track, watching a film, gaming, or listening to music.

In other words, it sounds “right” to me which is why, 9 times out of 10, it’s what I’m reaching for first.

It’s a jack-of-all-trades type of headphone and thus why I enjoy using it so often.

The sound signature is almost completely flat outside of 2kHz, which gives instruments and vocals some extra flair.

 What you won’t like

• Not much, although I’ve talked with some people who said they have a somewhat thin, overly lean character. Certainly, something to keep in mind.

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#2

HIFIMAN Ananda

Price: Check Apos Audio! | Check Amazon!  | Stealth Review: Here! | Nano Review: Here!

Crinacle’s graph

1. Type: Planar Magnetic, Open Back.
2. Fit: Circumaural.
3. Frequency Response: 8Hz – 55kHz.
4. Impedance: 25 Ohm. What is Headphone Impedance?
5. Sensitivity: 103dB/mW. What is Sensitivity in Headphones?
6. Weight: 14.07 Oz. (399g).
7. Cable Detachable: Yes.
8. Cable Length: 1.5m.
9. Needs Amplification: No, but can benefit.
10. Suggested Pairings: iFi Zen, FiiO K5 Pro.

Now you may be wondering, “What’s up with the price jump?”

“Aren’t there any mid-fi HIFIMAN headphones good for mixing?”

HOLD YOUR HORSES, ALRIGHT?

Absolutely there are.

But I don’t think we need to be concerned with them because the Ananda is a perfect mixing headphone.

It’s the one to get if you can’t afford the next headphone on this list.

It’s crisp, detailed, and bright without being sibilant – a rare feat for any headphone.

The value of the Ananda?

It almost pays for itself when considering the entire sound spectrum as a whole and how effortlessly it’s portrayed.

The other reason I’m suggesting bypassing the Sundara/400i, etc. is that the Ananda has recently come down in price.

It used to sit around $1000, then it dropped to around $600-700, and now the Nano version is a shade over $400. A steal?

OH YEAH, YOU BETCHA!

I think it’s a relatively easy purchase; especially considering it’s highly efficient and can technically run off of a phone at 25 Ohm Impedance and 101dB/mW Sensitivity.

Yes, the Ananda will be an end-game type of headphone for most people and is perhaps the most revealing product on this list alongside the DT880.

If the DEVA and K702 put a microscope over or zoomed in on some of those aforementioned details, the Ananda is like focusing your camera or binoculars after zooming in and understanding what those sounds may look like (at least in your head).

FOCUS!

I’ve likened the Ananda to skiing down a mountain in January while chewing winter fresh gum, and many people have come back and told me the analogy was perfect.

It’s breezy, crisp, clean, refreshing, minty, etc.

Easy breezy beautiful cover girl.

It’s like giving yourself the cold water splash in the morning after a night of heavy drinking.

NOW WAKE UP AND SMELL THE ROSES.

With the Ananda, there’s little guesswork.

The bass is almost completely flat and digs down incredibly deep, the mid-range is clear and present, and the treble sparkles without getting out of line.

What you won’t like

• Nothing. The treble can get ever, ever so slightly hissy at times, but it’s a minor nitpick and certainly improved upon from HIFIMAN’s mid-fi offerings.

The other noticeable improvements in more expensive headphones like the Ananda are tonality, attack, sustain, decay, and Timbre.

While the differences in Amps & DACS are somewhat marginal in the grand scope of things, the differences in headphones do become apparent when jumping up in price range.

I think the jump to the Ananda represents one of the most noticeable changes in that respect.

• Read: The Law of Diminishing Returns

Instruments and voices are fully fleshed out and trail off more realistically than something in the entry-level or mid-fi category.

I suppose for mixing and production this is kind of a cherry on top, but it’s a fat ass cherry nonetheless.

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#1

Focal Utopia

Price: Check Amazon! Check Sweetwater! | Check B&H! | Official Review: Here!

Crinacle’s graph

• Type: Open Back, Dynamic.
  
• Fit: Circumaural (Around-Ear).
• Frequency response: 5Hz – 50kHz.
  
• Impedance: 80 Ohms. What is Headphone Impedance?
• Sensitivity: 104dB/mW.
• Driver Size: 40mm.
• Material: Carbon Fiber, Fabric, Leather, Metal.
• Color: Black.
  
• Cable: OFC Cable with Neutrik 1/4″ Plug (9.8′ / 3m).
• Connector to Earpiece: 2x LEMO (Unspecified Type).
• Weight: 1.08 lbs. / 490g.
• Needs Amplification: Technically no, but I personally wouldn’t purchase a headphone of this caliber and not pair it with something.
• Suggested Pairing: NAIM DAC V-1, Bryston BHA-1

Rounding out the list is the absolute best dynamic headphone on the planet in my opinion, and is certainly the best headphone I’ve heard thus far.

The Focal Utopia takes everything we’ve talked about and packages it up into an absolutely pitch-perfect product.

It’s one of those headphones that seems to redefine the limits of what you thought was possible with audio.

Yes, you may be able to hear God with these, which is good if your mix is terrible; he’d be able to steer you in the right direction. 😛

No really. If the Ananda is the most revealing headphone on this list, the Utopia is certainly double that.

The level of detail and clarity it presents is almost unreal.

Every note, every breath of air between instruments, every minute shift in soundstage—it’s all laid bare. There’s a kind of purity in the Utopia’s sound that is so refined, so precise, it feels like you’re hearing the music in its most pristine form.

It’s everything you could want or ask for in a headphone.

The bass, mid-range, and treble all blend seamlessly into a perfect harmony that you simply can’t find in other headphones.

The sound is balanced, but it’s not just neutral—it’s alive. The bass digs deep with precision, giving weight and depth to the music without ever becoming boomy or overbearing.

The mid-range is rich and full, allowing vocals and instruments to come through with unparalleled clarity. The treble sparkles with detail, providing an airy quality without ever sounding harsh or fatiguing. It’s as close to perfection as it gets.

The price tag?

Yeah, it’s steep, but I’ve told many people that this headphone is truly life-changing from a purely musical standpoint.

It almost transcends the music itself and delves into spiritual territory.

At that point, it’s more about you and your relationship with the world, why you are the way you are, etc., vs. simply hearing sounds through a device and analyzing the music from a technical standpoint.

The Utopia puts you in a state of deep, deep reflection, where you’re not just listening to music—you’re experiencing it in a way that’s hard to put into words.

The Utopia could quite literally bring you to tears under the right circumstances.

Whether it’s the power of a moving piece of music or the way it evokes personal memories, these headphones connect with you on an emotional level.

It’s not something you can really describe with words, but the experience is undeniable. The sound is so complete, so whole, that it pulls you into the music in a way no other headphones can.

And when it comes to mixing, it doesn’t get any better. The Utopia reveals every flaw, every imbalance in your track, with such precision that it’s almost unfair.

If you’re serious about your mixes, this is the headphone that will show you exactly what you need to fix.

It sits on your head better than any headphones I’ve tried, too. The comfort is exceptional, and the design feels like it was crafted specifically for long listening sessions without causing any fatigue.

Before we wrap this up, let’s give the entire list a set of rankings based on criteria.

Comfort

Truth be told, I tried to include mostly comfortable headphones but couldn’t leave out some of the options on this list because of their mixing abilities. The top 7 or so from the Utopia to about the CB-1 are all incredibly comfortable for the most part. The differences between them are subtle but noticeable over longer periods.

12. AKG K240

Likely the least comfortable on this list. Sits well and clamps fine, but the pads are so shallow that the drivers will almost immediately start to dig into your ears. I can tolerate this one in short bursts but be prepared to start getting antsy after about 30 minutes.

11. Sony MDR-7506/CD900ST

Below average but tolerable. This is a hard one to describe because it feels great at first and then starts to dig into your lobes after about 45 min. to an hour of use.

Even despite being marketed as a Circumaural headphone, I have always considered the 7506 to be a hybrid On-Ear/Around-Ear.

It doesn’t fit either of those criteria exclusively and really doesn’t fit the mold of a Circumaural headphone unless you have ears the size of a squirrel.

The 900ST’s pads are actually thinner and the cups even more shallow, so not all that ideal for extended sessions though I grin and bear it most of the time.

10. Koss KPH30i.

Average to below average. The on-ear nature of the 30i means it’s going to dig fairly hard into your ear lobes after a while. Still not awful, but getting into the meh territory. That said, you can always purchase some Yaxi pads.

9. Shure SRH440.

About average to slightly above average in comfort. They feel decent enough on your head but it always feels like you’re wearing something substantial due to the bulk of the headphones and how large they are.

8. AKG K553.

Good fit and comfort level, but finding the right placement on your head and getting a good seal is important.

7. Status Audio CB-1.

Comfortable, but starting to delve into average territory.

The CB-1’s strengths are that it doesn’t clamp hard and feels good on your melon for long sessions. The padding is dummy thicc and feels soft and plush on the sides of your head without intruding on your ears much.

Do keep in mind the opening is a bit smaller than average so your ears may touch various parts of the pad. Still an above-average experience comfort-wise.

6. Sennheiser HD600.

What more can be said? The clamping force is going to feel like a vice grip at first, but this one opens up over time and feels snug like a bug in a rug.

I always use the analogy of it feeling like a warm hug from an old friend. I love the way the HD600 feels on my head and it requires minimal adjustments over time.

5. AKG K702

The 702 is incredibly comfortable and sits just right on your head. Not too tight, not too loose.

The only minor nitpick I have is that the cups are a bit stiffer and more rigid than that of the K712’s cups.

Not a huge deal but something to keep in mind.

4. HIFIMAN Ananda.

The only drawback to the otherwise perfect comfort of the Ananda is its large and in charge oval-shaped cups which kind of tend to dig into that ridge behind your ear where the bone lies.

Other than that, the Ananda is super comfortable if a bit awkward.

It almost feels like you’re wearing a football helmet or something.

3. Philips SHP9500.

The 9500 is incredibly comfortable as well but sits a bit differently. It kind of feels like air to be honest.

The clamping force is really light which may pose a bit of an issue if you move around a lot, but it’s a minor nitpick. This headphone can quite literally be worn for hours without a single adjustment.

2. Beyerdynamic DT880.

The 880 is similar to the Utopia.

Almost no adjustments and they’ve got the velour padding that almost literally feels like pillows against your ears.

Clamping force is also near perfect with both the Utopia and 880.

1. Focal Utopia.

This is probably in a tie with the 880. It’s a headphone you will rarely (if ever) make an adjustment with. Perfect all around.

Build

Focal Utopia.

Absolutely the best-built product I’ve ever experienced. Again, a perfect headphone all around.

Beyerdynamic DT880.

Like the Utopia, the 880 has an impeccable build.

Philips SHP9500.

You’d be surprised just how great this headphone is constructed.

I bought the 9500 in 2017 and after hard use, it still functions flawlessly without a single issue; likely due to its metal headband and ruggedly durable plastic.

The 3.5mm cable is also detachable and can be used for gaming with a Boom Pro.

Sennheiser HD600.

The fact that all parts are replaceable on this one surely adds to its value long-term, but the headphone itself is super durable as it is.

I’ve been using one almost daily since 2016 and it can take quite a beating.

I’ve dropped it countless times without so much as a scratch, and I’ve also run over the cable with my computer chair at least a thousand times + at this point.

Takes a lickin’ and keeps on tickin’!

HIFIMAN Ananda.

The Ananda was built very well but had some cabling issues in its infancy.

HIFIMAN has since rectified those AFAIK, and the headphone remains a pretty safe purchase to this day.

 

AKG K702.

The K702 gets kind of a bad rep from internet-tough guys but is right there with the HD600 in terms of the overall build.

The hammock style adjustment has been known to sort of get “stuck” after some years of heavy use, meaning it doesn’t move as fluidly as when you first purchased it, but I haven’t had any problems yet after buying one in 2019.

The headphone itself is rather light, but still feels (and in fact can) withstand some relatively heavy abuse.

Status Audio CB-1.

Another deceptively durable headphone, the CB-1 can really stretch with the best of them even despite feeling kind of plasticky in your hands.

I had no issues whatsoever when I owned one.

AKG K240.

The 240 may feel like a toy, but it holds up rather remarkably all things considered.

If you think about the fact that my K240M 600 Ohm originated in the ’70s, it almost feels like a crime to talk bad about it.

I’ve seen “poor build quality” claims more times than I can count over the years on various forums and articles, but after owning 3 separate pairs of these I think that notion was a bit unwarranted.

Koss KPH30i.

A flimsy, lightweight headphone but I haven’t had any issues with it. The cable is not detachable.

Sony MDR-7506/900ST.

Even despite my love affair with this headphone over the years, I had to place it pretty close to last due to its cup issues and coiled cable (discussed previously).

The rest of the headphone is built really well and has metal headband adjustments, but the aforementioned issues will manifest sooner or later.

Shure SRH440.

I have never owned one of these (only demoed), but read a lot of people having issues. It’s a headphone notorious for breaking down rather easily, so buyers are warned.

So with that, what do I recommend?

Final Verdict

In the entry-level category, it’s hard to beat a CB-1 or CD900ST for transparency.

Overall, I use the K702 almost exclusively when I’m not demoing other products, but the DT880 and Ananda are also fantastic.

If you’re just starting,

you may just skip the CB-1/7506 and go straight for an 880/K702. Then you can decide if you want to make the jump up to an Ananda or Utopia.

I place the 880 above the HD600 because its treble is a bit better represented and the bass digs down deeper with almost no roll-off.

Remember that you can technically mix on any headphone if you understand the frequency spectrum and have enough experience with how different sound signatures portray themselves in practice.

As far as being able to quickly and easily find flaws, I think the CB-1, K702 (with DT880 an honorable runner-up mention), and Ananda are best as far as a 1 2 3 punch in each price bracket.

If you have the money to spend, the Utopia is the best headphone I’ve ever heard hands down.

Learn More:

 

Well, that’s about it for today my friend! I hope you’ve enjoyed this monster article on the best studio headphones for mixing, master, and production, and came away with some valuable insight.

Questions? Comments? Requests? Did I miss the mark on something? Please let me know down below or Contact me!!

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Have you had any experience mixing with headphones? Are there any headphones you would add or take away? I would love to hear your thoughts. Until next time…

All the best and God bless,

 

 

-Stu

[Xtr@Ba$eHitZ]

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