April 06, 2020
Audiophile -
electronics -
Everyday -
Headphones -
The Best
If what you seek in a pair of headphones is the best
sound possible for serious listening sessions, but you don’t want to drop thousands of dollars, this is the guide for you. We’ve tested hundreds of audiophile headphones and picked our favorites for specific uses. These wired, over-ear headphones forgo features such as Bluetooth and active noise cancellation, and just focus on delivering a great sonic experience.
sound possible for serious listening sessions, but you don’t want to drop thousands of dollars, this is the guide for you. We’ve tested hundreds of audiophile headphones and picked our favorites for specific uses. These wired, over-ear headphones forgo features such as Bluetooth and active noise cancellation, and just focus on delivering a great sonic experience.
Our pick
Monolith by Monoprice M565C
For your first audio upgrade
These comfortable, exciting-sounding headphones are difficult to beat, especially at this price.
The Monolith by Monoprice M565C headphones are perfect for the music connoisseur who wants better performance than standard cans offer but not something so expensive or delicate that you might be afraid to take them with you to work or school. These headphones have an exciting, detailed sound, beating out pairs that cost hundreds more. Suitable for any genre of music, the planar-magnetic drivers are housed in isolating closed-back earcups that let you block out distractions and focus on enjoying your playlist. These headphones have a sturdy, comfortable build, but because of their bulk they aren’t the most portable or subtle-looking. The cable lacks a remote and microphone (so you won’t be able to make phone calls), but it is replaceable, and Monoprice’s five-year warranty is about the longest for any headphones we’ve seen.
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Our pick
Denon AH-MM400
For the office or on the go
These headphones deliver audiophile sound in a more travel-friendly package.
If you prefer less bulky headphones that have a remote and mic and still deliver audiophile-quality sound, the Denon AH-MM400 set is for you. This relatively lightweight model’s design folds for travel, and the headphones are less conspicuous than many other audiophile headphones. They are sturdy and quite comfortable, too. The cable is removable and features a three-button remote and mic, ideal for commuters. In our tests, this pair’s overall sound quality was especially fun. High frequencies sparkled with detail, and the extra bass oomph added a warmth even to acoustic guitar. However, the lows could verge into somewhat boomy territory with already bass-heavy music.
Our pick
Sony MDR-7506
For recording sessions and music students
The Sony MDR-7506, a longtime favorite of audio professionals, offers more reliability, more comfort, and better sound than many headphones twice its price.
The Sony MDR-7506 has been a studio staple since its introduction in 1991, and for good reason: Not only does this pair of headphones provide accurate-sounding bass, mids, and treble, but it also gives you a better sense of the depth and dynamics of your music than many headphones twice its price. Plus, this set is durable, comfortable, and reliable—our pair is eight-plus years old, and all we’ve had to replace is the earpads. If you’re looking for something to monitor your band while you’re recording and editing your project, the MDR-7506 is a fantastic and affordable choice.
Our pick
Dan Clark Audio Aeon Flow 2 Closed
For a serious step up in sound quality
If you want the absolute best-sounding sealed over-ear headphones under $2,000, get this pair.
If price isn’t as much of a factor in your decision, the best closed-back (or sealed) headphones we’ve heard that don’t cost a few thousand dollars are the Aeon Flow 2 Closed headphones from Dan Clark Audio (formerly MrSpeakers). Expertly tuned, the Aeon Flow 2 pair offers a fantastic sense of space and detail. Even if you were to spend several thousand dollars more, you’d get very little extra for your money. Not only do these headphones sound great, but they are also comfortable and remarkably lightweight for full-size planar-magnetic headphones. You don’t get a remote or mic, just wonderful sound quality covered by a two-year warranty.
Our pick
HiFiMan HE400i
If you prefer open-back headphones
Offering perhaps the most spacious and detailed music reproduction you can get for less than $500, the HE400i represents an affordable way to get true audiophile-grade sound.
For a serious music lover who wants great sound for home listening and wants to spend less than $500, we recommend the HiFiMan HE400i. The earcups are open-backed, meaning they’re vented and don’t seal in (or seal out) soundwaves—and you don’t have to be an audiophile to hear the difference in sound quality that this design produces. The HE400i’s sound is far more detailed than that of conventional, sealed headphones; you’re likely to notice subtleties such as a flautist’s breaths, the dash of a drummer’s brush against a cymbal, and an acoustic guitarist’s fingers sliding along the fingerboard. You’ll hear none of the pumped-up bass many headphones produce, either. The only downsides are that the HE400i won’t play super loud when connected to most Android phones (although we think it’s loud enough), and because of the open-back design, sound leaks both in and out of these headphones—so you’ll be bothered by noise around you, and you’ll bother the person sitting next to you.
The research
- Why you should trust us
- Who this is for
- How we picked and tested
- For your first audio upgrade: Monolith by Monoprice M565C
- For the office or on the go: Denon AH-MM400
- For recording sessions and music students: Sony MDR-7506
- For a serious step up in sound quality: Dan Clark Audio Aeon Flow 2 Closed
- If you prefer open-back headphones: HiFiMan HE400i
- Measurements
- Other audiophile headphones we like
- The competition
Why you should trust us
Senior staff writer and headphone editor Lauren Dragan holds a bachelor’s degree in both music performance and audio production from Ithaca College, and has tested more than 1,000 pairs of headphones while working for Wirecutter. In addition to reviewing gear for AV magazines, she has been in and out of top recording studios for over a decade, first as a radio producer/on-air talent and then as a professional voice actor. Her articles have been featured in Fast Company, Forbes, the Los Angeles Times, and Time, as well as on Good Morning America, the BBC World Service, and NBC Nightly News.
Senior staff writer Brent Butterworth has been reviewing audio gear professionally since 1990. He previously worked as an editor or writer for Sound & Vision, HomeTheaterReview.com, Home Theater Magazine, and numerous other publications. Brent is one of the extremely small number of audio journalists (maybe two or three total) who own laboratory-grade headphone test equipment, which he used for part of our testing here.
Our listening panel included John Higgins, a session musician, sound editor, and occasional Wirecutter writer with a music master’s degree from the University of Southern California, and Geoff Morrison, editor-at-large for Wirecutter and regular contributor to CNET, Forbes, and The New York Times (Wirecutter’s parent company).
Who this is for
This guide is for the audio fan in pursuit of better sound quality. Maybe you’re a budding musician looking to monitor tracks in a session, or a lifelong music connoisseur who longs to get the most out of an audio collection. In this case, you want the purchase price of your headphones to go toward the audio quality, not features like Bluetooth, active noise cancellation, or water/sweat resistance.
But even among audiophiles, one size does not fit all. Different listening activities require different headphone attributes. Someone looking to enjoy their vinyl collection at home may appreciate a larger headphone set with an open-back design, while a commuter may prefer a more portable, sound-isolating pair. Musicians are likely to prefer a more neutral-sounding profile for monitoring, whereas someone looking to kick back between meetings at work with some hip-hop might appreciate a little more oomph in the low end. Although you can find a lot of great headphones out there, we endeavored to select, out of the hundreds of cans we’ve tested, options that best fit specific uses.
This guide focuses on wired, over-ear headphones. There was a time when you couldn’t get decent sound from wireless headphones, but that’s not the case anymore. If you do choose wireless, however, you pay more to obtain the same sound quality you can get from a great pair of wired headphones. In addition to being more cost effective, wired headphones generally last longer than wireless pairs since you don’t have to be concerned about batteries dying over time.
As for earbuds, we have a guide to earbuds too, but due to their smaller drivers, they struggle to produce the same sense of space that over-ear headphones offer, and you often pay more to achieve similar levels of detail.
With audiophile headphones, once you get into the higher price ranges (above $300), the difference in sound is typically a matter of preference, not quality. How much do you want to spend? Although there is a distinct jump in sound quality between our budget studio pick and our upgrade audiophile pick, spending more may not be practical. If your headphones are at risk of a guitarist spilling beer on them, for instance, you probably don’t want to spend more than $100. And if you know you won’t go into public wearing large headphones, yet you spend most of your time listening to music on the train, it’s silly to waste money on headphones you’ll almost never use. So think about your lifestyle before getting seduced by the price tag: Why splurge on a $30 truffle-laden potato mousse when you’re totally happy with $3 french fries?
How we picked and tested
For this guide, we focused on models we thought of as “everyday” audiophile headphones: sets that were great sounding but still fairly affordable (under $1,000) and suitable for listening at home or at work while plugged into your smartphone, tablet, computer, or sound system. That meant the headphones had to sound good when powered by a mobile device alone, whereas many higher-end audiophile headphones require a separate headphone amplifier. We still tested the contenders with headphone amps because if you’re spending this kind of money on headphones, you’d probably like to know how they’ll sound if you do decide to get an amp. In most cases, the tested headphones sounded only slightly better and louder with an amp—the exception being our step-up pick, the Aeon Flow 2, which sounded great without an amp but even better with the help of one.
First we narrowed down our selections by researching owner reviews, professional reviews, and audiophile fan communities, as well as looking through reader suggestions. From there, we thought about what aspects of headphones would be most beneficial across the board, regardless of use. With all our picks, we looked for the following:
- Detailed, clear, perceptually accurate sound: No frequency range (highs, mids, lows) overpowers another, instruments sound like they do in real life, and there is a sense of instrument placement in a three-dimensional space, rather than a flat wall of sound.
- Comfortable fit: The headphones are adjustable to fit a wide range of head and ear types. In addition, they are not massively large, heavy, or fatiguing, and they don’t have too much clamping force squeezing your head.
- Sturdy build quality: Are the headphones built to last over several years of reasonably careful use without falling apart or failing? Replaceable parts (such as cables and earpads) are important factors to consider here.
- Responsive customer support and warranty: In case anything goes wrong, you want someone who will answer the call and resolve your problem quickly.
- Value for the price: If any given headphone model costs significantly more, we look for that price to be justified with a substantial increase in overall quality.
Since these headphones are primarily designed for sitting and actively listening, we did not make portability a top priority. The ability to fold up the headphones and the inclusion of a remote and microphone on the cable were not mandatory features, except when we considered our on-the-go pick. Although we appreciated compact, well-made carrying cases, we also allowed for larger cases within reason. As long as we could still fit the case in a backpack, we kept the headphones in the running. And since ¼-inch headphone adapters (which are often necessary for use with a receiver’s headphone jack) are relatively affordable, we didn’t dock points if a company didn’t include one, though we did consider the presence of an adapter to be a plus.
We tested using an iPhone, an Android phone, a Denon receiver, and a MacBook Pro, in addition to an Oppo HA-2 headphone amp, to see if sound-quality results varied.
Panelists selected their own music, with which they were intimately familiar and therefore could help them better judge what each pair of headphones brought to the table. During our tests, each panelist listened to all of the headphones back-to-back to get a sense of their sound, build quality, comfort, and features as compared with each other. We find that back-to-back listening of multiple headphones by multiple people provides the most effective comparisons.
At the end of our tests, Brent measured each pick, which allowed us to see how the headphones’ measured performance compared with our real-world impressions (see the Measurements section for results).
For your first audio upgrade: Monolith by Monoprice M565C
Our pick
Monolith by Monoprice M565C
For your first audio upgrade
These comfortable, exciting-sounding headphones are difficult to beat, especially at this price.
Who it’s for: These headphones are for the person who is ready to upgrade to their first pair of audiophile headphones but not ready to break the bank. Such a person has owned less-expensive, average-sounding headphones, and they’re sick of spending money on feature-rich, overpriced tech that makes their favorite songs sound lackluster. They want to sit back and enjoy their music, undisturbed by their surroundings.
Why it’s great: The Monolith by Monoprice M565C headphones are a joy to listen to. All of our panelists agreed that this set sounded as good as (or better than) pairs costing twice the price. In our tests, the sound was boosted in both the high and low frequencies more than is technically considered neutral, but the effect resulted in clear highs supported by a foundation of deep, rich lows. A lot of similarly tuned headphones muddy the lows or make highs so jagged as to become painful. But the M565C avoided piercing, sizzling, or blurred sound. This tuning also lends itself to a larger sonic depth of field than you might expect at this price, a result that we found especially noticeable in concert-performed classical music and other live-recorded music.
The M565C features planar-magnetic drivers, which use a thin sheet of plastic film embedded with wire in place of the dynamic drivers in most headphones (Inner Fidelity’s Tyll Hertsens has an excellent article on the technology). Because planar-magnetic drivers reproduce sound using an extremely thin sheet of film rather than the thicker plastic diaphragms of conventional headphone drivers, they tend to do a better job of reproducing the little details that often go missing with conventional headphones but are readily apparent in live performances. Planar-magnetic drivers respond to notes quickly and don’t resonate too long, so midrange instruments such as bass guitar or the lower end of the piano keyboard don’t muddy together even when playing a rapid succession of notes. That said, in our tests the middle range was a little lower in the mix through the M565C than through headphones that were tuned to be flatter in their frequency response. The French horn in Holst’s “Venus,” for example, could sound a bit more subdued.
These headphones are very comfortable to wear, even for long listening sessions. Despite this pair’s somewhat heavy 13.7-ounce build, the metal frame and floating headband keep the weight well distributed. The padding on the leatherette headband and earpads is remarkably soft. The earpads’ foam conforms easily to any face shape, which (in addition to being extra comfy) helps this closed-back pair better isolate your ears from external noises. Glasses wearers will find these pads to be more amenable to smushing over frame arms than those of most other over-ear headphones.
Though Monoprice recommends 1 watt of power to drive the M565C headphones, their low 20 ohms of impedance means you can reasonably drive them with a laptop or mobile device. If you have an older phone or prefer to use a portable DAC/amp, we have a guide to assist you. That said, you don’t absolutely need special equipment to enjoy listening to these headphones. The fabric-wrapped replaceable cable has a ⅛-inch (3.5 mm) jack, and a ¼-inch adapter is included.
In addition to feeling substantial, the Monolith M565C headphones come with a five-year warranty. Five years is the longest warranty we are aware of for headphones, with most companies offering only a year or two. You can feel secure in knowing that if something goes wrong your gear will be guaranteed for years to come.
Flaws but not dealbreakers: For people who prefer to keep a lower profile when listening, these headphones may not be ideal. Their look clearly says “not now, I’m busy.” That said, audiophile headphones are designed for sitting and actively listening, and we think the person who’s looking for this headphone type will happily make concessions for size.
The M565C headphones are far from being easily portable. They don’t fold up like some other headphones we tested, and their protective hard-sided storage case is the largest in the group—but at least it has a handle and does a great job of protecting your cans from dust, drops, and impacts. Think of it this way: If earbuds are your carry-on item, these headphones are a steamer trunk. Yes, you could lug that case with you on the go, but are you sure you want to?
As for the sound, in our tests the M565C didn’t deliver quite as much presence in the mids as we’d like from the ideal headphones, and some of our panelists would have preferred a little extra sparkle on the highs. But to get that level of sound, we would have had to pick headphones that were far more expensive, and the performance difference was slight enough that we were willing to give the M565C a pass in this regard.
Lastly, the cable transfers some noise into the headphones if you move around a lot or wear a scratchy sweater. And unlike some other headphones in this category, the M565C set doesn’t come with a cable that has a remote and mic option for mobile use.
For the office or on the go: Denon AH-MM400
Our pick
Denon AH-MM400
For the office or on the go
These headphones deliver audiophile sound in a more travel-friendly package.
Who it’s for: Many over-ear headphones designed for audiophiles are not terribly portable—they can be large, with massively long cables, and they frequently lack in-line remote-and-mic capabilities. This pair is the antidote to that. It’s for folks who want to use their headphones during their commute, or are looking for something that is slimmer in design and usable for phone calls yet still offers the high-end audio quality they crave.
Why it’s great: For people who aren’t into the bulky earcups or conspicuous design of our other picks, the Denon AH-MM400 headphones are more understated than most audiophile-style options. The comparatively narrow earcups hug close to your head, and they fold in for more compact storage on the go. Many headphones in this category are not only so massive that their cases can’t fit in a backpack but are also so large on the head that you can’t help but feel conspicuous wearing them in a coffee shop.
The AH-MM400 set is fun to listen to, and it sounds fantastic. In our tests, the highs had a small, well-tuned bump in loudness that reinforced details and gave vocals an extra-vibrant sparkle. Our panel really liked the balance between the even mids and detailed highs. However, lower frequencies were on the louder side, and songs that were already bass-heavy could begin to sound mildly boomy.
Additionally, the AH-MM400 headphones didn’t have quite the sense of space that we heard in some of our other picks. The sound had less depth and more of a 2D feel, as in the difference between music recorded in a hall versus a dry studio environment.
These headphones are sturdily built, with an aluminum frame, walnut wood accents, and soft foam padding. The clamping force of the headband is on the secure side, so the headphones won’t fall off if you wear them out and about. They’ll also help reduce some of the noise from the world around you, as our measurements found they average around 7 dB in reduction across human-hearing frequency ranges from 20 Hz to 20,000 Hz.
The AH-MM400 pair has a three-button, Apple-compatible remote and mic on a removable cable. The play/pause button and microphone will also work with most other phones, but due to the variety among Android devices, the compatibility of the volume controls with non-Apple gear is hit-or-miss. Denon also includes a longer, mic-free cable.
Flaws but not dealbreakers: Although the warmer, somewhat bass-forward sound was something our panelists enjoyed, if you’re looking to monitor recordings or if you prefer a profile that is neutral across all frequency ranges, consider our other picks.
People with particularly large noggins may want to keep the fit in mind: The secure clamping force and snug design might squeeze bigger skulls after a while.
The AH-MM400 headphones come with a drawstring travel bag that will keep the dust off but won’t really protect them. However, the metal-reinforced headband doesn’t feel overly fragile, and the AH-MM400 is backed by Denon’s one-year warranty.
For recording sessions and music students: Sony MDR-7506
Our pick
Sony MDR-7506
For recording sessions and music students
The Sony MDR-7506, a longtime favorite of audio professionals, offers more reliability, more comfort, and better sound than many headphones twice its price.
Who it’s for: This inexpensive yet highly neutral pair of headphones is perfect for music/recording/film students, performers doing session work, podcasters, videographers who need to monitor sound, and folks building up their sound booth—or, really, anyone who wants great-sounding headphones for less than $100.
Why it’s great: We’ve been recommending the Sony MDR-7506 for over six years. Every audio professional we’ve interviewed speaks highly of these headphones. Nearly every recording studio and radio station has a pair attached to the mixing board or sitting in the recording booth. Start paying attention to live film crews working on news programs or reality shows, and you’ll see the MDR-7506 a lot. (Or maybe you shouldn’t. You might pick up the weird headphone-spotting habit that drives Lauren’s friends crazy.)
Why the love? Because the MDR-7506 headphones sound fantastic, especially when you factor in the price. In our tests, they offered great tonal balance—with accurate-sounding, evenly balanced bass, mids, and treble—and reproduced nuances in music in a manner unmatched by other headphones in their price range. As one panelist put it, they’re “just great reference headphones” that handle dialogue, music, and sound effects equally well.
The MDR-7506 model has been around forever, and these headphones might last forever. Seriously. They have great build quality, replaceable earcups (eventually the vinyl on the pads can deteriorate; this started to happen on our pair after five years, but a new set of compatible pads is a fraction of the cost of a new pair of headphones), and a one-year warranty on parts. Some reviewers on Head-Fi and Amazon mention having pairs over 10 years old that are still going strong. The long, coiled cord has some give, should you walk a little too far away from your device, and it’s tough, too—we’ve seen DJs roll over the cord with desk chairs and people drop the headphones on the floor with no ill effects.
They isolate noise rather well: We measured an average of 9 dB in reduction in the human-hearing range from 20 Hz to 20,000 Hz, which means you’ll not only be able to shut out the outside world when you’re listening but also keep your monitor audio from bleeding into your recordings. These headphones fold over for easy travel and storage, too. And since they come with a ¼-inch adapter and a travel pouch, you can easily move them from your iPhone to your home theater setup to your gaming rig to a mixing board.
Although the MDR-7506 pair is tough, it’s also notably comfortable. All our reviewers commented on the fit being good. Fit can make all the difference as to whether you actually use a pair of headphones regularly, so to have everyone be relatively happy with the comfort of a particular set is a big deal.
The MDR-7506 typically sells on Amazon for about $80, yet this pair outperforms headphones that cost $50 to $75 more. It’s a fantastic buy that will leave you feeling confident about your purchase.
Flaws but not dealbreakers: Although we love just about everything about the Sony MDR-7506, we would prefer that the cable be removable and replaceable. While the coiled cable is practical in an office or studio environment, being able to swap it out in the event of snags or for a shorter cord would be nice.
The MDR-7506 won’t win any beauty contests. Available in the same color options as a Ford Model T (black and black), the MDR-7506 has a utilitarian look that, while perfectly practical for audio professionals, doesn’t incite design lust in the fashion-minded. That said, many headphones that look twice as fancy also cost twice as much—and sound half as good.
For a serious step up in sound quality: Dan Clark Audio Aeon Flow 2 Closed
Our pick
Dan Clark Audio Aeon Flow 2 Closed
For a serious step up in sound quality
If you want the absolute best-sounding sealed over-ear headphones under $2,000, get this pair.
Who it’s for: If you consider yourself a dedicated audiophile in pursuit of the best sound possible, but you aren’t quite able to justify spending several thousand dollars on headphones, look no further than the Dan Clark Audio Aeon Flow 2 Closed (the company also sells an open-back version for the same price).
Why it’s great: The Aeon Flow 2 Closed headphones are hands-down the best-sounding closed-back headphones under $2,000. Spending over $2,000 might get you somewhat better detail or space, but dollar for dollar you’d receive diminishing returns. The Aeon Flow 2 is just that good.
The Aeon Flow 2 is an updated version of our former pick, the original Aeon Flow Closed. These headphones are as even and natural-sounding as we’ve ever heard in a sealed-earcup design. In our tests, the highs were detailed and lively but not piercing, and we didn’t notice any sibilance. To our ears, there did seem to be a little dip and then spike around 3 kHz, and then another spike between 8 and 10 kHz, but it was mild.
Dan Clark Audio includes several dampening pads that can adjust the sound profile somewhat, so you may want to experiment to find your favorite; with and without them, the Aeon Flow 2 sounded fabulous to our panelists. Generally, in our tests the syllables on soprano vocals popped slightly more than what is natural, but some people may perceive that as detail. Midrange frequencies were never hidden and never overwhelmed by the present but well-controlled low end. Kick drums didn’t woof, and even hip-hop bass lines didn’t blur everything else in the mix. You can listen at higher volumes without distortion, and every kind of music sounds great. In addition, you can swap out the included earpads with a perforated set that lets in more outside sound but also changes the audio profile.
If you are looking to optimize your experience, this headphone pair will benefit from a decent headphone amp, becoming richer in dynamics with better control and balance in the lower frequencies. However, if you don’t have an amp handy, the Aeon Flow 2 doesn’t fall apart in use with only a laptop or phone, still sounding better than most anything else you could compare it with at this price.
Not only do the Aeon Flow 2 Closed headphones sound amazing, but they are fairly lightweight, too. At around 11.5 ounces, they’re about 2 ounces lighter than the original Aeon Flow and the Monolith by Monoprice M565C. The Aeon Flow 2 headphones are comfortable, especially when compared with many higher-end planar-magnetic headphones. And they’re durable: The leatherette earpads and fabric-wrapped cable are replaceable, the headband is metal with a replaceable leather strap, and the earcups have actual carbon fiber.
Despite being on the larger side when worn, the headphones fold up to be surprisingly compact. Dan Clark Audio includes a hard-sided case to protect the headphones from bumps during transport; the case is smaller than that of the M565C but larger than that of the Denon AH-MM400. If anything goes wrong, Dan Clark Audio covers the materials and workmanship on the Aeon Flow 2 for two years.
Listening to the Aeon Flow 2 was an immersive experience for us. Even for our experts who test, on average, over 200 headphones a year, the Aeon Flow 2 was good enough to make us forget that we were supposed to be analyzing what we were hearing and just get lost in the music. And really, isn’t enjoyment what all this high-end audio fuss is supposed to be about?
Flaws but not dealbreakers: The Aeon Flow 2 Closed headphones don’t sound as three-dimensional as open-back headphones of equivalent price. A sense of spatial depth is difficult to achieve in closed-back designs. Usually, to create the illusion of depth, headphones are tuned with a somewhat bloated bass and diminished mids, trading accuracy for a more three-dimensional feel. Really, the only way to get that “open” feeling is to, well, buy open-back headphones (see our pick below—and keep in mind that Dan Clark Audio also makes an open-back version of the Aeon Flow 2).
The Aeon Flow 2 design isn’t subtle. Big and bright red, these headphones definitely are a presence on your noggin. But if amazing sound quality is your aim, you’ll likely find that you don’t care what they look like.
If you prefer open-back headphones: HiFiMan HE400i
Our pick
HiFiMan HE400i
If you prefer open-back headphones
Offering perhaps the most spacious and detailed music reproduction you can get for less than $500, the HE400i represents an affordable way to get true audiophile-grade sound.
Who it’s for: If you’re a serious music lover who likes to sit at home for hours listening to music—especially acoustic music such as classical, jazz, or folk—a set of open-back (unsealed) over-ear headphones is a great investment. Many headphones that are priced higher than $500, as well as almost all of the models that audiophiles praise highly, are open-back designs.
However, open-back headphones probably shouldn’t be an average listener’s first choice, as the design isn’t practical for many situations. Because the earcups are unsealed, sounds can get in and out. Use open-back headphones on an airplane or subway, and you’ll get near-zero relief from the noise. Those around you can hear your audio, too, so you probably wouldn’t want to use these headphones in bed while your significant other is trying to sleep. And you definitely can’t use them when you’re recording in front of a mic, as you’ll be at risk of feedback or hearing the backing track in your recording. Open-back headphones almost always produce less bass than closed-back models, and almost none of them include a cable with an in-line microphone or remote.
Why it’s great: For people who have never tried a good set of open-back headphones, hearing the HiFiMan HE400i may come as a shock. Its sound is far more detailed and spacious than that of a conventional, closed-back set of headphones, so the result sounds much more like you’re at a live performance. Even though our panelists’ tastes in sound vary, we all picked the HE400i as the best-sounding model among all the under-$500 headphones we heard.
Like most of HiFiMan’s over-ear models, the HE400i headphones use planar-magnetic drivers, which we obviously like—our pick for a first audiophile headphone, the Monolith by Monoprice M565C, and our higher-end pick, the Dan Clark Audio Aeon Flow 2 Closed, also use planar drivers.
Our panelists thought that the HE400i delivered the best overall performance and the most natural sound of all the open-back models we tested. The HE400i’s bass output, relative to the treble and midrange, was about on a par with that of most open-back headphones. Fans of jazz, classical, and light pop will probably like the tonal balance because it’s free of the annoying boominess that many closed-back headphones produce, but bass lovers will likely find these headphones to be lacking.
The HE400i is comfortable to wear for hours. The earpads are moderately firm yet still comfortable because the parts that contact your skin are covered in soft velour, and the earpads are large enough to distribute the clamping force of the headband evenly around your ears. At 370 grams (about the weight of a can of La Croix sparkling water), this isn’t the lightest pair of audiophile headphones we’ve encountered, but it certainly doesn’t present the neck-straining weight of some high-end audiophile designs.
Though the HE400i isn’t well suited for mobile applications, one nice feature is that its earpieces fold flat, making the headphones easy to slip into a suitcase between a couple of shirts. The original HE400i came with a detachable cable that used a fussy threaded connection to the earpieces, but later models use 2.5 mm stereo plugs that are much easier to connect.
We tested the HE400i with HiFiMan’s stock earpads, which are covered in velour on the front and leather on the sides. The company also sells optional earpads covered entirely in leather or velour. Experiment with these if you like, but be aware that they will change the sound of the headphones. Our measurements show that the leather option will add peaks around 50 Hz and 1 kHz and a few little spikes in the 5 to 10 kHz range, and that the velour will roll off the low end a bit compared with the stock and leather sound profiles.
Flaws but not dealbreakers: Open-back headphones aren’t as versatile as closed-back headphones. You can use them with a smartphone, but because they let outside sounds through to your ears, they’re basically useless on an airplane, bus, or subway. Other people can hear what you’re listening to fairly easily. These headphones are also much bulkier than most listeners probably prefer, either for traveling or just for basic comfort.
The bass from the HE400i is understated compared with what you hear from almost any closed-back headphones. The HE400i also has a bit of treble emphasis, so cymbals might seem a little too loud, but this effect is typical of headphones voiced for audio enthusiasts. It’s a notably different sound from what you hear on most headphones; whether you like it is entirely up to you.
The HE400i also has a lower sensitivity (the amount of power the headphones need to play at a certain volume), so it won’t play as loud from the same source device (such as a tablet, a smartphone, or a headphone amp) as most headphones will. This might be a plus, though. In our tests, even with a Samsung Galaxy S8 smartphone, which offers less maximum volume than the headphone dongle included with the Apple iPhone 8, the HE400i generally played at a satisfyingly loud volume yet didn’t play loud enough to hurt our ears. Although you may find that the HE400i benefits somewhat from the use of a dedicated headphone amp, using one isn’t necessary.
The HE400i comes in a nice presentation case, but that’s not much help if you want to take this pair somewhere. Fortunately, third-party headphone cases are readily available on Amazon.
Measurements
Measurements aren’t the last word in what makes good-sounding headphones, but they are one piece of the puzzle, combined with expert panel-testing data that can give you a fuller picture of what headphones sound like. In an effort to visualize what we were hearing, Brent measured the frequency response of our picks. He used a GRAS Model 43AG ear/cheek simulator with a KB5000 simulated pinna, in conjunction with an Audiomatica Clio 10 FW audio analyzer and TrueRTA software, to obtain his analysis.
Brent first level-matched each pair of headphones at 500 Hz and then used the Clio software to send tones through the headphones and the GRAS simulator to measure how evenly each pair of headphones reproduced each range of audio, from the lowest bass to the midrange to the highest treble. With speakers, frequency response should be essentially flat, with every frequency of sound reproduced at the same level. With headphones, it’s more complicated (and a bit controversial), but the so-called Harman curve (derived by researchers at audio company Harman International) comes the closest to an agreed-upon “correct” response for headphones—so we’ve made that our target response in the chart below.
Other audiophile headphones we like
AKG K371: This pair might be worth considering as mixing headphones. They’re pretty neutral and have a particularly clear midrange. We actually found this model’s overall sound quality to be more natural-sounding, with more spatial sense, than that of the Sony MDR-7506. But typically it’s nearly twice the price of the Sony pair, and people with smaller heads may find that the elongated earcups sit below the jawline and let sound out. That said, if you are looking for a really neutral sound, the K371 is fantastic. Brent details his evaluation on SoundStage, if you’d like to read more.
Audio-Technica ATH-M40x: Thanks to its clear, crisp, and articulate high end, its rich bass, and its detachable, replaceable cable, the ATH-M40x earned strong praise from our panelists. However, for three out of four panelists, a few extra decibels in the high end (hi-hat, snare, and female vocals were too loud for our ears) kept the ATH-M40x from being our pick for studio use. If you can’t get the Sony pair or if you prefer extra intensity in the higher frequencies, you’ll be very happy with this Audio-Technica set.
Beyerdynamic T51i: This on-ear pair is lightweight and has a sturdy metal headband and lovely memory-foam-type earpads. Everyone on our panel found the T51i comfortable, and everyone generally liked the sound—but we had a few quibbles. The highs were a tad too sibilant, which left guitars and vocals sounding slightly metallic or icy, and the bass was a bit too resonant. Although we loved the light build, we wished that the T51i folded up to be more compact; the earpads do swivel so that they can lie flat, but the case ends up being as large as a hardcover book.
Fostex T50RPmk3 and T20RPmk3: These models are based on a design that dates back to the late 1980s, and both are worthy of recommendation. The T50RPmk3 headphones have a semi-open-back design, yet they still offer that classic open-back sound, which is particularly spacious but lacking most of the bass. The T20RPmk3 cans have a more traditional open-back design but seem to sacrifice some of that spaciousness to produce more bass. Although Fostex promotes them as pro models, they work well for music listening at home. Both are sensitive enough to deliver plenty of volume from a smartphone, and both are extremely comfortable. The design of Fostex’s detachable cable sometimes requires a little wiggling for you to get a good connection on the headphone end, but otherwise we think these headphones represent one of the best ways to get audiophile-grade sound for a very low price.
Grado SR325e: If we were to include one more open-back headphone model among our picks based on sound quality alone, it might be this one. It offers the classic, treble-boosted Grado sound but in a fairly benign way, as if you had turned up the treble three clicks on your car stereo. In our tests, the sound had just enough bass to keep it from sounding thin, and it exhibited all the spaciousness and apparent detail for which Grado headphones are famed. The big downside is that these headphones are uncomfortable. The earpads are cupped, as opposed to dished (as on the SR60e, SR80e, and SR125e), and the foam felt scratchy to us. Glasses-wearers will struggle to get these headphones to fit. While the SR325e is a questionable recommendation for average listeners, Grado fans are sure to love it, and we expect many other headphone enthusiasts are, too.
Koss SportaPro: This budget pair of on-ear headphones is light and cheap, and it sounds better than you might expect for the low, low price. Yes, these headphones have 1980s-style foam earpads. Yes, they have a plastic chassis and a thin metal headband that might catch on your hair. And no, they don’t come with an in-line remote or microphone. What they do have is a nice, natural-sounding midrange that sounds great with most music genres. And they come with a carrying pouch.
Master & Dynamic MH40: The MH40 over-ear headphones have a fun sound that isn’t completely natural. In our tests, this pair had a slight bump in the very high highs that lent an icy, metallic tinge to the treble, plus a moderate bass boost that could sound heavy-handed on already bass-forward tracks. Consonants stood out a little more than we expected, and we noticed that kick drum and synth bassline were more forward in the mix. It was this mildly colored sound that caused the MH40 pair to just miss the top spots. Overall, these headphones are comfortable, they sound great, and they’re undeniably cool and beautiful.
Master & Dynamic MH30: This set of on-ear headphones feels sturdy, luxurious, and expensive, and is just as pretty as its over-ear sibling, the MH40. In our tests, the MH30 had a similar sound profile to the MH40, but perhaps due to the way the on-ear shape affects the sound, it produced slightly more sibilance and bass. As a result, we preferred the sound of the more balanced over-ear MH40. If you want Master & Dynamic headphones, we suggest going for the MH40 over-ear pair. But if you specifically prefer the on-ear design because you wear thicker-armed glasses, the MH30 is a solid choice.
Sennheiser HD 600: This is the less-expensive sibling of the HD 650, which became something of an industry standard when Sennheiser introduced it in 2003. We think the HD 600 model is even better, and as of this writing it costs less than the HD 650. The over-ear, open-back HD 600 headphones have a classic sound that fans of jazz and classical are likely to love; Brent often goes back to them for pure enjoyment. If you find that listening to headphones with a high-end emphasis sometimes gives you a headache, the rolled-off highs of this pair might be just the right prescription.
The competition
We’ve tested nearly 200 headphones for this guide and considered just over a hundred more, so we can’t include everything here. If you have questions about a specific model, please reach out to us, and we’ll be happy to share our thoughts. There are a lot of good headphones in this category; several headphones listed here were edged out based on one of the criteria we listed in our How we picked and tested section.
AKG K240 Studio: This is a professional model with a design that dates back to the 1970s. In our tests it had a strong lower-treble boost and not much bass, and it seemed to be voiced to highlight the flaws in a mix so they’re easier for engineers to hear. Although it’s nicely made for its under-$100 price and has a cool retro vibe, it’s not much fun for casual music listening.
Audeze LCD-2 Closed Back: Audeze tuned the closed-back LCD-2 to match the original open-back version. To our ears, Audeze added too great a high-frequency spike in this pair’s signature sound. Hi-hat, syllables, snare hits, and string noise were especially loud, which could be fatiguing to people sensitive to very high pitches. This is a matter of preference, though.
Audio-Technica ATH-AD900X: This pair (this version and the previous, non-X version) has been a favorite of Brent’s for years due to its great comfort, spacious sound, and affordable price. Sadly, its treble-heavy, bass-light sound didn’t impress our other panelists as much, and Lauren and John both thought the winged headband that’s supposed to keep the headphones from drooping didn’t do its job.
Audio-Technica ATH-M50x: Revamped to include a detachable cable, this cult favorite has ranked among the top reviewed headphones for a long time. However, when we compared it directly with our other picks, the ATH-M50x was relatively lacking in sound and build quality. We found the high end to be tizzy and buzzy, and strings and high notes sounded tinny. We also found the bass to be painfully woofy in comparison with the mids.
Audio-Technica ATH-M70x: Our panel found that this model had less presence in the lower mids than we’d prefer, with a somewhat lispy quality to the high frequencies. As a result, the M70x headphones had an artificiality to their sound that caused them to lose out to other options.
Audio-Technica ATH-MSR7: The MSR7 headphones have an extra boost in the higher-end frequencies that, though a bit too forward for our panel, is often perceived as extra detail. This pair also has an added bass boost in an effort to balance out that high end; with certain kinds of music (hip-hop, most notably) it can start to feel like the bassline is a little too intrusive.
Audio-Technica ATH-WS1100iS: We found the bass boost on this set way too wide and loud. Kick drums sounded in-your-face but dull. This pair produced an added high-end bump to try to rein in the lows, but it ended up being sibilant, with the “S” on lyrics sounding especially harsh. If you like to position yourself next to the subwoofer at a club, these headphones are for you. If not, stick with our picks.
Beats Pro: In our tests, the bass was especially forward and so resonant that unprocessed male vocals sounded as though they had reverb on them. It was as though someone had mashed all the low-frequency EQ faders all the way up.
Beyerdynamic DT 770 Pro: While half of our panel liked the sound of this set, its lack of power when used with an iPhone put it out of recommendation range (this model is intended for home or studio use with an amplifier). For Lauren, the bass was painfully loud, and the earcups were so big on her small face that she found them uncomfortable to wear for any length of time.
Beyerdynamic DT 990 (32-ohm): This set is widely regarded as one of the better options under $300, and we don’t disagree—we just don’t think it’s one of the best. For us, these headphones’ emphasis on the treble held them back, something that every one of our panelists commented on. We found the same to be true of the 250-ohm and 600-ohm versions, which in our opinion didn’t improve on the sound of the standard, 32-ohm version.
Blue Lola: Great sound, weird fit. In our tests, the Lola headphones had a little less sense of space than the original Blue headphones, the Mo-Fi, but still sounded very balanced and clear. We love how they sound. Unfortunately, the weight of the earcups makes them gradually sink lower and lower on the ears, and they just aren’t comfortable for long listening sessions. If Blue were to scrap the design and keep the sound, it would possibly have a winner.
Grado SR80e: These headphones deliver much of that big, spacious sound we heard from the HiFiMan HE400i, our open-back recommendation. Many Grado headphones sound too trebly for us, but our panel thought the SR80e sounded more balanced than most of the company’s models. You still hear all that detail and spaciousness, but you get a reasonable amount of groove, too. However, for many people, these headphones may not be comfortable enough for hours of listening. The set itself is pretty light and doesn’t mash down too hard on the ears, but the scratchy foam Grado uses for its earpads does tend to wear on the flesh after a while.
Grado SR60e: The SR80e headphones sound a lot better than this set and usually cost only $20 more.
Grado SR125e: Our panelists thought this pair had a little less bass than the SR80e, producing a balance that half of our panel found too thin and trebly. Although we commend the SR125e cans for their added spaciousness, we’d rather spend $50 less on the SR80e.
Grado SR225e: This model is similar to the SR125e yet even brighter sounding, which our panel didn’t enjoy. It uses the same cupped earpads as the SR325e.
KEF M500: We love the sound, the comfortable and attractive design, and the collapsible nature of the M500 headphones. With their on-ear fit, they’re great for glasses wearers or folks who prefer not to have earcups that completely surround their ears. This set was our former pick for the best on-ear headphones, but it’s getting harder to find in stock. If you prefer on-ear headphones and can track this pair down, it’s excellent.
Koss Pro4S: Comfortable on the head, the Pro4S feels lightweight but sturdy. Unfortunately, the sound failed to blow away our panelists. We thought the mids had a spiked, compressed sound, and we noted some intensity around the 10 kHz area that made snares and cymbals feel piercing.
Monolith by Monoprice M565: Our panelists thought that the sound of this relatively small planar-magnetic headphone set beat out that of the more expensive M1060, but everyone concluded that the sound of the M565C was clearer and more natural.
Monolith by Monoprice M1060: This planar-magnetic model closely resembles HiFiMan’s midpriced headphones and has a similar sound, but our panelists thought the M1060’s treble was unnatural, as if it were coming from inside a can.
Monolith by Monoprice M1060C: First of all—no exaggeration—the case for these things is the size of a bowling bag. It’s massive. These headphones are definitely not made for easy portability. They are also rather heavy and can slide down if you don’t sit absolutely straight. Although they sounded decent in our tests, with just a bit of a reverb quality to the low mids, they weren’t stellar enough to beat our picks.
Shure SRH1840: This pair probably would have emerged as one of our top picks but for one issue: The design doesn’t allow the earpieces to swivel on the vertical axis, so the headphones don’t adapt well to some head sizes and shapes, specifically larger ones. In our tests, the fronts of the earpads wouldn’t seal, which left some panelists with sound that offered very little bass and a too-bright treble. When those panelists pressed the earcups firmly enough against their head to create a seal, the SRH1840 sounded terrific, with an almost perfect balance of bass to midrange to treble and a wonderfully spacious and ambient sound. If you have a rather small head, this model is a real contender.
Shure SRH440: These headphones had a bit of treble sizzle that our panel found off-putting; Brent pinned it as being around 2 kHz. The rest of the sonic profile seemed rather nice, but that darn sibilant push, although it started off feeling like clarity, ended up being fatiguing. If you need a little extra high end, we suggest going with the Audio-Technica ATH-M40x, which offers more features and a less harsh upper-frequency bump for the same price.
Shure SRH840: Overall, these are nice studio headphones. In our tests, the balance was mostly flat, with a little extra peak in the trumpet/female-voice range. Unfortunately, that peak can be a bit too much for folks with sensitive ears; all of our panelists called the high end a bit harsh for everyday use. Although the price (usually under $200) is on the affordable side, we’d rather see your money invested in the superior sound or features of our picks.
Shure SRH1540: Tyll Hertsens of InnerFidelity includes these $500 headphones on his Wall of Fame, but he adds that “they tend to fall apart a bit at higher volumes—bass can get bloated and loose; treble can become a little over-emphatic.” For $500, we want better than that, and we think our readers do, too.
Sony MDR-V6: Readers requested that we investigate the MDR-V6, as this model seemed identical to the Sony MDR-7506. Turns out, it wasn’t. Yes, the two models share a chassis, and the MDR-V6 is difficult to distinguish visually from the MDR-7506 (the MDR-V6 has a red sticker rather than a blue one on the earcups, plus a silver-tone jack rather than a gold-plated one). However, all of our reviewers said that the MDR-V6 had far more bass and a notably peaked sonic response, and it also lacked the depth of sonic field that the MDR-7506 offers.
Sony MDR-1AM2: The design is super lightweight and comfy; you could easily wear these headphones all day. Unfortunately, our panel discovered that the sound had way too much bass and a spike in the highs around 9 kHz that was piercing and off-putting, as it overemphasized any rattle or recording flaw.
Sony MDR-7510: Wirecutter readers asked that we check out the MDR-7510, which had a lot of great Amazon reviews. We found that the MDR-7510 had an especially spiky, uneven high end. Our entire expert panel found the highs to be too much. “Sibilant, hissy, and sizzly” were descriptors that everyone used, and the uneven high end made everything from the mids up (guitar, strings, and horns) sound “tinny.” We also noted an intensely boosted, unrefined, and overbearing bass, which gave the MDR-7510’s sound a “boom and sizzle” quality. Interestingly, because of the oblong, oval shape of the earcups, they could sit higher or lower on your ears depending on the size of your head, which could alter the sound. But in our opinion, no amount of repositioning made this Sony model actually sound good.
Sony MDR-7520: A reader-requested model, these professional headphones look like the big sibling of the MDR-7506. We love that the MDR-7520 has a removable cable, and in our tests this pair sounded as though it had higher-quality drivers, but unfortunately they weren’t tuned as evenly as those on the MDR-7506. The bass was very forward and had a bloated quality, and the highs could be piercing. It’s a bummer—a few tweaks to the tuning, and these headphones might be a favorite.
V-Moda Crossfade M-100: The durable design is so well built that you’re likely to have a tough time noticing anything else. But Tyll Hertsens of InnerFidelity writes, “I would have preferred the bass boost to happen about 100Hz lower” and notes that he found the midrange to be lacking.
V-Moda XS: This pair is built like a tank—sturdy, well crafted, and customizable. But the sound had some colorations, with a boosted bass, some ups and downs in the mids, and a rolled-off treble; it wasn’t natural, but it wasn’t objectionable, either. On top of that, the clamping force can really cause your ears to ache when you’re listening over long periods, especially if you don’t have a small skull. If you like the sound of V-Moda headphones, you will like the XS’s sound; it’s the tight fit that bumped this pair off our list of top options.
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