TOP 5 great studio headphones for audiophiles

Just think, the classic trinity from Beyerdynamic 770/880/990 first appeared on store shelves about 30 years ago and has not given up its position since then. By 2020, all three models have undergone several updates, are still actively selling and are considered enduring classics among musicians and music lovers. The combination of a strong and flexible design, in which almost any part can be replaced, and a moderately honest, but at the same time lively and assertive sound, brought them cult status.

All three models have the same acoustic design and differ mainly in design. Specifically, the 770s are closed and have good sound insulation. They are made in Germany, boast impeccable build quality and serve for decades without problems. In terms of ergonomics, everything is also at its best. The earcups sit comfortably, the ear pads tightly cover the ears, providing good noise insulation. The pillow is held in place by four buttons and can be detached if necessary. The ear pads are removable. If something breaks or becomes frayed over time, this part can be replaced without any problems. The design allows for easy assembly and disassembly of moving parts. For complete happiness, there is not enough replacement cable.

By the standards of headphones under $200, the DT 770 PRO perform excellently. Vocals in them sound rich, spacious and natural, regardless of the type of voice. The sound is generally monitor-like, but never boring. The character is typical for the entire series - sparkling “highs”, slightly raised bass and a well-developed, but slightly recessed “middle”. We were also impressed by their unpretentiousness; the 250 Ohm model started up easily when connected to the iPad 6 and, to be honest, we didn't hear much of a difference between the 80 and 250 Ohm models. It is not surprising that these beauties are still so popular and many choose them instead of the conventional Custom One or other newer Beyerdynamic models.

AKG K712 Pro are the flagship headphones from the famous “seven hundredth” series with all the usual attributes of this series, such as a headband with a tape adjuster, comfortable velor ear pads with memory effect, speakers with a double-layer Varimotion membrane and voice coils wound from the finest and purest copper. Unlike most of its counterparts, this model goes beyond the middle class and rather belongs to the category of professional Hi-End equipment, therefore, a pair of replacement cables are supplied with the headphones, the advertising booklet focuses on the processing of frequencies (approx: 10 - 39800 Hz), and The box and bowls bear the inscription “made in Austria”.

These are rare open headphones in shape, designed for professional work when recording musical instruments, mixing phonograms and basic mastering. They stand out with a surprisingly wide stereo panorama with clear positioning of instruments in the sound field. They have excellent spectral balance, the bass is accentuated and distinct, but not protruding, the mid range sounds lively and energetic, and the highs, for lack of better words, sound clean and bright. Thanks to the uniform development of the frequency range, almost all music in them sounds either good or excellent. At the same time, they are not too demanding on the sound source and a player or smartphone with a high-quality DAC will be enough for them.

Externally, the AKG K712 Pro look extremely similar to other AKG headphones with their massive round earcups and ribbon headband. To visually highlight the headband and cup holder rings, they were painted copper, which sets off the completely black body. The headband, traditionally for AKG, consists of a metal frame and a leather headband with rivets, which are conveniently adjustable to suit the shape of the head. Despite their apparent bulkiness, they sit comfortably on the head and do not cause discomfort after a couple of hours of use, as is typical for closed headphones.

The ATH-R70x is the first flagship open-back model in the Audio-Technica line. It will serve equally well for monitoring, mixing and mastering, DJing, post-production or listening to music at home. As in any flagship model with a price tag of $400, there are no fewer branded features here than medals on Brezhnev’s chest: top-end drivers with highly efficient magnets, perforated aluminum mesh behind the earcups to give the sound additional volume, the ability to reproduce a frequency range from 5 to 40,000 Hz and beyond by the list.

Now how does it all play out. Since the model was created for working with sound, it has a fairly neutral frequency response without obvious embellishments. Some music lovers like it, while others, on the contrary, are annoyed. But the trick is that even with a similar frequency response, a pair of different headphones can sound completely different - some will breathe life and dynamics, while others will tire after an hour of listening. So, the ATH-R70x clearly belongs to the first category, immediately catching your attention with its airiness, scrupulous detailing of the slightest overtones, gorgeous stage, precise balance and excellent bass.

Moreover, they sound equally good with almost any musical genre, be it pop, rock or jazz, and long-familiar songs blossom with new details. True, the headphones have a very high impedance (470 Ohms) and to pump up all this beauty they need a serious sound source. Ideally, a full-fledged amplifier with a low level of harmonic distortion and a good sound card with a high-quality preamplifier.

Well, a few words about the design. Everything here was done with professional use in mind, carrying from studio to studio, etc., so the headphones turned out not flashy, but as durable and comfortable as possible. We are talking about composite materials to increase rigidity, a reinforced frame and a replaceable cable with a carrying case. At the same time, the ATH-R70x turned out to be incredibly comfortable; your head doesn’t get tired of them even if you sit in them all day. Thanks to the self-adjusting 3D Wing headband and large, breathable velor ear pads.

The 600th series from the German wizards from Sennheiser is another timeless classic that cannot be ignored when discussing purebred sound. Since their release, a lot of water has flown under the bridge and a clear divide has emerged: the scrupulous analytical nature of the HD 650 is preferred by sound engineers and directors, while music lovers choose the slightly more affordable and “hi-fi” HD 600. Although on the Internet you can come across an opinion that the 600s sound the other way around more honest and less colored.

And this is perhaps the most interesting part of the story. In fact, all 600s are distinguished by a meticulous analytical character, so under the description card in the store you can come across two diametrically opposed comments, in the first the author will swear his eternal love for the HD 600, in the other he will be surprised who buys them at all. It's really a matter of taste. Plus, a lot depends on what exactly you will listen to in them. For example, aggressive techno, in which kicks literally hit the chest, is not their strong point at all. There is not enough dynamics and richness, so to speak. Some JBLs for a hundred evergreens do a better job here. If you love jazz, orchestral music and instrumental music, then for $400 you are unlikely to find a better option. The naturalness of their timbres and the separation of instruments is simply fantastic. The main thing is to have a high-quality amplifier and a well-mastered soundtrack. Otherwise, instead of enjoying the music, you will listen to the jambs of the recording. It is for this talent of bringing out the smallest mistakes into the light of day that professional sound engineers love them.

The appearance of the Sennheiser HD 600 is no less interesting. The company's designers have created a neat and eye-catching case that you want to put in the most visible place on your desktop and not hide anywhere for as long as possible. The combination of mesh-covered cups, felt inserts and ceramic-textured plastic worked surprisingly well. The design itself is well assembled and inspires confidence. The headphones are lightweight and damn comfortable, sitting perfectly on your head, giving you the opportunity to not pay attention to the comfort parameter during long hours of work. As in many of the company's flagship models, felt was used for the ear pads, which is comfortable but takes time to get used to.

The Californian company Audeze appeared on our radars a little less than ten years ago and in such a short time managed to gain a reputation as almost the coolest and most advanced headphone manufacturer. Moreover, similar epithets are thrown in their direction with equal frequency both from seasoned sound specialists and from experienced music lovers who have tried more than a dozen expensive headphones. The foundation for the company's future successes was its advanced premium LCD-2 headphones with isodynamic/magnetic planar drivers. Their driver is a thin membrane on which a flat voice coil is applied, and the whole thing is placed in a powerful magnetic field. To greatly exaggerate, it is something between electrostatic and classical dynamic drivers.

Let's not beat around the bush and start with the sound. The high level of Audeze is felt immediately without any preparation, the need to “warm up” the headphones or get used to them. Their main coolness lies in the ability to be cool in all aspects, be it the arrangement of instruments in space, the drawing of bass, the transfer of dynamics of live instruments or the nuances of vocals. Take any popular audiophile headphones, highlight their best quality, and then listen to the LCD-2. And with a 99% probability, the model from Audeze will be either on par with them, or a little better. Seriously, they have no flaws at all. But what is most striking is their ability to produce a huge amount of “everything” so that this “everything” is flawlessly interconnected. They are also one of the few headphones that masterfully transport the listener into a virtual room with musicians, as if you were listening to the music live. There is no feeling that you are sitting in a closed box. Naturally, you need to listen to them in conjunction with a good headphone amplifier.

There are only two things that bother us about the Audeze LCD-2. Firstly, they are large and heavy. The design here is very thoughtful, but holding such a 600-gram colossus on your head for a long time can be tiring. The ear pads are also huge, they completely cover the ears, which is why after a couple of hours they begin to sweat, as if they were closed headphones. Otherwise, you can’t find fault with the design - everything is assembled efficiently and reliably, it sits comfortably on your head, it feels like pure premium. Just look at this combination of bamboo inserts and black metal. The second problem with the Audeze LCD-2 is their price; not every audiophile can handle the official price tag of $1200. But there is good news - looking at the number of people who want to get magnetic planar headphones, Audeze engineers have released a lightweight version of Audeze LCD-1, which turned out to be lighter, more convenient and almost three times cheaper. And most importantly, they retained almost all the sound nuances of the older model. Sound engineers, musicians and audiophiles are excited again.