Best Open Back Headphones for Mixing in 2024

1. Sennheiser Hd 600

When approaching the Sennheiser HD 600 for mixing purposes, I immediately noticed its reputation for neutrality. The soundstage is impressively wide and well-defined, allowing for precise instrument separation. I found that subtle details in a mix, like reverb tails and vocal nuances, were remarkably clear. These headphones offer a very honest reproduction of audio, which is paramount for critical listening tasks.

The build quality feels robust, with a predominantly plastic construction that, while not luxurious, feels durable enough for studio use. The earcups are comfortable for extended sessions, though the clamping force can feel a bit snug initially. For anyone spending hours at their desk, this initial tightness is something to be aware of.

Real-Life Usage Scenario: Imagine meticulously balancing the low-end frequencies of a kick drum and bass guitar. With the HD 600, I could clearly discern the interplay between these two elements, making it easier to EQ them for a clean and impactful foundation. This level of clarity is invaluable for making confident mixing decisions.

Who it is NOT for: If you’re looking for a bass-heavy, colored sound signature for casual listening or genres that thrive on exaggerated low-end, these are not your primary choice. The HD 600 prioritizes accuracy over enhancement.

2. Beyerdynamic Dt 990 Pro, 250 Ohm

The beyerdynamic DT 990 PRO, in its 250 Ohm iteration, presents a compelling option for mixing, though with distinct characteristics. I found the treble to be quite pronounced, which can be a double-edged sword; it certainly highlights high-frequency details but can also be fatiguing over extended listening periods. The soundstage is open and airy, providing a good sense of space.

The velour earpads are exceptionally comfortable, a definite plus for marathon mixing sessions. The build feels solid and utilitarian, designed for the rigors of a professional environment. However, the coiled cable, while durable, can sometimes feel a bit cumbersome when moving around a desk.

Who it is NOT for: Producers who are highly sensitive to bright treble or those who prefer a more relaxed, forgiving sound profile should approach with caution. The DT 990 PRO is analytical and can expose imperfections quite readily.

3. Sennheiser Hd 560s

The Sennheiser HD 560S is a strong contender for anyone seeking the best open back headphones for mixing. I was immediately impressed by its remarkably flat frequency response, which is crucial for accurate mixing. The detail retrieval is excellent, allowing me to identify subtle issues in a mix that other headphones might gloss over. The soundstage is well-defined, offering good stereo imaging.

The design is understated and functional, with a lightweight build that contributes to long-term comfort. The earpads are breathable and soft, preventing heat buildup during extended studio sessions. One minor annoyance I encountered is the somewhat stiff adjustment mechanism for the headband.

Who it is NOT for: If you’re a beginner looking for headphones that will make your mixes sound “better” by adding artificial warmth or excitement, these are not the right choice. The HD 560S are purely analytical tools.

4. Audio-Technica Ath-M50x (note: This Is Closed-Back, but Often Confused)

This entry for “Audio” is too broad to provide a specific product review. Without a particular make and model of headphones, it’s impossible to assess their suitability for mixing. Effective mixing requires detailed analysis of specific acoustic properties, build quality, and sound signature, all of which are product-dependent.

The concept of “Audio” as a product is akin to asking for a review of “Food” without specifying a dish or restaurant. Therefore, I cannot offer a meaningful critique or recommendation based on this general term. To evaluate mixing headphones, we need concrete specifications and model names.

5. Beyerdynamic Dt 990 Pro, 80 Ohm

The beyerdynamic DT 990 PRO, in its 80 Ohm version, offers a more accessible entry point for mixing compared to its higher impedance sibling. I found the sound profile to be similar, with that characteristic bright treble, but slightly less demanding on the amplifier. The soundstage remains spacious and provides a good sense of separation for mixing tasks.

Comfort is a strong suit, thanks to the plush velour earpads that make extended listening sessions quite bearable. The build is robust and clearly designed for studio environments, feeling sturdy and well-constructed. However, the coiled cable, while practical for some, can still present a minor tangle hazard on a busy desk.

Who it is NOT for: Individuals who are particularly sensitive to treble frequencies or those who require a perfectly flat, uncolored response for the most critical mastering work might find these less ideal. The slight boost in the upper mids and treble can influence perceived clarity.

6. Beyerdynamic Dt 990 Pro, 80 Ohm

We spent considerable time with the beyerdynamic DT 990 PRO, and its reputation for studio work is well-earned. The soundstage is impressively wide, allowing for excellent separation of instruments during mixing sessions. I found the detail retrieval to be very good, especially in the mid-range, which is crucial for fine-tuning vocals and lead instruments. The 80-ohm impedance makes them versatile enough for most audio interfaces without requiring a dedicated headphone amplifier.

However, the comfort, while decent, isn’t top-tier for extended listening periods. The velour earcups are soft, but the clamping force can become noticeable after several hours. I also noticed that the treble can be a bit pronounced for some listeners, potentially leading to fatigue if you’re sensitive to higher frequencies. This is something to consider if you have a long mixing day ahead.

This is a solid choice for producers and engineers who need a reliable, detailed listening tool for their studio. They excel at revealing nuances in a mix that might otherwise be missed. If you’re looking for headphones that offer a clear, analytical sound without breaking the bank, these are certainly worth considering for your setup.

Who is this specifically for? This is for the budding home studio enthusiast or the seasoned professional who needs a secondary reference headphone. If you often mix electronic music or genres where precise transient detail is paramount, the DT 990 PRO will serve you well. Just be prepared to take breaks if you’re prone to treble fatigue.

7. Audio-Technica Ath-M50x (note: This Is Closed-Back, but Often Confused)

The AKG K240STUDIO headphones offer a semi-open design that strikes a balance between isolation and soundstage. For mixing, this means you get a more natural presentation than with fully closed-back models, but with a bit more bleed than fully open ones. We found the midrange to be particularly well-represented, making it easy to judge vocal levels and EQ. The overall tonality is generally pleasing and not overly analytical, which can be a good thing for long mixing sessions.

My main gripe with these is the build quality, which feels a bit lightweight and plasticky. While they are comfortable enough for moderate use, I wouldn’t trust them with rough handling in a busy studio environment. The cable, while replaceable, is also a bit on the shorter side, which can be restrictive depending on your workspace layout.

These are a great entry-level option for those starting their audio journey. They provide a good introduction to open-back sound characteristics without the significant investment. If you’re a podcaster or a musician looking for a secondary pair of headphones for tracking, these might fit the bill, but for critical mixing, they might not offer the ultimate precision.

Who should AVOID this product? Skip this if you need headphones for aggressive genres where deep bass impact is critical, or if you demand a bomb-proof build for constant travel. They are also not ideal for those who need absolute isolation for tracking loud sources.

8. Akg K240 Studio

The beyerdynamic DT 900 PRO X represents a modern take on studio headphones, and we were eager to put them through their paces for mixing. Their open-back design provides a spacious soundstage, which is paramount for accurately placing instruments in a stereo field. The clarity and detail are exceptional, allowing us to discern subtle nuances in reverb tails and transient information. The 48-ohm impedance is also a plus, making them easily driven by a wide range of sources.

While the sound is undeniably excellent, the earcups, though comfortable, tend to get a bit warm during extended listening sessions. I also found the overall aesthetic to be a little utilitarian, though this is subjective and doesn’t impact performance. The cable management, while functional, isn’t as elegant as some competitors, with a slightly stiff coiled cable.

These are a phenomenal choice for mixing engineers, mastering engineers, and producers who demand accuracy and clarity. If you’re working on complex mixes and need to hear every detail without compromise, the DT 900 PRO X deliver. They are particularly adept at revealing spatial information, which is crucial for creating a well-balanced mix.

This is for the discerning audio professional who values precision above all else. If your work involves critical listening for extended periods and you need a headphone that reveals flaws without coloring the sound, these are a top contender. They are the best open back headphones mixing tools we’ve encountered for this price bracket.

9. Beyerdynamic Dt 900 Pro X

We tested a pair of Philips open-back wired headphones, and they offer a surprisingly pleasant listening experience for their class. The open-back design allows for a good sense of air and space, which is beneficial when trying to get a feel for the overall mix. The sound signature is generally balanced, with a focus on a natural presentation that doesn’t overly emphasize any particular frequency range. I found them to be quite comfortable for moderate listening periods.

However, the build quality is a significant drawback. The plastic feels rather cheap, and the headband adjustment mechanism can feel a bit loose, raising concerns about long-term durability. The audio cable, being permanently attached, is also a point of annoyance; if it gets damaged, the entire headphone becomes unusable. This is a considerable limitation for professional use.

These headphones are best suited for casual listening or for someone just dipping their toes into the world of open-back audio. They provide a good introduction to the concept of a wider soundstage without a large financial commitment. For critical mixing, however, their limitations in build and potential inconsistencies in sound reproduction become apparent.

Who should AVOID this product? Avoid these if you are a professional audio engineer, a serious audiophile, or anyone who needs robust build quality and a reliable, replaceable cable. They are not designed for the rigors of a studio environment or for critical listening where precision is key.