Following the release of the Rolling Stones' 25th studio album, Foreign Tongues, Technics has created a limited edition wireless earbud in collaboration with the iconic British band.

According to the Japanese audio brand, "this exclusive collaboration unites Technics' signature audiophile engineering with one of music's most iconic legacies," in a joint project designed to "deliver every note as intended".

The new Technics EAH-AZ100 wireless earbuds feature the band's legendary red Lips & Tongue logo on the rubber case, while the earbuds themselves are built for exceptional clarity across the full frequency range, and include new technology like a Magnetic Fluid Driver – supposedly the first of its kind in the industry.

The product enters the market two weeks after the release of the Rolling Stones' new album, which debuted at number one in the UK. It became the group's 15th chart-topping album, and their third consecutive number one LP after 2023's Hackney Diamonds and 2016's Blue & Lonesome.

Mick Jagger recently opened up about his experiences recording Foreign Tongues, explaining how producer Andrew Watt pushed them to use tape for Chuck Berry cover Beautiful Delilah.

"I said, ‘What does it matter? If someone listens to it on their phone, they don’t know it was cut on tape — it doesn’t make any difference,'" Jagger said. "[But] we cut it on tape and we did it live. That was old style."

Only a limited number of people will be able to experience the new record via Technics' new earbud collaboration, with just 5,000 units available to customers. And compared to other wireless earbuds on the market, they're not cheap: the EAH-AZ100 is currently available via Technics , Amazon and through Bravado for $299/£259.

What is it?

Monitoring is often a contentious subject. It gets easier with more gigging experience as we learn to set our gear properly and communicate what we need from our bandmates and sound engineers. The ultimate in control is having an in-ear monitoring set up that allows us to independently tweak our own mix without having to worry about getting in anybody's way.

It’s a different world from that of floor wedges, and one that doesn’t suit all. However, the rise of silent stages, decibel meters and the use of backing tracks have changed how we monitor ourselves, instigating many a headache for musicians, with in-ears often being the most practical solution. Thankfully, getting started with budget in-ear monitors is more affordable than ever.

One such example of a low-cost entry into the world of in-ears is the Beyerdynamic DT 30 IE, which I have in my hands for review, coming in at a very reasonable $150.

To test them thoroughly, I figured I would take them to a real-world gig and see how they do. I’m not about to compromise the show, though, so if they are not up to scratch, they won't make it past soundcheck.

Specs

• Launch price: $150 | £99 | €119
• Type: In-ear monitors
• Origin: China
• Driver: Single 11m dynamic
• Connectivity: MMCX
• Frequency range: 5Hz to 20KHz
• Max SPL: 137dB
• Impedance: 18 Ohms
• Protection class: IP54
• Case: Yes
• Contact: Beyerdynamic

Build quality

Build quality rating: ★★★☆½

A glance at the specification will reveal a single 11mm dynamic driver. For anyone buying their first set of in-ear monitors, you will often see the driver count being pushed as an indicator of quality. The general implication being that more drivers equals better performance.

This is not necessarily true. While having multiple drivers that handle different parts of the frequency spectrum is beneficial in aiding clarity and general performance, this only works if those drivers are well-tuned and well-built.

A single, high-quality, well-tuned driver can outperform six cheaply put-together drivers. Most single-driver IEMs will be utilizing a dynamic driver, and that is what we see here. We’ll get into sounds later, but spoiler alert: this driver does a good job.

In the hands, both the cable and the buds feel a little bit plasticky, which is what I would expect at this price point. The important thing is that it feels solid enough that I’m not worrying about any fragility.

We have a mouldable section of cable at the tips that allows the cable to wrap and stay-put around the ears. It doesn't retain its shape as well as some only slightly more expensive models, but having it at all is still a plus. The cable is removable, and therefore replaceable should it break, and also sports a little bit of rubber strain-protection down by the 1/8” TRS jack, which will help with longevity.

The case is fabric wrapped around a harder interior. It will protect the headphones as they are chucked in and out of a gig bag, but flexes a bit when squeezed and takes a moment to return to its original shape, making it feel a little less than premium.

It is important to remember, however, that we are not paying high-end money. At this price point, the most pressing thing is that the product feels solid enough to last a significant number of gigs. In lieu of a long-term test, first impressions are that the DT 30 IE’s will.

Usability

Usability rating: ★★★★★

Headphones aren’t that complicated. The most annoying thing is getting those tips onto the earbud, but they slide on fairly easily and securely here. Beyerdynamic provides small, medium, and large tips in both silicone and foam form, which is standard and should fit most preferences.

To get the full bass response that the earphones are capable of, it is important to find a snug fit, so it's beneficial to experiment here to see which tip suits you best. Also provided are spare earwax guards, which is something we don’t always see, even in more expensive units.

If you are new to in-ears, Beyerdynamic has you covered with a concise leaflet that explains the process of assembly and maintenance in a beginner-friendly way.

Left and right connections are well indicated in color (red for right) and with the letters L and R on the MMCX connector themselves. This type of connector (in contrast to the two-pin alternative) allows the earpiece to rotate in place, which helps users find that important tight fit while also reducing stress on the cable.

Sounds

Sounds rating: ★★★★☆

As I mentioned earlier, I am testing the DT 30s in the format of a real-world gig, with the caveat that they need to be at least good enough to not compromise my experience of the show. To cut a long story short, I was more than happy to use them for the entire gig.

The low end is well represented, with both the kick drum and bass guitar coming through nicely. Mid frequencies are a similar story, and what results is a smooth sound that is easy to listen to without fatigue.

Where the DT30’s are left behind by my usual Shure 425s is in high-end clarity. This is important in gaining proper separation of instruments in a dense mix, and the DT30’s smooth nature means that things can get a little bit muddy in comparison.

However, I am speaking relatively here. The level of mud is far from problematic, as I am able to adjust my mix to compensate. You might struggle if you are in a big band with lots of instruments, but in a four-piece as I was, this is an issue that is easy to deal with after some proper mixing.

Pro tip: stereo mixes are a little more involved to set up, but totally worth it to facilitate panning in these circumstances. Some musicians don’t like to pan things in their in-ears; if this is you, it might be worth investing in something with a little more clarity.

It’s worth remembering that the aforementioned Shure 425s are, while relatively humble in the world of in-ears, twice the price of the DT30s. At this sort of budget, the DT30’s are hard to beat.

Verdict

While it is apparent that we are looking at an entry-level model here, the Beyerdynamic DT30 IE’s do a great job. They feel like they will last, are easy to use, and sound surprisingly good for a budget set of earphones.

While I would have preferred more clarity, when I was testing them, I was able to forget that they were not my usual set of in-ears and just enjoy the gig. So, if you are looking for your first set of in-ears, or a decent backup for a pro-level set, these are a good choice.

Music Radar verdict: The Beyerdynamic DT 30 IE’s perform admirably for a set of in-ears at this price point. Yes, you can tell that they are a budget set thanks to the slightly plasticky feel and a sound that could do with a bit more high-end clarity, but they boast a good bass response and a smooth overall tonality. They are perfect for someone who is looking to get started with in-ear monitoring, or for a seasoned gigger in the market for a backup.

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Hands-on videos

Beyerdynamic

Japanese company Final Audio has unveiled a brand new flagship closed-back headphone selling for the staggering price of £7,499 ($8,499).

With pre-orders opening on July 9, the first 150 people to purchase the headphone will receive a limited Collector's Edition model, priced at a whopping £7,999 ($8,499).

As the cost indicates, this is one of the Japanese brand's most ambitious headphone projects ever. With a cutting-edge 40mm True Diamond diaphragm dynamic driver, the DX10000 CL is designed to enhance the closed-back listening experience with a focus on "isolation, impact and physical energy."

Final's previous DX model release was the DX6000 CL, which was praised for its comfort and warm sound. But the company sees this new flagship as a genuine upgrade.

"DX10000 CL is designed for listeners who want a private, immersive and physically engaging listening experience, with the clarity, tonal accuracy and resolution expected from a true flagship audiophile product," the company said.

Comfort and warmth remain central concerns on the latest edition, which uses Ultrasuede® for acoustic sealing and support and a 12-point through-bolt construction clamping the outer housing to the front plate. Final is aiming to elevate the listening experience here — if you've got the cash for it.

In addition, those willing to jump on the collector's release of the product will get a range of extra touches including gold-coloured accents, a newly-designed headphone stand, an authentic Japanese paulownia wood box and a Shingen pouch crafted using traditional silk textile techniques with roots in the Tango region of Kyoto.

All that being said, it's the use of lab-grown diamonds, developed using a chemical vapor deposition process, that reflects just how high-end this product is.

"Diamond is grown as a crystalline layer before the substrate is removed, leaving a self-supporting diamond dome," purrs Final's press release. "Diamond combines exceptional rigidity, high sound velocity and strong internal damping

"DX10000 CL has been created to deliver the isolation, impact and physical energy of closed-back listening, while overcoming the resonance and coloration that can limit the format."

What is it?

It’s no secret that Sennheiser knows a thing or two about making fantastic studio headphones for mixing music, and it's for that reason that a pair of Sennheiser’s has sat at the top of our buying guide for a long time. Looking at any list online, you'll find most of the top-rated mixing headphones tend to be open back, which makes them less than ideal for mixing on the go or doubling as a tracking pair. Enter the Sennheiser HD 480 Pro, which aims to give you that same reliable performance of a classic mixing headphone, but in a closed-back package.

Comparing this pair to its popular open-back cousin in the Sennheiser HD 490 Pro, the HD 480 is strikingly similar in terms of the key specifications. Both share 38mm dynamic drivers, a 130 Ohm impedance rating, and are available in Pro or Pro Plus versions, which see the addition of a more sturdy case. Both have very similar frequency responses with 3 Hz - 28,7 kHz for the 480s and 5 Hz - 36,1 kHz for the 490s, as well as similar SPL (Sound Pressure Level) stats at 130dB for the 480s and 128dB for the 490s.

Like the HD 490, the 480s have a detachable cable that can be plugged into either ear cup, and they both have very soft ear pads and a headband cushioning with a detent in the middle to reduce the pressure on the top of your head. The only noticeable difference in terms of aesthetics is that the back of the ear cups is perforated on the HD 490 and solid on the 480, and that with the 490 Pro Plus, there's a second set of mixing-specific ear pads available.

The HD 480 Pro also has some very fancy terms attached to it, including something called multistage passive shielding, which is designed to help isolate the headphones further on top of the closed-back design. It’s also got a ‘Vibration Attenuation System’, a new technology that allegedly prevents distortion. But the most pleasing to engineers and producers will be that Sennheiser has paid close attention to the comfort of these cans, with a mechanical headband design that should fit any size or shape head, and a comfort zone for those who wear glasses.

Performance

I also have a pair of HD 490 Pros in my home studio, so I will do a comparison of sound, but for now, let’s pay attention to the HD 480s. My first impression upon putting them on my head is that they feel pretty much the same as the 490s. There’s a slight difference in weight, but this isn’t noticeable in real-world use, and the 480s are super comfortable thanks to the soft lining of the ear cups and headband.

They fit my head nicely, and I’m a big fan of the oval-shaped ear cups here, which very nicely surround my larger-than-usual lobes without pressing down on them like some other headphones. The detachable cable can be used on either ear cup, which seems like a small detail, but once you’ve made use of it, it’s hard to go back to a headphone without this feature. I frequently move my cans to different studio settings, so this makes sure I can keep things as ergonomic as possible, no matter what I'm doing.

During the course of my testing, I used the 480s in a busy coffee shop, and although some ambience crept through at lower levels, once I got towards the middle and higher volume settings on my laptop, it was easy to block out the din. And the bleed levels? Hard to say, but no one looked at me funny whilst I was blasting the new Mandy, Indiana album.

I also used them in a studio setting, and as the console and live room are in the same space, I needed the cans to monitor while my singer did her vocal takes with a Neumann U87 condenser mic. The isolation was good enough that I couldn’t hear others in the room talking to me whilst the music was still running, which I’ll take as another plus in the isolation column. I also got my singer to wear them while she was tracking to see how the bleed was, and from what I could hear on the multis, it was negligible.

Sticking on my headphone tester playlist, I start with the low end and my go-to sub bass test in Lil Wayne’s ‘A Milli’. The low end is certainly strong with this pair of headphones, robust and full, but without being overpowering to the rest of the mix. It’s the same with James Blake’s ‘Limit To Your Love’ and a couple of Massive Attack tracks, really muscular and present, so I reckon these will be great for seeing how your low end translates if you’re using smaller studio monitors.

Moving on to some busier mixes, Radiohead’s ‘Paranoid Android’ sounds as good as it ever has, with plenty of detail and a great separation between all the different elements of the mix. It bodes well for those using these as a primary mixing can, and that strong low-end is present here too, as well as a nice bit of stereo spread.

A/Bing this with the HD 490s via the dual headphone inputs of my Universal Audio interface, the 480s feel slightly narrower and more closed-in, which is expected due to the design of each. To my ear, the 490s sound a touch brighter and more open, especially when Thom Yorke’s high-pitched vocal kicks in. Moving back to Lil Wayne, there’s clearly less low-end in the 490s, but overall, the sonic characteristics of both are pretty similar. You wouldn’t confuse them for the same pair, but if you already own a set of 490s, I don’t believe you’d benefit enough to justify picking these up, unless you want a really fancy pair of cans for tracking.

Verdict

Overall, I was really impressed with the performance of the Sennheiser HD 480 Pros. I got to live with them for a good few months and they excelled in mixing, monitoring, and casual listening duties, delivering an excellent response across the spectrum, but particularly with low-end detail. For engineers mixing on small studio monitors, these will be a huge asset for checking the bass and sub bass.

They’re incredibly comfortable too, which makes long mixing sessions an absolute breeze. The large, oval ear cups mean they’ll accommodate a wide variety of ear shapes and sizes, and the headband design ensures they can fit pretty much any size and shape head. With a super soft ear cup and headband material, these are supremely comfortable studio headphones.

Of course, they have natural limitations due to the closed-back design. They don’t feel as wide with hard panned elements of the mix, and sound less open than a pair of open-back headphones. The muscular low end might be too much for some producers as well, so if you prefer an open-back design, then check out the HD 490 Pro instead.

MusicRadar verdict: If you’re after a pair of closed-back cans for mixing duties, the Sennheiser HD 480 Pro is a no-brainer. With fantastic low-end reproduction and a wonderful balance across the full frequency spectrum, they could be just the thing for checking the low end of your mix alongside a pair of studio monitors. Add in excellent isolation characteristics, and you’ve got a do-it-all pair for any mixing or monitoring tasks.

Hands-on videos

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Specifications

What is it?

As anyone who’s tried to make music using Bluetooth headphones will tell you, the latency that they introduce makes this all but impossible in most situations. The obvious solution is simply to use a wired connection, but for the past few years we’ve seen various companies giving us another option: low-latency wireless headphones.

AIAIAI is the company most closely associated with this technology, which involves adding a dedicated wireless audio transmitter into the mix, and AlphaTheta has had a go, too. And then there’s OneOdio, a Chinese company that’s seeking to disrupt the market by offering similar tech at a lower price.

The company is now having another bite at the low-latency wireless cherry with the Studio Max 2, the successor to the original Studio Max headphones. These introduce OneOdio’s 3rd Generation RapidWill+ Ultra-Low Latency 3.0 technology, which promises to bring latency down to nine milliseconds and to up the wireless bitrate from 160kbps to 400kbps to deliver cleaner, better quality audio.

Alongside the low-latency mode, the Studio Max 2 also offers Bluetooth 6.0 and wired connectivity options. OneOdio actually claims that there are four connectivity modes, but two of these are just the wired option with two different plug sizes (mini-jack and 1/4-inch) which is a little misleading (if you were hoping that the fourth mode was USB audio, we’re afraid you’re out of luck). You do get all the required audio cables in the box, though (including a nice curly one), along with a mini-jack-to-1/4-inch adapter.

On the Bluetooth side, there’s support for the high-quality LDAC codec and dual connections, so you can pair with two devices simultaneously. There’s also a gaming mode, which reduces latency.

Both headphones and transmitter are charged using the supplied USB-C cable, and promise up to 120 hours (60 hours in low latency mode) and 50 hours of operation respectively. There’s a dedicated app, where you can make EQ adjustments, change settings and update the firmware.

Performance

The first thing that strikes you when you unpack the Studio Max 2 is the size of the hard case that comes supplied. It’s a bit of a beast, and the same could be said of the headphones themselves.

There’s no sense of minimalist design here: these are unapologetically large headphones that will take up a fair amount of space in your backpack. The vinyl-style pattern on the back of each earcup indicates that DJs in particular are the target market, a hunch that’s supported by the fact that the Studio Max 2 is launching alongside a limited edition (just 1,000 units) signature model from DJ KSHMR, which features his own “acoustic tuning” and comes with a pack of his samples.

There’s a fair bit of plastic in the build, though the internal adjustable headband is metal. What’s more, although these are chunky cans, they’re not outrageously heavy, and feel reasonably comfortable being worn for extended periods of time.

Engaging the low-latency wireless mode is pleasingly simple. Assuming both the transmitter and the headphones are charged, you just need to turn them both on and ensure that the mode selection switch is set to ULL (Ultra Low Latency). At this point, pairing should be automatic.

If your audio source is a computer, tablet or phone, you can simply plug in the transmitter over USB-C – no analogue audio connection is required. If you’re working with an instrument or DJ mixer, you’ll use the appropriate audio cable.

We’re pleased to be able to report that low-latency performance exceeded our expectations. When using some similar products, the transmitter has introduced a noticeable background hiss that you could never really get rid of, but the signal on the Studio Max 2 is pretty clean. The connection was also reliable during testing; we didn't experience any dropouts, and the quoted 10-metre range seems conservative, if anything.

What’s more, the latency really is low – to the point where it doesn’t really feel like an issue at all. The response when playing a keyboard was perfectly acceptable, and it did feel good not to have a cable trailing around the place as we jumped between that and a DAW.

Sound quality is also pretty decent. Out of the box, it’s well-balanced, and we noticed plenty of snap on the snares in particular. There is a slight lack of sparkle, and perhaps a little mushiness at times, but the Studio Max 2 is certainly a match for other headphones in its price range.

As you’d expect, the wired connection offers the best performance, but the Bluetooth listening experience is also a satisfactory one. You can make EQ adjustments in the app, but we were happy enough to keep this flat for the most part.

All the pieces are in place, then, for the Studio Max 2 to be a success, though the question you still need to ask yourself is whether you actually need low-latency headphones when, in most instances, you’ll still be standing within a cable’s reach when you use them. Yes, it’s a nice thing to have for instrument monitoring and DJing, but we’d struggle to think of a specific situation where it’s essential.

But then you’ve also got to consider the cost. Even if there was no wireless transmitter, the sub-£200 price for the Studio Max 2 wouldn’t seem outrageous when you consider the rest of the feature set. We’re not sure we’d want this to be our only pair of headphones – the case is just too bulky for them to be a pair that you’d throw in your bag everyday, there's no active noise cancelling, and they do look big on your head – but for the price, and when compared to the direct competition, there’s plenty to like here.

Verdict

It's hard to say who actually 'needs' low-latency wireless headphones, but if you want a pair for DJing or instrument monitoring, the Studio Max 2 ticks all the necessary boxes and a few more besides, and comes at a very tempting price.

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What is it?

Just as with your clothes, it can feel like you’re making a statement when you put on your headphones in public, with others able to judge their style, size and – let’s face it – brand.

It shouldn’t really be this way, though. Now, as ever, the key factors to consider when buying a new set of cans are price, comfort, function, reliability and, most importantly, sound.

Which leads us to Soundcore, an offshoot of high-value tech company Anker, which offers headphones (and other audio/video products) that promise the same kind of performance you’d get from the premium brands, but at significantly lower cost.

Its latest over-ear pair, the Space 2, isn’t the company’s cheapest, but at £130 it has similar specs to products that cost significantly more.

Like the well-received Space One headphones, four mics are used for Adaptive Noise Cancelling, but the processing has been upgraded here for enhanced performance. There’s wearing detection (taking your headphones off stops the music or video; putting them back on starts it again) and up to 70 hours of battery life on a single charge (up from 55 promised hours on the Space One). If you’re short on time and power, you can give yourself a 4-hour boost from just a 5-minute charge.

In terms of sound, the legwork is done by 40mm double-layer diaphragm drivers and, if you’re an Android user, you can make use of the high-quality LDAC Bluetooth audio codec, for improved performance. For Apple users, there’s AAC support.

As you’d expect, configuration of the Space 2’s buttons and settings is handled in an app, where you can also update the firmware as and when required.

Performance

We’ll get to the Space 2’s sound in a moment, but first let’s consider what’s arguably the headphones’ standout feature: comfort. We’ve tested quite a few pairs of cans that sound great but just aren’t conducive to being worn for long periods of time, but Soundcore has made sure that the Space 2 is in it for the long haul, flight or otherwise.

The company claims to have based the design on an ‘anthropometric database’ of more than 2,000 real head profiles, but for us, the high level of wearability comes down to two things: the light weight (just 264g) and the plush-but-not-too-cosy earpads and headband.

Build quality seems pretty solid – the metal hinge/swivel mechanism doesn’t feel like it’s going to break in a hurry – and the headphones fold in on themselves to keep them portable.

And yes, they sound pretty good, too. Even after taking the HearID test in the app, which generates an EQ curve based on your auditory abilities, it took a little bit of tinkering to come up with a profile we were happy with (you can also start with the factory-set ‘Soundcore Signature’ if you wish) but once we had, the Space 2’s sonic strengths became apparent. There’s a slight lack of detail and separation in comparison to some of its higher-priced competitors, but no lack of depth, punch and power.

If you want even better performance – and no latency if you’re making rather than listening to music – then you can opt for a wired connection over 3.5mm audio cable (also useful if you run out of battery power), though there’s no USB audio support. As such, an adapter is probably going to be required if you want to plug into your phone.

As with its predecessor, the Space 2 has impressive noise cancellation capabilities, though the transparency mode – which we’ll admit we rarely turned on during testing – doesn’t feel as useful. As you might expect, engaging noise cancelling reduces the battery life, but not drastically, and almost certainly not enough to justify turning it off. We suspect that most users will just leave it on all the time.

As always, you’ll need to spend a little while getting your head around which button and how many presses does what, but it soon becomes second nature. You might have to consult the manual a few times initially – next/previous track control comes from holding down the volume buttons, which caught us out for a moment – but everything is kept pretty simple.

In fact, simplicity and practicality are very much the Space 2’s calling cards. There are lots of handy features that you might not expect at this price – a dual Bluetooth connections option, which worked seamlessly for us, and even built-in white noise sounds for those times when you want to block the world out – and overall performance is high enough to make you wonder if it’s really worth spending any more on a pair of day-to-day headphones.

Verdict

Combining decent sound and effective noise cancelling in a lightweight, comfortable package, the Space 2 ticks a lot of everyday headphone boxes, and significantly undercuts many of its competitors on price. That sounds like a recipe for success.

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What is it?

With in-ear monitoring becoming more widespread and silent stage setups a reality for more performers, demand for quality in-ear monitoring has grown. Throw in audiophile listeners looking for a more unobtrusive solution than traditional headphones and you have a wide array of users requiring a much broader product offering.

64 Audio is one of the most well-known in-ear monitor manufacturers and has a wealth of high-profile artist users. It produces both custom and universal designs aimed at stage and studio use as well as audiophile listeners, and its top-of-the-range products carry pretty eye-watering price tags. Aspire is its latest universal design and its most affordable product line. Available in four models, prices range between £349 (Aspire 1) and £799 (Aspire 4). In this review, we’re taking a look at the remaining three designs – Aspire 1, Aspire 2 and Aspire 3.

The first thing to say is that all models in the Aspire range look very similar, with only the outside colour and model naming on the nozzle side of the enclosure differentiating them. All versions include a compact rigid storage case, cable with ¼” plug converter, cable clip and left/right labelling, cleaning tool and a choice of both silicon and memory foam tips. Key design aspects include the ABS enclosure, detachable IPX T2 cabling and stainless steel nozzle. Meanwhile, common design technologies include the patented Apex core pressure-relieving channel integrated into the earphone body and the Helmholtz resonator-style micro-cavities 3D-printed into the enclosure.

The key difference between models is the driver configuration and this scales with the model number. Aspire 1 is the simplest, with a single dynamic driver; meanwhile, Aspire 2 combines a dynamic driver for the low frequencies with a single balanced armature driver for the mids and highs. Aspire 3 incorporates three drivers with one dynamic driver for low frequencies and two balanced armature drivers handling mid and high frequencies, respectively. Multiple driver designs incorporate crossovers and this provides 64 Audio with some degree of tuning flexibility. Meanwhile, the Aspire 3 also includes a custom high-frequency waveguide to further finesse its frequency response. Both the Aspire 2 and Aspire 3 use 64 Audio’s proprietary LID circuit to correct the non-linear driver impedances.

Performance

A key aspect of IEMs is the fit, and with universal designs, this depends on both the enclosure and the performance of the nozzle tips. The Aspire units and cabling are both pretty light and the stiffened ear guide section of the cable fits easily over the ear. That said, the cables aren’t particularly formable, so they don’t offer much grip. Should you require a more robust fitting, you might want to find some third-party ear grips.

With regard to tips, the Aspires come with four styles in three different sizes – small, medium and large. These are low-profile silicone, regular silicone, TrueFidelity Foam and Comply Oval foam. The memory foam options achieve a more sealed fit and excellent passive isolation. If you’re after better comfort, we found the classic floppy silicone options to be preferable, although you’ll lose some isolation.

Fitting the tips to the stainless steel nozzle is pretty easy and its flange design ensures the tips remain attached. Indeed, we found that once fitted, the tips were suitably resistant to being removed.

There’s clearly much similarity across the Aspire models, and although the sensitivity and impedance is slightly different between them, in use these differences are negligible. Importantly, we found them plenty loud enough when connected to typical sources, and this is important if you’re using them in a live setting or if you're a drummer, for example.

Sonically, the stereo imaging is universally good and overall delivery across all models is reasonably neutral. Even so, each model does, by design, have a different sonic signature. This is most obvious for the Aspire 3, which is noticeably clearer and more detailed in the mid-range with excellent frequency separation. In contrast, the Aspire 2 has a more traditional sweetened delivery, with slightly boosted highs and lows.

For us, the most neutral offering is actually the Aspire 1, which is reasonably flat, apart from a slight boost in the low frequencies. Even so, this does lack a bit of detail in the mid range, and may therefore be better suited to general listening rather than more critical tasks.

Verdict

Overall, for us the Aspire 3 comes out on top, as it delivers the most detailed mid range, making it ideal for critical listening tasks, recording and live use. Even so, each model has its strengths, with the cheapest Aspire 1 model still delivering very good fidelity. The Aspire range is an excellent addition to the 64 Audio product line, bringing their excellent build quality and design to a more affordable price point.

Hands-on demos

64 Audio

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A concerning report has found that headphones – which a huge number of us wear on a daily basis to listen to music – contain chemicals that are potentially hazardous to human health.

Those substances include ones that can cause cancer, neurodevelopmental problems and even the feminisation of males. And it seems that no brand is safe – even market leaders such as Bose, Panasonic, Samsung and Sennheiser’s products were found to contain them.

So what exactly are these chemicals? And should we be worried? Well, according to The Guardian, the project that carried out the research - ToxFree LIFE for All, which is a partnership of central European civil society groups – found Bisphenol A (BPA) appeared in 98% of samples, and its substitute, bisphenol S (BPS), in more than 75%.

These are both synthetic chemicals used to stiffen plastic. But they mimic the action of oestrogen inside organisms, and cause a range of effects including feminisation of males, early onset of puberty in girls, and cancer.

So is it a problem? You don’t eat your headphones, do you? Ah… but previous studies have shown that bisphenols can migrate from synthetic materials into sweat, which can then be absorbed through the skin.

Also found in the headphones were phthalates, which are potent reproductive toxins that can impair fertility; chlorinated paraffins, which have been linked to liver and kidney damage; and brominated and organophosphate flame retardants, which have similar properties to bisphenols. However, most of these were found in only trace quantities.

“These chemicals are not just additives; they may be migrating from the headphones into our body,” said Karolína Brabcová, chemical expert at Arnika, which is one of the partners of ToxFree LIFE for All.

She warned against overuse: “Daily use – especially during exercise when heat and sweat are present – accelerates this migration directly to the skin. Although there is no immediate health risk, the long-term exposures – especially for vulnerable groups like teenagers – is of great concern. There is no ‘safe’ level for endocrine disruptors that mimic our natural hormones.”

The ToxFREE for Life group bought 81 different headphones for the research, both the in ear and over the ear kind, in a number of countries in central Europe, as well as online via online platforms such as Shein and Temu. They tested them in a laboratory for a range of dangerous substances, and, alarmingly, found harmful chemicals in every single one.

What is it?

German manufacturer HEDD is best known for its ribbon tweeter-equipped monitors, and the AMT (air motion transformer) design formed the basis of its first line of headphones.

The HEDDphone, HEDDphone Two and HEDDphone Two GT all feature the same full frequency variable velocity transformation (VVT) drivers. These are fantastic and pretty pricey headphones that are variously designed for critical and leisure listening. Meanwhile, the distinctive rectangular ear cups add their own stylish twist.

Nevertheless, even the lightest model (HEDDphone Two GT) weighs in at 550g a pair, which many would consider a little heavy for long listening spells. So, it’s maybe no surprise that its latest addition, the HEDDphone D1, does things differently. It’s also considerably more affordable.

The D1 is an open-back over-ear headphone built for reference monitoring and audiophile listening. It uses a more traditional diaphragm-based driver design, but in keeping with HEDD’s design philosophy, the diaphragm uses a high-tech material called thin-ply carbon (TPCD). Developed in collaboration with Swedish diaphragm specialists Composite Sound, HEDD is keen to point out that this is the first headphone driver to use this super-light material.

At 32 Ohms, the impedance is low, so the headphones are easy to drive. Further design features include perforated velour ear pads, moulded foam headband, independent ear cup connections with detachable textile-covered Y cable, and custom hard shell carry case.

Performance

HEDDphone D1 is hand-built in Berlin, and the build quality and finish are both excellent. We really like the styling, which is pretty low key with the matt black look punctuated by some subtle HEDD branding on the headphones and cable. The design is fully serviceable, which is important given the price, meanwhile both the ear cup assembly and headband assembly can be unclipped should you need to replace them.

The D1 uses a traditional notched metal headband, which allows plenty of adjustment for head size and provides a decent amount of clamp. There’s also moderate rotation in the ear cup hinges to help achieve a snug fit. The internal ear pad diameter is reasonable, though certainly not the biggest we’ve seen, but nonetheless should accommodate most ear sizes. Overall, we found the fit pretty comfortable even after long listening spells.

The headphone design has a very open back and this means you don’t get much passive isolation. Even so, this adds to the natural feel, and first impressions are of quite neutral sonics with good stereo separation and imaging. This means beat-heavy tracks are not hyped in the low frequencies, and for critical listening and mixing, this is definitely desirable.

In terms of low-frequency delivery, this begins to noticeably tail off from about 45Hz, making the D1 very useful for checking the lows in your mix. The high frequencies have a very subtle lift, and this makes it much easier to focus on the upper mid and mid frequency areas even at higher listening levels.

So, whether you’re trying to balance rock guitars or sit a lead vocal, the all-important mid-range has plenty of clarity but is not overbearing. Overall, we think HEDD has done an excellent job of tuning the D1 so it’s great for audio users but also offers enough for audiophile listeners too. That said, if you like big bass, you’ll need to boost that manually.

Verdict

HEDDphone D1 is an extremely desirable headphone. Premium design detail coupled with excellent sonics delivers a listening experience that doesn’t disappoint and, although the price is reasonably steep, you’re getting excellent build quality and a five-year warranty.

Hands-on demos

HEDD Audio GmbH

Alternatives

Specifications

What is it?

With more and more audio users relying on headphones for critical tasks, having a reliable and predictable headphone setup is a must. ARC On-Ear from IK Multimedia takes its established correction technology and bundles it into a palm-sized headphone monitoring device designed specifically for this task.

Operating either as a USB output-only interface (stereo, 24-bit, up to 192kHz) or via its own stereo analogue input (3.5mm stereo jack), ARC On-Ear provides both headphone correction and virtual mix room features. It works in conjunction with its own ARC On-Ear desktop app, and once set up, can also operate as a standalone device, processing any input source.

The layout is pretty straightforward with 3.5mm analogue input, USB-C socket and power switch on the back, and ¼” headphone output on the front. Power is via USB-C or from the onboard rechargeable battery. On the top panel, you’ll find the output level knob and three backlit soft buttons (calibrate, studio and function). Finally, a five-part LED indicates which of the five onboard presets is currently selected.

The box includes two IK Multimedia branded leads – USB-C to USB-C and 3.5mm mini jack to mini jack with screw fit ¼” jack converter, and you also get a rather nice zip-up case, which easily accommodates all the components. The enclosed registration card gets you access to downloads, including the ARC On-Ear app, manual and Windows ASIO driver.

Performance

At under 80mm square, ARC On-Ear is very compact. The metal case construction feels reassuringly solid, meanwhile, the partially rubberised base helps with desktop stability. The understated black and dark grey casework is accented with orange labelling and button backlighting, and the same colour scheme is used for the included USB-C and jack cables. The whole package looks great alongside a laptop and the short 0.6m cables perfectly suit that task. That said, if you’re using it with a desktop setup, you might want to budget for some longer cables.

ARC On-Ear works in tandem with its own dedicated desktop app and it’s here that you select your specific headphones so they can be corrected to match IK’s more neutral target curve. ARC On-Ear currently has over 200 headphone profiles. There’s support for many classics (Beyerdynamic DT 100) as well as budget options such as Superlux, and premium brands such as Audeze, Ollo and Steven Slate Audio. Importantly, IK Multimedia is committed to expanding the list, with future support to include Apple’s AirPods Max and a number of wired in-ear models.

In use, the Calibration option is quite transformative for very coloured headphones (DT 100, for example), but more subtle for flatter monitor styles. Although there’s no overall depth setting for the calibration, you can tweak it using the tilt style tone dial (warm to bright). Further options include phase alignment and a 3-band user EQ, which you access via the Frequency Response display.

ARC On-Ear’s other key feature is the virtual mix room (Studio Simulation), and this can be used either on its own or in conjunction with the Virtual Speaker emulation – there’s a choice of 25 monitors. It uses physical modelling and an optional Ambience setting to emulate a mixing room environment. You can adjust the overall width and solo left/right speakers. In use, the studio aspect is quite subtle, with a general narrowing of the stereo image, and we found this assisted when setting both levels and panning. The speakers, meanwhile, can have a greater impact, particularly if you choose the ’80s classic option (NS-10M).

The Calibration and Studio Simulation options can be easily activated on the hardware, meanwhile the function button (FN) is user-assignable from within the app and includes handy options such as dim, mute and mono. Finally, the app automatically stores its settings to the currently selected preset. The five presets are particularly handy for standalone use, and you can cycle through them using the Cal + Function buttons.

Verdict

All told, ARC On-Ear is a fabulous device that provides multiple features to assist with headphone use. What’s more, it can be used alongside or instead of your existing audio interface and is compact enough to carry around in your pocket.

Hands-on demos

ikmultimedia

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Specifications

What is it?

When recommending headphones we tend to advise using open-back designs for critical listening and closed-back designs for recording. This is solid advice as the former tend to be lighter and more comfortable to wear, delivering better overall sonics. Meanwhile the latter offer better passive attenuation and prevent bleed, so you can turn them up nice and loud when recording. That said, well-designed closed-back headphones can potentially be used for all tasks. Lensys Professional from Focal is a headphone that aims to do just this.

Focal is well established in the headphone and audiophile space, producing both wired and wireless designs in both open-back and closed-back formats. Focal’s professional range currently includes the open-back Clear MG model and also the more affordable closed-back Listen model. In terms of price, the new Lensys Professional sits between the two. However, the Lensys Professional looks much closer to the Clear MG in terms of physical design and component choice.

The Lensys features Focal’s own 40mm aluminium/magnesium ‘M’ dome drivers. These combine excellent damping with great rigidity. Meanwhile, the pads combine thermosensitive, high-resilience memory foam with a microfibre and acoustic fabric covering. A similar material covers the underside of the head band. The ear pads certainly have a different feel to the more springy velour-covered pads found on many comparable designs.

Performance

The Lensys Professional looks similar to other Focal models such as the Hadenys and Azurys, and this design is very slick and less bulky than many of the premium studio headphones we see. In the box you get the headphones, two branded cables (one straight and one coiled), a 3.5 to 6.3mm screw-in adapter and a hard shell carry case.

Looking at the outside of the ear cups with their distinctive perforated back panel it’s not immediately obvious that these are a closed-back design. Of course, when you put them on, the very noticeable passive isolation instantly tells you otherwise. Connection is via the left ear cup only, which is a bit inflexible, however the inclusion of a coiled cable is very welcome.

Head band adjustment is gently notched and there’s plenty of ear cup rotation. Indeed, you can fold the ear cups flat for storage in the hard shell case. All cabling is hidden inside the hinges and head band, which is a nice touch. The headphones are very comfortable and at just over 300 grams – quite light for a closed-back design. That said, the streamlined narrow headband isn’t quite as comfortable as a wider band.

The sound is definitely more direct than you get from open-back designs, and focused on the mid range. This can be more fatiguing at higher volumes. The bottom end is tight and, although we found no obvious tail off until about 50Hz, the overall balance does not hype the low frequencies. It’s a similar story with the high frequencies, with no obvious air added to the top end. From a listening perspective this is good for mixing and even better for tracking, when you want to be able to differentiate your performance from other instruments and sounds. Being closed-back, you can of course turn them up pretty loud without too much bleed. That said, from a purely listening perspective we found the Lensys Professional less satisfying than good open-back headphones.

Verdict

Overall, the Lensys Professional is a beautifully-designed headphone with impressive sonics. The streamlined design not only suits long listening spells, but we think makes them just about compact enough to wear out. Meanwhile the closed-back design makes them perfect for recording.

Hands-on demos

FOCAL

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Specifications

What is it?

Choosing headphones can be a tricky process, with various different design types to consider as well as comfort, robustness and, of course, overall sound. Rode Microphone’s latest headphone addition is the NTH-50, and this on-ear design offers an alternative to their larger and more studio typical NTH-100 over-ear headphone.

Featuring a reasonably lightweight and low-profile form factor, the NTH-50 has an underlying aluminium frame construction coupled with a uniform matte black finish. Subtle Rode branding completes the picture for a robust and stylish design. Further aspects include custom-matched 40mm drivers with a resonant chamber configuration, detachable locking cable with connection to either ear cup, and soft memory foam ear cushions.

You’ll also find a padded headband with a contoured fontanel recess, which is designed to improve head top comfort. In the box you also get a storage pouch, ¼” jack adapter and a set of Rode’s colour ID clips, which you clip onto the plugs to help personalise multiple headphone cables. Finally, it’s worth noting that despite its competitive price tag, the NTH-50 is both designed and made in Australia and once registered, also includes a reassuring lifetime warranty.

Performance

Out of the box, the NTH-50 feels very well made, and at 220g is reasonably light. In typical Rode style, there’s plenty of branding, but it’s tastefully done and sets the NTH-50 apart from the plethora of generic designs now available. It’s also clear plenty of thought has gone into more practical design aspects. The part coiled, part straight cable is an obvious example, achieving the convenience of a coiled design but without the weight of a fully coiled cable. Meanwhile, the screw locking ¼” adapter and ear cup locking plug both ensure a reliable connection.

Ear cup left/right identification is easily achieved using the colour-coded cable connectors (left black, right red), meanwhile L and R braille labelling on the underside of each ear cup provides further assistance.

The NTH-50 has a pretty snug fit with good clamping. Ear cup adjustment is easily achieved and the headband has enough twist to accommodate most users. That said, the ear cups themselves have limited rotation and do not fold away, so if you’re a DJ wanting those features, then look elsewhere. For maintenance and cleaning, both the earpad and headband assemblies are quite easy to unclip and remove, and when the time comes for replacements these are available directly from Rode.

Sonically, the NTH-50 has a reasonably balanced delivery. There is some boost to the lower frequencies, but this is not too excessive. Whereas the higher frequencies are quite smooth and not boosted. We would say the mid-range is also not too forward, and the overall tonality means the NTH-50 is suited to a wide range of musical styles, including rock and guitar productions as well as contemporary beat-heavy sounds.

Detail is also well presented and the stereo image is precise. The headphone also continues to deliver plenty of punch even at high volumes. If you couple this with the natural high-frequency delivery, the NTH-50 is also not too fatiguing even at higher monitoring levels. It’s worth noting that despite being an on-ear design, the NTH-50 also offers pretty good passive isolation.

Verdict

Overall, the NTH-50 offers a good combination of comfort and sonics in a lightweight design. For reasonably affordable headphones, they’re also very stylish with excellent build quality.

Hands-on demos

RØDE

Alternatives

Specifications

With up to $100 off Beyerdynamic headphones at Amazon for Black Friday, if you want to finally grab yourself a pair of some of the most highly rated studio headphones, now’s definitely the time.

Personally, I use the Beyerdynamic DT 990 Pro 250ohm and find they are the best and most comfortable headphones for studio sessions. For anyone tracking guitars, vocals, or full mixes, this kind of discount on a flagship studio pair is worth grabbing. Don't hang about though, we expect these offers to expire shortly.

Why are Beyerdynamic headphones so sought-after? It’s partly heritage. The company has been producing elite studio gear in Germany since 1924, but more than that, it’s their sound, comfort, and build. The DT line are studio-staple models with excellent price-to-performance ratio, precision sound reproduction, and replaceable parts.

I don’t think I’ve been to a studio that didn’t have a pair of Beyers knocking around somewhere. The open-back models deliver space and detail to your mixes, while their closed or semi-closed models offer isolation and punch that make them perfect for tracking instruments. I personally love the coiled cable on the Pro models too, it’s more practical for workstation pulling, lying back in the mix chair, or switching between amp rig and interface without tangling.

The Black Friday music deals have seen big price drops across multiple models - everything from $30 or $40 off the less expensive models, and $100 off two of its headline models. That brings premium studio headphones into a much more accessible range. For example, the DT 990 Edition sees serious price cuts for open-back monitoring. The closed-back DT 770 Pro and flagship DT 1770 Pro MKII are similarly on sale. For users who already own basic headsets and want to step into real studio monitoring territory, now is the moment.

These are proven models used in pro studios and by engineers. If you’ve been hesitating on buying a ‘serious’ pair of headphones because they felt expensive or hard to justify, then here’s your window. I’ve sat through six-hour tracking loops wearing my DT 990s with no real fatigue, and that’s valuable in a world of budget ‘phones that feel fine for an hour or two but not a full session. In short, if you want monitoring gear you’ll keep, not swap in six months, these deals are definitely worth your attention

Shop more Black Friday deals

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Dev Hynes, better known as Blood Orange, has partnered with Danish audio brand AIAIAI and will kick off its new Artist Series with limited editions of two of its flagship headphone models.

As part of the collaboration, AIAIAI will release limited editions of both the Tracks and TMA-2 Wireless headphones, which have been redesigned in accordance with Hynes' own creative vision.

The Blood Orange edition cans have been created with a focus on subtlety and functionality, with the Tracks sporting a bold orange foam and the TMA-2s coming in a light grey with orange accents.

Both the limited edition Tracks and TMA-2 Wireless headphones will hit the market on on 30 October, with the Tracks retailing at $70/€70 and the TMA 2 wireless coming in at $220/€220.

AIAIAI's audio gear has become a favourite of many DJs, producers and touring musicians, including Kaytranada, Peggy Gou and Fred Again, and Hynes is happy to be among that number.

“I only ever want to work on products that I actually use, so the idea of doing something with AIAIAI was a no brainer", he says of the partnership. "I make Blood Orange music with the hopes that it will solely be listened to in headphones, which is part of what makes working with AIAIAI so exciting to me.”

As a Grammy-nominated artist with a body of work spanning film scores, collaborations with the likes of Debbie Harry, FKA Twigs and A$AP Rocky, and five Blood Orange studio albums (including the recent Essex Honey), Hynes represents the ideal collaborator for AIAIAI.

“Working with Dev Hynes (Blood Orange) has been both a dream come true and the perfect way to launch our first series of artist partnerships. We’ve been fans of his for years and have always felt proud seeing him wear and use AIAIAI products since the early days," says AIAIAI founder, Frederik Jørgensen.

"Dev is a true artist – his work spans from classic to punk, always driven by a distinct sense of style and emotion. Bringing that creative energy into our products has been an incredible experience.”

Although AIAIAI has not yet announced when we can expect the next instalment in its Artist Series, the brand has made clear that a number of other artists will get the chance to apply their vision to redesigning its hardware.

If this initial launch has caught your attention in the meantime, you can order both the Tracks and the TMA-2 Wireless headphones direct from aiaiai.audioor bloodorange.net, as well as selected retailers such as HBX.

What is it?

Roland’s V-Moda headphone range is getting an overhaul and now includes two new models - the more affordable M-10, and our review model, the M-100 Pro, which is an upgraded version of the M-100. Both models have Hi-Res Audio certification from the Japan Audio Society.

The M-100 is V-Moda’s classic DJ and beat production headphone and since its introduction over a decade ago, has carved out its own niche as a stylish and reliable performer. Key features include rugged metal frame construction, snug over-ear closed-back design, replaceable and customisable ear cup backs (shields) and folding ear cup hinges for easy storage.

The M-100 Pro package includes one pair of M-100 Pro headphones, two leads (1.5m straight and 3m coiled) and a ¼” plug adapter. Meanwhile, storage is a regular pouch, which is a bit of a downgrade from the exoskeleton case included with the M-200 and M-100 Master.

In terms of component selection, the headphones feature 50mm dual diaphragm ceramic-coated drivers, with Japanese-made CCAW coils and a bass duct design. Meanwhile, the sturdy metal band and arms are complemented by a padded and branded headband and comfortable memory foam ear pads.

The M-100 Pro employs the same user-replaceable shields as other V-Moda designs, and as mentioned previously, some options here, including the custom shield,s are no longer available or are being gradually withdrawn by Roland. That said, there are still plenty of third-party options available for this very popular feature. As before, construction allows user replacement of earpads; meanwhile, the M-100 Pro now has plug-in earcups, allowing easy user replacement of the whole ear cup assembly if required.

Performance

The M-100 Pro is a very well-built headphone, and although we wouldn’t call it slimline, it’s substantially more slimline than many of its competitors. The ear cups are reasonably compact and memory foam pads ensure a snug fit with very good passive noise cancellation. What’s more, if you want to use just one ear cup, there’s plenty of swivel in the improved ear cup mounts and twist in the headband to help make that possible.

Conveniently, you can attach the cable to either ear cup, and there’s a blanking plug for the empty socket. Meanwhile, use of colour-coded plugs for the ear cup connections – red for right and black for left – provides a useful visual indicator for orientation.

The M-100 design is known for its powerful bass delivery, and the M-100 Pro continues in this manner. This is ideal for beat production, club music and DJ use. What’s more, with a sonic balance that keeps the high frequencies in check, you can comfortably turn them up quite loud without it becoming earsplitting. What’s more, at higher volumes, the bass remains punchy rather than flappy, which is ideal.

Given the obvious design similarities with the M-10, it should come as no surprise that they also sound similar. That said, the M-100 Pro has a more pronounced midrange and slightly less bass. This gives it a bit more focus and also makes it better suited to production rather than casual listening. Overall, we’d say the M-100 Pro has a more desirable and flexible sonic signature than its sibling, which is encouraging given it’s more expensive.

Verdict

V-Moda’s M-100 is a modern classic, and the M-100 Pro is the most refined version to date. It may not be the most flexible headphone and it’s certainly not cheap, but is very well designed for its target users.

Alternatives

Specifications

IK Multimedia’s newly announced ARC ON·EAR system is the latest in the company’s line of ‘Advanced Room Corrective’ products - a series aiming to give producers and music-makers the most perfectly-tailored listening experience when working on their projects.

The difference, with ARC ON·EAR here is that the 'room' in question in an entirely virtual simulation, constructed to help those mixing solely in headphones.

A small portable hardware device, the ARC ON·EAR immediately corrects any set of headphones’ frequency response to create what IK say is an accurately-modelled recreation of the soundstage of a set of pro-level monitors within a virtual studio environment.

The result? You’re essentially situated in an accurate aural model of a real, well-treated studio - as opposed to the often extreme left/right stereo image presented by (pretty much) any pair of headphones. Some of the frequency discrepancies between the two mixing situations simply being inherently problematic with listening without the context of a room, regardless of the quality of the cans.

The company has leaned on its proprietary DSP and physical modelling skillset to pull this off, with over 20 high-end monitor profiles available at launch, alongside 15 multimedia playback systems.

“Unlike plug-ins or impulse-based ‘virtual rooms’ ARC ON·EAR utilizes advanced physical modeling to recreate the behavior of real studio monitors in an ideal acoustic space,” IK Multimedia says. “There are no artificial reverbs or timbral coloration, just the natural depth, width, and clarity of a real control room - right in the user’s headphones.”

These additional virtual models allow users to test out their mix within a variety of situations. From a car audio system, a smartphone's speakers, various TV set speakers or via a soundbar. This could prove an incredibly useful insight when trying to grapple with how your mix responds in those places where it is most likely to be heard.

Inside the tiny, durable box lay a powerful 32-bit ESS Sabre convertor, a high-damping-factor, ultra-low distortion power amplifier and a digitally-controlled analog volume stage.

The ARC ON·EAR also serves as a premium DAC, which the company say will present ‘bit-perfect’ sound regardless of your playback volume, with impressive headroom and a low distortion floor.

Although the unit is ready to go out of the box, and controllable via three buttons and a large volume knob, the ARC ON-EAR is best served by coupling it with the purpose-designed control software. Using this software, users can tailor their personal listening preferences and find the optimal model of their own headphones.

“Measured with state-of-the-art reference rigs, to ensure accurate, transparent, and reliable sound,” IK Multimedia state. “With support for hundreds of popular headphone models, users will experience the mix exactly as it should sound - clear, balanced, and true to life.”

At launch, there’s over 250 headphone profiles (with more, it is said, to come shortly) within IK’s headphone database. Choosing any one of these models will automatically adjust the frequency response to suit their particular quirks and characteristics, in conjunction with your selected monitor (or playback system) model.

In terms of connectivity, both USB-C and 3.5mm audio inputs are provided, and the device is compatible with any OS, app or playback system.

5 presets can be stored on the device itself for instant recall and a four-hour battery means no additional power supply is needed. This means that you can take the durable, aluminium chassis-housed ARC ON-EAR on the road with you without worry.

This all sounds very useful, and could provide those producers or music-makers on a budget a fantastic way to replicate a pro-level studio without having to actually build (or pay to spend time in) one.

Plus, the range of playback systems and monitor models sound like it could be a real boon for A/Bing a mix across different setups.

We’ll give our verdict once we’ve tested it.

The IK ARC ON·EAR is available now for €249.99/$249.99 (£220) + VAT.

Find out more and order over at IK Multimedia's website, or in the overview video below with IK's CTO, Davide Barbi

With the advent of quieter stages thanks to digital modelling and greater use of electronics alongside the ability to play loops, phrases and entire backing tracks very easily, in-ear monitors have (and continue) to be a gigging musician’s must-have accessory.

There’s a lot of choice out there, as evidenced by our constantly evolving best in-ear monitors buyer’s guide, but IEM specialist 64 Audio is looking towards the middle of the market with its Aspire 4 model, which it says offer “best-in-class” sound and ergonomics.

64 Audio Aspire 4: Design and build

While I say the Aspire 4 is aimed towards the middle of the market, in 64 Audio’s sphere, they’re actually the entry-level to the brand’s IEMs. Aspire 4 features a universal fit (as opposed to a custom-mold option), ABS body loaded with four drivers to cover a frequency response of 20Hz - 18Khz.

In the low end, a dynamic driver takes care of the bass, while a pair of balanced armatures offer “forward midrange”, with a further balanced armature aiming to keep things crispy at the top.

64 Audio reckons Aspire 4 offers sound isolation of -20dB, and the whole package ships with an IPX cable (48-inches/122cm), silicone and foam tips, shirt clip, cleaning tool and quarter-inch jack adaptor inside a handy carry case.

64 Audio Aspire 4: Performance

Unpacking the box for the Aspire 4 gives a real impression of quality. This follows with the compact and sturdy case. Sometimes these types of accessories can feel a little bit of a box-ticking exercise, but there’s a slight rigidity to the carry case that inspires confidence, particularly if you intend to stash it in a bag with other gear to and from your gig.

Unfortunately, upon first picking up the monitors, I found one of the stuck-on logo badges came off in my hand. These may be ‘entry level’ in 64 Audio’s world, but these are certainly not cheap monitors and it’s a bit of a surprise to have bits falling off before they’ve even been plugged in. However, the good news is that a firm press has held the logo in place permanently, with no further issues.

If you’ve ever described a monitor designed to be shoved into your ear canal as ‘sexy’, I’d suggest that perhaps there are more specialised websites than MusicRadar waiting for your perusal. But, it’s all very stylish, with the matte black finish not only looking great, but giving a little grip to the monitors. Ideal if you’re taking them in and out on a sweaty stage.

As well as the stealthy looks, I’d like to give the thumbs-up to 64 Audio for having clearly labelled each ear with L and R markings. It’s a simple addition, but it’s surprising just how often in-ears designed for use in dark environments aren’t easy to differentiate.

The tips are comfortable, and having a choice of materials is a real bonus. Personally, I preferred the silicone ends, which glide a little easier when fitting them and enable them to sit comfortably, while still maintaining a good seal to block out noise.

Conversely, many people prefer the foam buds, however my experience is they can feel a little ‘wadded’, a bit like having your ear canal stuffed full of tissue. But, there’s no incorrect choice, and thanks to the range of sizes included, you’ll be able to find the best fit for your ears.

The Aspire 4 comes with a standard, detachable IPX cable which rotates through 360 degrees to avoid tangling. It’s wrapped at the ear end with clear, soft plastic, but unlike many monitor cables, there’s no way of moulding it to the top of your ear to help keep everything in place.

My first concern was this would mean the monitors might easily fall out followed by an expectation of potential fatiguing where the cable was resting. The reality is that after a number of gigs, rehearsals and video recording sessions, I didn’t experience either issue and stopped thinking about it.

In some ways, it might even be slightly beneficial as it makes quick removal and refitting slightly easier due to not having to reshape the cable.

64 Audio Aspire 4: Sound

I tested the Aspire 4 in a range of applications, from electronic drums during practice to foldback mixes at gigs, monitoring recordings in a DAW and even general listening. The isolation is solid and customisable by opting for a smaller tip if you still like a little bit of bleed coming in from the room.

They handle some heavy low end frequencies well, with some hefty sub-bass frequencies seeping into my jaw bone to give a bit of tactile feel at higher levels. The upper end is crisp too, with plenty of detail present for vocals without becoming too spiky.

I agree with 64 Audio’s ‘mid-forward’ description, with those dual armatures delivering a powerful midrange. While this tuning can remove some of the pseudo-scooped ‘hi-fi’ feel that a heavy bass and top end provide, it actually pays off nicely in louder environments, placing additional focus on guitars and vocals for some additional cut. The perception overall is one of loudness without distortion, if adding a little more honk to the sound.

64 Audio Aspire 4: Verdict

Just as headphones became a hugely popular market about a decade ago, so are IEMs fast approaching a necessity for gigging and recording musicians. With this comes many options, especially at this price, where the luxury of custom-molds is unlocked. But, not everyone wants or even likes a molded fit.

With the Aspire 4, you’re getting some detailed, great-sounding monitors. They’re a fairly serious price too, but not when you look at the market in context. If you’re looking to upgrade from budget IEMs, or looking to buy a quality pair as your first foray into the world of being able to hear the rest of your band, they’re a very solid choice.

Also try

64 Audio Aspire 4: Specification

• Connectivity: Detachable IPX cable, 3.5mm jack
• Drivers: Four
• Impedance: 11ohms at 1Khz
• Sensitivity: 104dB
• Frequency range: 20Hz-18Khz
• Contact: 64 Audio

What is it?

V-Moda is a premium headphone brand owned by Roland and is best known for its stylish and customisable designs. Aimed primarily at DJs and producers, there are a number of focused models available at different price points.

The latest additions to the range are the M-100 Pro, which is an upgraded version of the M-100, and our review model, the M-10. Both have Hi-Res Audio certification from the Japan Audio Society, and the M-10 is one of V-Moda’s more affordable designs, replacing its popular Crossfade LP2.

M-10 is a closed-back over-ear design with V-Moda’s distinctive ear cup shape. The drivers are 50mm dual diaphragm units that incorporate Japanese-made hi-res CCAW coils. Meanwhile, the ear pads use memory foam for excellent comfort and good passive isolation.

The ear cups feature black metal shields on the outer face and like other V-Moda headphones, these can be swapped out for a number of other designs and colours. Alas, this visually appealing aspect is being gradually phased out by Roland and moving forward, it will not be replenishing stock. Whether third-party vendors step in, as is the case with replacement ear cups, remains to be seen.

Finally, M-10 comes with 2 cables – a 1.5m braided straight cable (⅛” to ⅛” with ¼” converter) and a 3m coiled cable (¼” to ⅛”). In the box, you also get a drawstring storage pouch.

Performance

M-10 is a solidly built headphone and the combination of metal and plastic is robust without feeling bulky. The slimline metal arm and flexible branded headband are common features with V-Moda headphones and help keep the headphones pretty compact. Unlike the more DJ-friendly M-100 and reference style M-200, the M-10 arms do not include their CliqFold hinge, so you can’t fold them away.

In terms of comfort, at 275g these are a very reasonable weight for a closed-back design. Meanwhile, with them on, the passive isolation is also very good. You’ll find left/right labelling hidden on the inside of the headband, although a more obvious indicator is the red flashing on the right ear cup cable. The cable only connects to the left ear cup, which, although not as flexible as some of their models, does assist with orientation.

Roland describes the M-10 as a beat-tuned headphone with deep bass and high-end clarity. Unsurprisingly, we found it sounded great with beat-heavy genres such as trap and hip hop, where low-end sounds are clearly separated. It also sounded good with techno and house sounds.

What’s more, the aforementioned high-end clarity is also a key aspect, and even though the headphones are not obviously enhanced in the high frequencies, the separation is clean and smooth. For these genres the tonal balance is pretty satisfying even if it’s not particularly neutral, plus you can turn the headphones up pretty loud, which will please some users.

With genres such as rock, where the low and low mid frequency instrumentation is often more blended, the M-10 is less forgiving and we found this quite fatiguing. This is no surprise and clearly the M-10 is not tuned for this type of music.

Verdict

All told, the M-10s are well-made headphones with a specific target user in mind, and from a sonic perspective, they deliver precisely what they aim to. That said, they are clearly less flexible than the M-100 and M-200 models.

Alternatives

Specifications

What is it?

Initially, our adoption of in-ear monitoring systems was a reluctant one. The adrenaline-inducing feel of air getting shoved around by blaring monitors and real amps vibrating the stage is nothing less than addictive.

However, these loud stages are getting less and less common in professional gigging environments, and the silent stage is now a necessary reality for many, with in-ear monitors being the centre of that eco-system.

It’s no surprise then that we have seen a significant increase in choice and affordability in this market over the last few years. One of which is the t.bone IEM D2.4, which, with an impressive amount of features for the price and with the bonus of a rechargeable battery and charging station, seems on paper to fall into “bang for your buck” territory. Let’s see how it stacks up.

Performance

Bearing in mind that this is a relatively affordable bit of gear, we should expect to see some areas in which money has been saved, and the use of a plastic chassis on the receiver is one such place. However, it still feels sturdy enough to endure a fair bit of stage-related abuse, so this is far from a deal-breaker, and we have seen flimsier constructions on more expensive systems.

Given that they protrude from the chassis and are attached to an often enthusiastic (as they should be) musician, antennas on receivers are a common point of failure. On the D2.4, they are moulded, which is something that would usually be a negative, but the stocky dual antenna setup here feels solid enough that we're not worried at all about it being able to withstand the throws of life on a stage.

Impressively, the t.bone IEM D2.4 comes with a rechargeable battery and charging station. Having gone through literally hundreds of batteries with other IEM systems, this is a huge value add and sets the t.bone apart from many of its competitors. Assuming it sounds good, of course. Spoiler alert: it does.

On to the transmitter, which is a bit more tank-like in construction and helpfully comes with a rackmount too. We have the standard LED screen, and a couple of extra features that are uncommon on units in this price range – a loop to forward audio on to other pieces of gear and RJ45 connectors for digital options. Not things that most will typically use, but bonuses nonetheless.

As we start getting audio from the t.bone, we happily leave the user manual untouched, as the simple controls are self-explanatory enough. Input your audio in the back of the transmitter, then set your channel and ID before syncing with the receiver via the IR function, and we’re away. We’ll have it noted, though, that we did then read the manual like the well-behaved reviewers we are.

In getting a clean signal, it is important to note that the t.bone D2.4 works in the busy 2.4GHz range. This is the spectrum that is used by wireless internet routers, Bluetooth devices, and many other things, so it’s something that needs consideration when deciding which IEM system is right for you.

We fell foul of this at a theatre gig a few years back. All was well during sound check, until the room filled with 2,000 people and their devices, and we started getting dropouts. Luckily, we had a wired backup in place for exactly this eventuality.

Without a scan function to find the clearest channel and being limited to just the eight, if you are a band playing bigger venues or running multiple wireless systems, the 2.4GHz spectrum may be one to avoid. But if you are playing smaller functions or pubs, and don’t mind a bit of manual scrolling to find the best channel, then the chance of an issue is low enough that most won’t need to worry.

Utilising the t.bone IEM D2.4 and some backing tracks to do some solo rehearsing for a few gigs we have coming up, we find the LED input meters particularly useful in making sure we have a strong audio signal going in. The noise floor is a little higher than our usual Shure PSM 300, but not at all close to the realms of problematic, and the t.bone is less than half the price, so this sort of difference is to be expected.

With a clear sound, we’re able to run through the set completely problem-free. It just works. We are using our Mackie MP460 in-ear monitors (headphones), which are nice, but will only remain so if provided with good audio from the D2.4. All the elements of the mix are coming through clearly with good stereo separation and most frequencies well represented, with only a slight increase in tinny high end and a little lack of thump, which is true for a lot of in-ear systems, many of them being much more expensive than the t.bone. All in all, a good audio experience.

Scrolling through the options, there are a few EQ settings to try – a low boost, a high boost, and a low cut. The low boost and high boost are subtle, which might be handy to lightly tweak a mix you are not in control of. The low cut is probably a little too severe, almost completely removing the bass and kick, but perhaps useful if you are not working with moulded in ears and are getting lots of room sound from an acoustic kit, and a live bass.

Further EQ options are found via the Eardrive menu, which is designed to get the best out of different sets of headphones. In use, they are subtle EQ changes, which seem to mostly affect the mid-range. We can’t foresee a situation where adjustment here makes a huge difference, but it’s another nice option that may just help cheaper headphones sound a little bit better, although it’s far from a replacement for a set of decent in-ear monitors (headphones).

Lastly, the stereo options available on the D2.4 are fairly standard but easy to use. The main benefit is that it allows for the running of two separate mixes, one on the L channel, one on the R. Set two receivers to mixed (mono) mode, and one can be balanced left and the other right, producing two separate mono mixes to two separate receivers working from one frequency on a single transmitter.

That’s just one way to use this feature, but the main point is that the setup process here is easy to carry out, with settings on both the transmitter and receiver concisely labelled.

Verdict

Whilst we had a reluctant start to our in-ear monitor journey, what it gives us is control over our own audio mix, ears that ring less after a gig, and a voice that is less likely to get strained. Yes, we still miss feeling that on-stage volume, but the benefits of IEM systems make the compromises entirely worth it.

To get those benefits, however, you need a system that is easy to use, provides clear audio, and is devoid of dropouts and interference. Happily, the t.bone IEM D2.4 does exactly that.

Whilst a more expensive unit may provide a nicer experience in terms of a lower noise floor, frequency scanning, and more channels within a less cluttered spectrum, the t.bone is a very capable piece of kit that will cover the bases for anyone playing pub gigs or small functions, assuming you don’t have too many band members on that same 2.4GHz range.

It’s not the cheapest, but it’s far from the most expensive, keeping it well within the budget-friendly bracket. What you get from it is more than just the perfect introduction to in-ear monitoring, as it is something that will happily see you through those smaller gigs until you are ready to upgrade, if indeed you ever feel the need to.

Hands-on demos

the t.bone

Alternatives

Specifications

Upgrading your setup to include in-ear monitors is a serious step up that can really enhance the quality of your live performances. Generally speaking, good IEMs aren’t cheap though, so if you’re looking to take the plunge, then Thomann has an excellent opportunity with some big discounts of up to 30% on a range of in-ear monitors.

The sale is live until September 7th, so you haven’t got long to pick up a pair. There’s a lot of choice too, from budget-friendly to more premium options, including IEMs from Shure, Sennheiser, Beyerdynamic, Audio-Technica, and loads more, making it a brilliant opportunity to enhance your live sound before the autumn gigging cycle starts.

• Upgrade your live sound with up to 30% off in-ear monitors at Thomann

Included in the sale are three of our top picks from our best in-ear monitors guide, all rated at four and a half stars by the expert reviewers on the MusicRadar team. First up, you can get yourself a nice £18 reduction on our favorite budget option, the Shure SE215-K. It comes as a bundle, which means plenty of different tips to make sure they fit you well, as well as a carry case to keep everything in one place.

In our Shure SE215 review, we found they allow a small amount of ambient noise to pass through, which is great for keeping you connected to the rest of the band on stage. This makes them great for a variety of scenarios, whether you’re playing jazz or with a heavy rock band, keeping you connected to the music with an emphasis on still being able to hear your monitor mix clearly. They’re really comfortable too, and the variety of tips it comes with means you’re almost guaranteed to find a perfect fit.

If you’re at the touring level and want something a bit more ‘pro’, then you should have a look at the Beyerdynamic DT 70 IE, which has got a gigantic £211 reduction in the sale. In our guide, they’re our favorite for critical listening, so great if you’re engineering a show or demand a high-quality mix when on stage.

The passive sound isolation with these is fantastic at up to 39dB, and we found the frequency response to be really balanced all across the spectrum, making them great for examining the mix. Coming with five silicon tips and three foam ones, there’s little chance you won’t find a perfect fit, and they come with a handy carry case.

Finally, the IEMs we found to be the most comfortable also have a nice discount, with the Sennheiser IE 100 Pro getting a cute £13 reduction in the sale. We found them to be really lightweight and comfortable in our testing, and we really love the detachable coaxial connectors. For the money, even at full price, these are excellent value.

They reject external noise really well, and the frequency range is pretty broad, although slightly lacking in the very low end. The top-end is very glassy, though, which makes them easy to listen to for long periods of time. Combine that with the overall comfort of the feel, and you’ve got a great pair of budget in-ear monitors that can be worn for hours and hours on stage.

What is it?

The Sony MDR-M1 studio headphones are the successor to that most iconic set of cans in the MDR-7506, designed to build upon the legacy by providing several improvements. If you’re looking for a 7506 replacement though, you’ll find these are a very different proposition indeed.

They’re considerably more expensive for a start, retailing at $269.99 versus the 7506’s much more reasonable $109.99, which is interesting considering the differences between the two are relatively small. The MDR-M1s feature a wider frequency response, a lower impedance, a detachable cable that isn’t coiled, and are ever so slightly lighter by a few grams.

The cups have also had a redesign with comfort in mind, featuring the same spec of drivers but newly built for this model. The exposed wires are gone too, which for most people will be a welcome addition. Unlike the 7506s, the pads of the MDR-M1 only swivel, which does make them slightly less transportable.

Performance

Whenever I get a new pair of cans, my first test is to listen to some of my favourite reference tracks, music I know every inch of. Kicking off with the bass test, I popped on Lil Wayne’s ‘A Milli’ to see how they handle the low end. The MDR-M1s certainly have more bass than the MDR-7506, but it’s very well behaved. My usual Beyerdynamic DT 990 Pros are decidedly more detailed in the super low stuff, but these have a nice balance to them that gives you a good overview of the lows without feeling overpowering.

Looking for something a little more complex, I move on to Radiohead’s ‘Paranoid Android’ to see how they perform with a busier mix. I’m impressed again; there’s a really nice balance across the whole spectrum. The frequency response is V-shaped, so in terms of sound, they’re very different from the 7506s, with none of the clean mids that are a signature of those cans. I also find the highs to be quite tame, which I end up enjoying as they’re less fatiguing when you’re listening over a long period of time.

Speaking of time, they’re incredibly comfortable, with the lightweight design almost allowing me to forget I had them on. They’re much more cosy than my usual DT 990s, and even after hours of tracking some guitars in my home studio, I didn’t feel any aches from the headband or the pads pushing on my ears. They're synthetic leather, but didn't feel sweaty despite a heatwave during my review.

The inclusion of two cables is nice, especially as I’m not a huge fan of the coiled cable that comes with 7506s. The short length is great for working at the laptop or using the audio interface at a home studio desk, while the longer one is ideal for tracking and general monitoring duties. The cables screw into the left-hand side of the headphones, so swapping them out is nice and quick, and you can easily sort a replacement if need be.

Verdict

If you’re a fan of the MDR-7506s and are looking for an upgrade, then these aren’t the headphones for you. The Sony MDR-M1s may be the spiritual successor to Sony’s Scheps-approved mixing cans, but they tread their own path. The balance of sound across the spectrum is really nice, and I love the tame high end, which makes them really well adapted to monitoring and tracking over long periods of time. For mixing, though, I’d prefer something with a little more detail in the very high and low-end.

Hands-on videos

SoundGuys

GadgetryTech

Sean Divine

Alternatives

Specifications

Kali Audio has launched its latest set of multi-reference headphones.

The HP-1s are Kali’s first over-ear, DSP-powered headphones that the company claims “provide users with a neutral, accurate representation of their mix, as well as the ability to hear how their work will sound on the most popular headphones in use today.”

The headphones have three voicings. There’s Studio, which aims for a flat and natural response, but also Bass Heavy, which replicates the sound of headphones popular with hip-hop and EDM lovers. There is also a Consumer mode, which Kali states "replicates the sound of popular headphones sold alongside phones and computers".

Wearers can switch between any of these settings. An LED on the right ear changes colour to indicate the tuning you’ve selected as well as a voice prompt that lets you know what you’re listening to.

Kali is clearly marketing the HP-1s at both music professionals and casual punters. It has wired connection via a 3.5mm jack as well as a Bluetooth connection. And whilst the company claims the headphones have “the highest fidelity playback for serious studio use”, there are also features like noise cancelling and wireless calling.

Other useful info? The battery supports up to 40 hours of playback on full charge and can be recharged using the USB-C cable that’s included. They also come in a zippered carrying case to protect them while travelling.

The Kali Audio HP-1 headphones are available now, priced at $199/£199/€199. For further details head over to the Kali Audio website.

What is it?

Ollo Audio made serious waves with its initial S4 headphones, taking on existing players such as Sennheiser, Audeze, Beyerdynamic and Slate Audio. It also developed designs in closed-back (S4R), open-back (S4X) and immersive mixing versions (S5X). But now it’s all change, as both the S4 and S5 open-back designs have been replaced by the new open-back X1.

Much like its predecessors, the X1 are hand-crafted studio headphones designed for professional music users rather than the wider hi-fi market. They are manufactured in small runs by Ollo in its Slovenian base, and can be pre-ordered direct from Ollo Audio or bought via selected resellers. They come with a five-year limited warranty and a handy 90-day money-back guarantee.

The X1 sports a bold retro look that features real walnut ear cups coupled with deep over-ear pads. The ear cups are fully rotatable and have slotted back plates with an X pattern and Ollo branding. They are joined together by a springy steel band with an attached headband, and audio connects to both ear cups via a 2m colour-coded Y cable. The headphones come in a stylish zip-up hard case. It’s worth saying that the headphones are designed so users can replace parts easily, and all spares right down to drivers, back plates and sockets, are available to buy direct from Ollo. That said, any major repairs should be referred to Ollo as they may void your warranty.

The X1 can be used ‘as is’ straight out of the box. However, each individual pair is tested and calibrated, providing the registered owner with their own calibration data file. This is designed for use inside USC II (AU, VST, VST3, AAX, Standalone), a software package designed in partnership with developers dSoniq and based on its Realphones correction software.

Performance

The X1 is an over-ear design with a 58mm inner diameter on the ear pads. Couple this with the walnut ear cups and you do have quite bulky headphones. At 390 grams, they are also on the heavier side, although they are still lighter than a number of competing designs. Even so, they are very comfortable and this is down to both the soft ear pads and also the headband, which is elasticated and therefore stretches to accommodate your head size.

As mentioned, you can use the X1 without any form of adjustment and this is how we started our listening tests. The overall sound is reasonably neutral with some subtle air on the higher frequencies. The low-mid and lower frequencies feel reasonably full, but as you would expect for a mixing design, the highs and lows are not over-hyped. What’s more, although they’re an open-back and over-ear design, the snug ear pads still provide some passive isolation.

The USC II software, downloadable from dSoniq, is for both calibration and emulation, and can be used either as a plugin on your DAW output or as a standalone app, dovetailing with your system audio device. Once you’ve imported your own headphone calibration (XPS) file, you can apply the calibration (0 to 100%) to taste, and also choose from a number of emulations, once again setting an amount (0 to 100%). We found the impact of the calibration reassuringly subtle, marginally tweaking the low mids and mid-range.

There are emulations for both headphones (Flat, Spatial, Harman) and listening spaces (Studio, Car, Club), and the Spatial option is designed for immersive users. Further handy features include soloing of just the mono or stereo signal components and overall EQ tilt. Meanwhile, the XPS file format is easy to open in a text editor, which means you can tweak it yourself or replicate the enclosed EQ settings in other headphone calibration systems.

Verdict

Overall, the X1 are excellent headphones that more than meets Ollo Audio’s own remit focused on comfort, sound, repairability and value. They may not be the most slimline mixing headphones available, but they are Ollo’s best offering to date, and we think worthy of full marks.

Hands-on demos

OLLO Audio

Alternatives

Specifications

What is it?

For studio work, we typically recommend closed-back headphones as they provide decent isolation from other performers and prevent headphone bleed onto mics. Even so, if you can afford a dedicated pair of headphones for programming, mixing and mastering, then an open-back design will usually provide an easier listen and be more comfortable, which is an important consideration for long sessions.

ATH-R70xa is the latest open-back reference headphone from Audio-Technica and is aimed squarely at audio professionals seeking this sort of design. It’s an updated version of the ATH-R70x, and is now the flagship model in their ATH reference headphone range. At £299 a pair, they’re clearly not cheap, but the price is comparable to the competition and certainly more affordable than Audio-Technica’s audiophile range.

Out of the box, the over-ear design looks quite bulky, but at 199 grams, they are impressively lightweight. Despite looking a little fragile, the frame-like metal construction is pretty tough, and the use of perforated aluminium on both the headband and ear cups helps reduce the overall weight, while the use of carbon composite resin improves the structural rigidity. Overall construction quality is excellent and reflects the high standards at Audio-Technica’s Machida, Tokyo factory, where they are hand-built.

Sound delivery is handled by a 45mm driver, and the fully open-back design provides unrestricted airflow, eliminating internal resonances. The headphones ship with a 3m L/R split stereo cable with a 6.3mm adapter and a soft carry bag. Replacement velour ear pads and headband are available to purchase.

Performance

The combination of lightweight construction, soft headband and ear pads makes the ATH-R70xa incredibly comfortable, and the loose headband design, which is only attached at each end, ensures plenty of airflow, which is an important consideration if you’re wearing headphones for long spells. In general terms, it’s easy to forget you’re wearing them, and when you remove them, it’s not a relief, as is sometimes the case with heavier or closed-back designs.

As mentioned, the headphones use a detachable L/R split cable and this needs to be connected to both ear cups. We’re sure this design has its fans, but even if you’re not one of them, on the upside, the locking plugs are L/R signal independent, so thankfully, you can connect the cable either way without it affecting the L/R channels. It’s also nice to see a decent length (3m) lead included as standard.

From a sonic perspective, the ATH-R70xa is instantly likeable, with the open-back design delivering a natural, unforced sound. Frequency separation is good and the overall sound is solid without being unnaturally punchy.

Overall, the key mid and upper-mid frequency range is reasonably forward, with the high frequencies slightly more restrained. Swapping between these and other headphones, it’s obvious these are not the brightest-sounding. That said, this can be preferable for long listening spells, as long as you’ve adjusted your expectations. Despite the monitoring style frequency response, there is plenty of weight in the low frequencies. What’s more, there’s no noticeable tail off in the lows until you get below about 40Hz, which is handy for sorting out sub bass issues.

Verdict

Choosing a pair of headphones for non-recording tasks is a decisive step, and the open design of these headphones clearly makes them unsuitable for most recording tasks. Nevertheless, if you are truly committed to this path, then the ATH-R70xa not only ticks a lot of boxes, but is super light, quite neutral sounding and one of the more comfortable over-ear open-back designs we’ve tried.

Hands-on demos

Alternatives

Specifications

In-ear monitors are a vital tool for keeping you and your band locked in and your live set running smoothly. While pro musicians have relied on IEMs for years, they are now becoming increasingly popular with gigging musicians and semi-pro players. If you’ve been thinking about giving them a try yourself, that is where Linsoul Audio comes in. Prime Day just became the perfect time to dive into the world of IEMs or upgrade your current setup with something more comfortable, sonically detailed, and better suited to your needs.

• Shop our pick of Prime Day music deals

An up-and-coming name in the brilliantly dubbed ‘Chi-Fi’ space, Linsoul has been making waves thanks to its wide range of IEMs at every price point, from entry-level options to premium models. And with up to 25% off across their range for Prime Day on Amazon, there are some seriously tempting deals to be had.

If you are new to Linsoul Audio, do not worry; I’ve done the legwork and picked out the very best deals in the sale. While the focus here is on IEMs, there are also some worthwhile accessory discounts, including cables and cases too. So, whether you are replacing a tired set or purchasing for the first time, these are the standout offers worth your attention.

Shop more Prime Day deals

• B&H Photo: Huge laptop savings
• Fender: Up to 20% off guitars
• Guitar Center: Up to 25% off
• IK Multimedia: 40% off software
• Musician's Friend: Member-only Flash Sale
• Plugin Boutique: 90% off plugins
• Positive Grid: Save on smart amps
• Reverb: Up to 66% off used
• Sweetwater: Back to school deals
• TrueFire: 60% off all-access

What is it?

Adam Audio’s new H200 headphone is the first product from its in-house headphone R&D team and marks a move away from its previous SP-5 model, which was designed in collaboration with and manufactured by Ultrasone.

As you would expect from Adam, the engineering design is paramount and combines a 40mm PEEK diaphragm driver with Neodymium magnet and a patent pending internal airflow system.

PEEK (Polyether Ether Ketone) is considered to be ideal for headphones as it’s both light and stiff, meanwhile Neodymium’s electrical efficiency and light weight make it the best magnet choice. The result is a 40mm driver with an impressive 2Hz to 23.5kHz frequency response (1kHz and -3dB) and 112.5dB maximum sound pressure level.

The H200 is a closed back design aimed at recording, mixing and mastering, and features memory foam earpads with artificial leather covering. We found these provided not only excellent passive isolation but great comfort for long listening periods.

The earpads and headband are replaceable, and are also available in a velour cloth option. The included 3m cable is detachable and can be connected to either earcup. Further design details include black anodised aluminium earcup yokes, braided wiring, in-ear cup left/right labelling, and Adam Audio branding on the earcups and headband.

Finally, once registered, H200 users can access their headphone optimisation plugin. Designed in collaboration with Sonnox, the Adam Audio Headphone Utility plugin (VST3, AU) sits on your DAW output bus and provides some modification options.

Performance

The H200 is a beautifully made headphone that combines sturdy components (PC-ABS earcups and aluminium yoke), understated branding and subtle design details (braided wiring). Nevertheless, with no fold-in rotating ear cups or hard carry case, they’re clearly aimed at studio users rather than DJs. As mentioned the fully over-ear design delivers excellent isolation, but also contributes to a very focused sound that’s slightly forward in the mid to upper mid frequencies. There’s no obvious lift in the high frequencies, meanwhile the low end, although full, is not overbearing. In essence, the H200 seems tuned for a broad range of uses, with the closed back design providing the required isolation for recording.

The Headphone Utility plugin builds on these basics with some excellent features. It has four main options – Earpad Material, Gain Compensation, Voicing and Externalization. Earpad Material optimises the frequency response for the two available options, meanwhile Gain Compensation has two settings (Equal Loudness and Safe) that work in tandem with the other settings to prevent clipping and match input / output loudness. Voicing has two settings – Pure and UNR (Uniform Natural Response). Pure is the more neutral option, while UNR has the more enhanced sound reminiscent of some Adam monitors. It’s worth saying neither is completely flat and both reduce the more prominent mids and upper mids we’ve already mentioned. Finally, the most interesting option is Externalization, which applies a left/right crossfeed algorithm to help reduce the extreme left/right stereo separation that headphones deliver.

This is all excellent stuff and we love the plugin, but would like to be able to individually bypass each component to allow for more focused use. Furthermore, it’s worth noting that to use the plugin outside your DAW, on your system audio output for example, you’ll need a third-party audio routing application.

Verdict

Adam has done a very good job with the H200. It doesn’t sound overly hyped, and is both revealing and engaging to listen to. If you were looking solely for mixing headphones you might not opt for a closed back design, but we feel the H200 does an admirable job whether you’re recording, mixing or mastering. What’s more at £140 these are competitively priced and should appeal to a wide range of users.

Hands-on demos

ADAM Audio

Alternatives

Specifications

A question often raised by music producers is, “Do subwoofers really make a difference?” Quickly followed by “Do I need one?” and then, “If so, which one should I buy?

In short, yes, subwoofers do make a difference, and the chances are you will probably need one. If you’re producing music for a live environment, creating sound design or post-production for any visual medium, then you need a sub. The next step is ascertaining what size works best for you and how it will fit into your existing monitoring setup.

Luckily for you, Kali Audio has two options for you to choose from and deciding which one works best for you couldn't be simpler.

The current subwoofer range from the Californian speaker maker, AKA Project Watts, consists of the WS-6.2 and the WS-12. Both models share similar features and the same Kali Audio DNA, but there are some big differences you should consider before making a purchase.

Before we dive into choosing which one is right for you, let’s take a quick glance at the main features of each model:

How big is your space?

The two main areas to look at here are the size of the room or studio and your current monitoring setup.

If you operate mostly in stereo, your studio is on the smaller side, with space at a premium, then the WS-6.2 is the sensible choice. Here, your existing monitoring setup is most likely to consist of a pair of nearfield two-way monitors with driver sizes up to eight inches making the WS-6.2 an ideal pairing.

However, if you have larger nearfield and perhaps midfield monitors, or you’re primarily dealing with multichannel audio and therefore a larger studio space, then go for the WS-12. Nice and simple, but there’s more…

Another consideration is how a sub will fit into your existing monitoring setup. Connecting a pair of monitors to either the WS-6.2 or WS-12 is easy; you’ll just need some extra cables. Both models feature the same stereo XLR/TRS combi jack and RCA inputs to connect to an audio interface or mixer, and stereo XLR outputs to connect your monitors.

The built-in crossover for each model takes care of how the frequency of the signal is distributed from the source to the stereo monitors and the sub itself. With the WS-6, it’s very straightforward as the signal is fixed to crossover at 80 Hz, so you can easily ‘set and forget’.

The WS-12, however, gives you 13 different frequency options ranging from 50 Hz up to 110 Hz at 5 Hz increments, allowing you to fine-tune your signal crossover for larger spaces and speaker setups.

What about multichannel audio?

So far, you’re sorted if your monitoring setup is stereo, but “what about multichannel audio and what if I have my own crossover?” we hear you cry. Well, Kali Audio has you covered for every eventuality. Both models can be switched to LFE mode to slot into a multichannel setup, such as 5.1 surround or Dolby Atmos. And if your monitoring setup has an existing crossover that you would prefer to use, then you can set both subwoofers to the External setting.

Another reason to choose a Kali Audio subwoofer for your low-end monitoring needs is the addition of switchable bypass on both the WS-6.2 and the WS-12 models. Both subwoofers are equipped with a ¼-inch jack socket, which allows you to connect a footswitch (sold separately) and easily bypass the sub, engaging the full frequency range of your existing monitors, making mixing and monitoring so much easier.

If you want to find out more about the Kali Audio subwoofer range, then head over to the Kali Audio website now.

Wireless audio was once the stuff of magic until the development of Bluetooth. So why is it that it’s not everywhere in music production and DJing? Well, put simply, Bluetooth sucks for anything other than music listening. Try to mix or produce anything using Bluetooth and you’ll quickly discover that the latency is utterly unusable.

But the future is bright. Imperceptible, ultra-low latency wireless audio has long been out of reach for musicians, DJs and producers. Until now…

AlphaTheta has developed a new wireless protocol called SonicLink, which has a greater range than Bluetooth and latency figures 20 times faster at just nine milliseconds.

While an emerging technology, ultra-low latency wireless audio over WiFi isn’t new. However, AlphaTheta’s approach with SonicLink will change the way you mix and produce music within its DJing ecosystem.

AlphaTheta’s current range of SonicLink-equipped products deliver everything you need to go fully wireless, whether that’s in the studio, performing live or just out and about.

HDJ-F10 TX

The HDJ-F10s are AlphaTheta’s flagship do-it-all DJ headphones, complete with Bluetooth and SonicLink connectivity. They are perfectly set up to be just as at home on the commute as they are in the DJ booth.

The closed-back F10s feature 40mm drivers that can deliver a very wide frequency response of 5 Hz – 30 kHz at 32 Ohms. You also get Active Noise Cancellation and Transparency listening modes that will help you tailor your monitoring experience, depending on the noise levels around you. While ANC completely blocks out all external noise, the Transparency mode allows some of the natural ambience of your surroundings in, so at least you’ll still be able to hold a conversation.

The HDJ-F10 TX package includes the F10 headphones but also comes with its own transmitter (HP-TX01), much like the Wave-Eight. However, this transmitter only works with the F10s, which can also be said of the Wave-Eight and its transmitter.

The range is the same as the Wave-Eight at 15 metres, but it benefits from a slightly longer battery life at 9 hours. Bluetooth, however, can last up to anywhere around the 30-hour mark, depending on conditions and that’s even with ANC activated.

WAVE-EIGHT

The Wave-Eight is quite possibly the ultimate portable DJ speaker. A battery life of up to 8 hours, IPX4 waterproof rating, a retractable handle, and wheels are just the half of it. Combined with a wireless all-in-one system such as the Omnis-Duo and you can DJ anywhere.

Not only that, Wave-Eight can be configured with up to three speakers to create a complete sound system. A single unit will provide a basic mono setup, whereas two can create a stereo system, and you can add a third to use as a sub, courtesy of the low-cut and subwoofer options within the onboard EQ control.

This portable party PA also features inputs of two XLR/TRS combo jacks, a 1/4″ TRS jack, a 3.5mm stereo mini jack and a single XLR output

The SonicLink transmitter can be neatly stored and charged in a protective side compartment. The unit has an RCA input to connect your mixer or DJ controller for wireless connectivity with the Wave-Eight speaker system with an unobstructed range of up to 15 metres.

AlphaTheta XDJ-AZ

Finally, in the SonicLink lineup, we have the latest all-in-one club-ready controller, the XDJ-AZ.

As well as inheriting the same layout from the flagship CDJ-3000 and DJM-A9, the XDJ-AZ also features compatibility with rekordbox CloudDirectPlay, StreamingDirectPlay, rekordbox and Serato DJ Pro for Mac/Windows.

This is the first AlphaTheta product that features an integrated SonicLink transmitter, giving you one less thing to worry about. You can directly pair your HDJ-F10 headphones to the AZ, giving you the freedom to roam the booth when playing live.

To find out more about the Wave-Eight, HDJ-F10 TX, XDJ-AZ and SonicLink, head over to the AlphaTheta website.

It’s perhaps surprising that Apple’s AirPods Max have, up until now, lacked the option to use their USB-C connection for transmitting high-quality, low-latency audio. Thanks to a new software update, though, this fairly commonly found feature will soon be coming to Apple’s flagship headphones, and the company is keen to talk up its benefits for music producers.

For music listeners, the new wired functionality will “unlock 24-bit, 48 kHz lossless audio, preserving the integrity of original recordings and allowing listeners to experience music the way the artist created it in the studio,” says Apple. However, it will also enable low-latency performance, which is essential if you want to use the AirPods Max for music making.

If you happen to be using Logic Pro, you’ll also be able to create and mix using Personalized Spatial Audio with headtracking. Support for these features was implemented in Logic Pro for AirPods users back in 2022, but only now can you take advantage of them using a wired, low-latency connection.

In fact, Apple claims that “AirPods Max will become the only headphones that enable musicians to both create and mix in Personalized Spatial Audio with head tracking.”

On another note, plugging in a USB-C to 3.5mm adapter (Apple is now selling its own all-in-one cable for $39/£39) means that you can also now use your AirPods Max with old-school minijack ports, such as those you’d find on an aeroplane or a multitude of synths and other music-making gear.

The firmware update will be available in April via iOS 18.4, iPadOS 18.4 and macOS Sequoia 15.4. You can find out more about the AirPods Max, which cost $549/£499 and are available in five colours, on the Apple website.

We’ve seen small versions of Positive Grid’s Spark modelling amp before - we’re looking at you, Spark Mini and Spark Go - but with Spark Neo, the company has done away with the speaker completely and packed its digital guitar rig tech into a pair of wireless headphones.

This ships with a wireless transmitter that plugs into your guitar and sends its signal to the cans over a proprietary 2.4GHz system. Crucially, the connection is said to be reliable and to offer low-latency performance; obviously, any kind of significant delay - such as you’d typically experience over Bluetooth - would render the Spark Neo all but unplayable.

If you want to go old-school, there’s also a 1/4-inch input on the headphones so that you can use a standard guitar cable, but the wireless functionality is definitely part of the appeal here. Spark Neo offers four onboard customisable presets, but there’s also the companion Spark App, which gives you access to 33 amps and 43 effects.

The app also grants you access to more than 100,000 tones on Positive Grid’s ToneCloud, while the Auto Chords feature will display the chords of any song as it plays.

The headphones themselves feature custom-designed 40mm drivers and, when you’re not playing your guitar, can be used as standard Bluetooth cans for wireless listening. They’re said to have soft, durable earcups and offer passive noise isolation. Battery life of the Spark Neo system itself is claimed to be up to six hours.

Spark Neo is coming soon priced at $199/£189. Find out more on the Positive Grid website.

NAMM 2025: Beyerdynamic seem to have something for everyone at this year’s NAMM show. The popular studio brand is going all out with not only a duo of new studio headphones, but also an extensive line-up of four all-new in-ear headphone models, each designed to satisfy the needs of a different kind of user.

In short, get ready for the new DT 70 IE, DT 71 IE, DT 72 IE and - you guessed it - the DT 73 IE.

All of the new in-ears feature Beyerdynamic’s TESLA.11 dynamic driver system which boasts a minimal distortion THD of just 0.02%. Beyer boasts that the new system offers superior resolution for accurate, detailed sound production, and is able to cope with a maximum sound pressure level of 137dB, making TESLA.11 one of the loudest and lowest-distortion drivers out there.

And with TESLA.11 at their core, the DT range then goes on to fine-tune its response to meet any studio or live need.

The DT 70 IEs are designed for mixing and critical listening with acoustic tuning aimed at delivering accurate low frequencies and treble reproduction at any volume. They boast a natural sound balance that’s designed to appeal to audiophiles looking for only the best, and their high-quality cable and gold-plated MMCX connector are said to be built to last.

The DT 71 IEs are designed for drummers and bassists. Needless to say, the aim here is to deliver powerful bass without skimping on clear treble. Their sound signature boosts lower frequencies while still allowing cymbals and percussion to cut through, while mids are reduced for extra clarity and transparency.

The DT 72 Es are for guitarists and singers. Here, there’s a more natural sound balance with solid bass and natural low mids. Meanwhile at the top end, a frequency response between 200-500 Hz compensates for the occlusion effect (when sound becomes trapped in your ear and your own voice can overwhelm what you’re hearing) to deliver clear listening that’s ideal for live performance.

Finally, the DT 73 E is fine-tuned for orchestral musicians and pianists. There’s natural bass and mid-range here, with precise treble overtones. Special emphasis has been placed on frequencies between 20 Hz and 1 kHz, specifically to boost the perception of tonal variations for those seeking player perfection. A subtle boost at 5kHz, meanwhile, makes them ideal for pianists, enhancing overtones while revealing intricate harmonic details.

All four new DT models come complete with five different sizes of silicone eartips and three pairs of Beyerdynamic’s bespoke Comply memory foam eartips included for superior comfort, sound insulation and fit, and will be available in Q2 2025 for $500 each.

And if you’re looking for something more heavyweight, Beyerdynamic has got you covered with its DT 1990 PRO MKII and DT 1770 PRO MKII over-ear headphones.

The DT 1990 PRO MKIIs feature an open-back design for a natural listening experience and are designed for mixing, editing and mastering. Beyerdynamic is promising a spacious soundstage with accurate bass response, even in the lowest ranges.

The DT 1770 PRO MKII is a closed-back headphone, making it ideal for recording and monitoring where discrete listening is required. The closed back provides excellent sound isolation, coupled with a lively sound profile and powerful, deep bass.

Both new headphones are available to purchase today for $600 each. Find out more and make your purchase on the Beyerdynamic website.

What is it?

When it comes to studio headphone use, we often discuss the various merits of different types of designs, and for good reason. For mixing and mastering you’ll want something that is sonically neutral, but also enjoyable to listen to and comfortable. In contrast for recording we tend to recommend closed-back designs, as although these sound less neutral, they prevent headphone spill and assist with isolation.

Tascam’s TH headphone range has included a variety of designs over the years and although not as highly regarded as market leaders such as Sennheiser, Beyerdynamic or Sony, they are typically very well made and affordable.

Up for review we have the Tascam TH-11 Studio Headphones. These are a closed-back design and as the name suggests are primarily aimed at studio users. They use 50mm drivers and feature mid-sized ear cups. Meanwhile the full width padded headband incorporates the sliding ear cup adjustment mechanism. The cups have reasonable rotation, although not the full 180 degrees, so are not particularly DJ friendly. They also include hinged joints, so that they can be folded away for transport.

Connection is via a reassuringly long 3m captive lead, which attaches to the bottom of the left-hand cup. This terminates in a 3.5mm mini jack and a push fit 6.3mm adapter is also included. The onward cabling to the right-hand cup is completely hidden inside the hinge joint, which keeps it tidy and safe from damage.

Performance

With a list price of £45/€50 the TH-11 is clearly aimed at the more budget conscious, and to help keep that price as low as possible there’s no included carry bag, which is a shame. Construction is also primarily plastic, so you’ll want to avoid careless handling. That said, overall they feel well made and have a quality finish. What’s more, with the Tascam logo across the top of the headband and on both ear cups, alongside some stylish red detailing, they look pretty classy.

Comfort is a key aspect of any headphone design. At 270g the TH-11 is super light and the fit is firm but not too tight. The headband is well padded, although the ear cup padding is quite light and if you’re used to memory foam designs, these do feel a bit lacking. Although, with a light design like this, it’s less of an issue and overall we found them reasonably comfortable over longer listening spells.

Closed-back studio headphones tend to be designed for recording duties and should be able to deliver a clear mid range and plenty of volume. On first listen the TH-11 has a reasonable mid range and a good amount of bass, but clearly has quite restrained high frequencies. This makes them sound quite dull, and if you were planning on using these for mixing, particularly at lower volumes, you’d be advised to look elsewhere. Nevertheless, crank the volume up and the high-frequency tail off can be beneficial, and this is the case here. There’s plenty of volume on offer and they deliver a punchy defined sound when pushed hard. This would make them a good choice when tracking drums, amped guitars or recording a whole band together.

Verdict

Overall, the TH-11 is clearly not a general purpose headphone, and there are better options if you want affordable headphones for mixing. However, for recording duties, particularly if you need a design that’s loud and punchy, it offers good value and really looks the part.

MusicRadar verdict: The Tascam TH-11 is a well-made and affordable headphone that is light, comfortable and reasonably compact when folded up for storage. The sonic signature won’t suit everyone, but for studio recording they are a reliable choice.

Specifications

• Operating design: closed back.
• Transducer: dynamic.
• Driver size: 50mm.
• Impedance: 32 Ohms.
• Sensitivity: 98dB +/-3dB.
• Frequency response: 18Hz to 22kHz.
• Maximum input power: 600mW.
• Cable length: 3m.
• Weight: 270g.
• CONTACT: Tascam

NAMM 2025: Coming in at the top of Roland’s headphone line-up and aiming to be the ultimate all-in-one, the company has announced its latest Roland-branded collab from its V-Moda side-brand.

Pitched as the ultimate studio headphone, VMH-S100 is aiming at nailing any job in music production, from sound design and recording right through to critical listening and mixing.

Along with the inevitable promises of sound fidelity, the VMH-S100 features Roland's V-Moda brand’s famous good looks, with a hard wearing metal outer construction that offers both durability and style.

And - as required by any battle weary studio pro - there’s said to be comfort and long-term wearability at play, too with replaceable ear pads meaning that you can keep the cans fresh for as long as you need them to perform.

When it comes to truly loving a piece of kit, it’s often the little things that mean a lot, and the VMH-S100’s ability to be wired to the left or right ear cup - with both offering a secure connection socket - will doubtless win over pros more used to fitting in among their studio’s cables, rather than the other way round.

Spec-wise, there are custom-engineered 50mm drivers, and an impressive frequency response of 5 to 40,000Hz. While closed back, delivering the required sound insulation when recording, Roland promises an open and immersive soundstage when mixing, too. And it's not skimping on the goodies, either, with each pair shipping with a carrying pouch, two cables (1.5 m and 3 m), and that essential stereo 1/4-inch adapter.

And in something of a first for Roland, the venerable Japanese hardware house is offering VMH-S100 purchases a taster invite to its Roland Cloud digital service, gifting them three months of full, Ultimate-level access to its suite of DAW-ready synths and effects.

The Roland VMH-S100 will cost $299, with a roll-out into US markets later this month. Find out more on the Roland website.

If you’ve ever set foot in a professional recording studio, be that music, broadcast or otherwise, chances are you’ve seen a set of Beyer cans knocking around, and for good reason. Aside from the superlative sound reproduction and incredible accuracy they offer, they’re also among the most comfortable headphones you’re ever likely to find. Now, a couple of pairs we rate very highly have been the subject of some tasty Black Friday savings at Amazon.

The DT 900 Pro X model is the current ‘best overall’ choice in our best studio headphones guide. This pair is currently down to $249, reduced from $269. Not a huge saving, but a welcome reduction on a pair we rate. The DT 700 Pro X is our ‘best closed-back’ choice and has an even bigger discount, now priced at $249, down from $329.

DT 700 Pro X - Why we ❤️ them

1. Exceptional sound isolation
The closed-back design of the DT700s means minimal sound leakage, which makes them ideal for when I’m recording or monitoring in a noisy environment. This means they effectively shut out ambient noise - ideal for tracking guitars or vocals during live sessions.

2. Superior comfort
The plush velour earpads are truly a thing of luxury. Combined with the padded headband, these are headphones which you’ll happily wear all day (or night) without any of the annoying aches you might get off a less comfortable set.

3. Versatility
With an impedance of 48 ohms, the DT 700 Pro X work equally well across a range of devices, from pro-grade equipment through to laptops and - if yours still has a jack - smartphones.

DT 900 Pro X - Why we ❤️ them

1. Open-back design
Unlike the DT 700s, the DT 900 Pro X feature an open-back design that makes for a superb listening experience. For music enjoyment, in the right environment, they’re pretty hard to beat.

2. Superb sound
Equipped with Beyerdynamic’s STELLAR.45 drivers, the 900s deliver detailed, rich sound across a wide frequency range, making them a great option for mixing and mastering applications in smaller studios.

3. Durability
While they’re as comfortable as the aforementioned 700s, the DT 900 boasts a metal headband - padded for comfort, of course - so are designed for longevity.

So there’s lots to love with these superb headphones, and with these great Black Friday deals at Amazon you can grab a set and save yourself a bit of cash along the way. Nice!

Black Friday is always a giver when it comes to great deals on audio equipment - and sometimes it makes things even harder on our wallets by giving early. This is exactly the case with Sweetwater’s latest early-Black Friday offers, with up to 60% discounts on some industry-heavyweight gear – namely, a up to $100 off Beyerdynamic’s 1770 Pro and 1990 Pro monitor headphones.

Beyerdynamic is the brand of choice for countless producers, engineers and artists, thanks to a rich tradition of solidly-constructed, full-range cans that don’t lie to you about your sound. Visit practically any pro studio and you’ll find a pair of Beyerdynamics lying around somewhere.

Many of you may already be familiar with the Beyerdynamic DT 770 Pro, which has come to be the gold standard for entry-level studio headphones; well, the DT 1770 Pro, and its open-back sibling the DT 1990 Pro, are the cream of the crop. And thanks to this killer Black Friday music deal at Sweetwater, they’re the cheapest they’ve ever been.

The DT 1770 Pro studio headphones usually go for around $430, being a mid-range set with some high-quality construction and components. These are ideal cans for the jack-of-all-trades-er, offering enough isolation that you can track instruments without your microphones picking up bleed – and offering enough full-range clarity that you can reference mixes in them with confidence.

The DT 1990s, meanwhile, are usually sold at Sweetwater for closer to $500. These are open-back cans, which enables them to be quite a bit more transparent when it comes to mix referencing. They don’t have quite the same practical utility as their closed-back twin, but they are a lot friendlier to your ears over long periods of time – and are able to give air to the low-end in a way closed-backs just can’t.

If you’re hoping to up your mixing game with some solid studio reference monitors, there’s no better time to pull the trigger on the Beyerdynamic DT 1990 Pros. If you’re looking for some workhorse monitor headphones that’ll do it all, you should pounce on the Beyerdynamic DT 1770 Pros. Either way, it’s rare to see Beyerdynamic get such generous discount treatment - so be sure to get in there while stocks last!

Looking for discounts on other brands? Keep tabs on our Black Friday studio headphones deals page for all the latest offers. We’re sharing our favourite Black Friday Sweetwater deals here, too.

RECORDING WEEK 2024: In an era where personalised experiences reign supreme, Zildjian - a name synonymous with musical excellence for four centuries - has unveiled a game-changing innovation in audio technology. The ALCHEM-E Perfect Tune™ Over-Ear Headphones aren't just another addition to the premium headphone market; they're a revolutionary leap forward in personalised sound engineering.

What sets these remarkable headphones apart is their groundbreaking Perfect Tune technology. Unlike conventional headphones that deliver a one-size-fits-all experience, ALCHEM-E maps your unique hearing profile for each ear, creating a truly personalised soundscape. This proprietary technology ensures that every note reaches your ears exactly as intended, revealing subtle nuances in your favourite tracks that you might have missed before.

Professional-Grade Features for Every Listener

The ALCHEM-E Perfect Tune™ headphones come equipped with dual-mode active noise cancellation, tailored specifically for both musicians and everyday users:

- Full Isolation Mode creates a cocoon of pure sound, ideal for immersive listening or focused work

- Innovative "Play-Along" Mode with 50% drum dampening—perfect for musicians practicing with their kit

Beyond the music

These headphones aren't just about superior sound - they're about seamless integration into your lifestyle:

Marathon Battery Life: An impressive 45-hour playtime on a single charge

Crystal-Clear Communication: Studio-quality microphones ensure pristine voice clarity

Intuitive Controls: Simple, accessible controls for distraction-free operation

Ultimate Comfort: Replaceable earpads and headband padding for lasting comfort

Smart Protection: Includes a specially designed silicone carry case that's both protective and portable

The Professional's Choice

Don't just take our word for it. Legendary drummer Peter Erskine notes, "Zildjian has hit a home run with the ALCHEM-E headphones. The tuning app is a godsend to those of us who have played for many years, many of them without the necessary hearing protection."

Experience the Future of Sound

The Zildjian ALCHEM-E Perfect Tune™ headphones represent more than just another audio device - they're a personal sound sanctuary that adapts to your unique hearing profile.

Whether you're a professional musician, an audio enthusiast, or someone who simply appreciates exceptional sound quality, these headphones deliver an unparalleled listening experience.

Ready to transform your relationship with sound? Click here to find out more about the ALCHEM-E Perfect Tune headphones and experience the Zildjian difference for yourself.

French audio brand Focal is undoubtedly best known for its studio monitors and audiophile speakers, but while its studio headphone range is considerably smaller, that doesn’t mean it lacks clout. As a matter of fact, Focal’s Listen Professional headphones have sat atop our list of the best studio headphones for the past few years.

Now the company has released a new model, the Lensys Professionals, which are positioned at a price above the Listen Professionals in Focal’s range, but still considerably more affordable than the company’s top-end, $1500 Clear Mg Professional cans.

Like the Listen Pros, the Lensys Professional headphones are a closed back design, well suited to creating and mixing in a variety of listening environments. The Lensys Professionals make use of 40mm aluminium/magnesium electrodynamic drivers that Focal claims offer ‘incredibly precise sound reproduction’. These feature an ‘M’ shaped dome, which apparently results in a more linear frequency response and improved sound dispersion.

Focal also claims that the positioning of the drivers allows for enhanced stereo imaging and better low-end extension.

One of our favourite aspects of the Listen Professional headphones was the comfort offered by the memory foam ear pads, and a similar design is used here, which Focal claims maximises both comfort and isolation. At 306g, the Lensys Professional headphones are slightly heavier than their cheaper sibling, but should still prove lightweight enough for long studio sessions.

Focal’s Lensys Professional headphones are available now priced at £599/$699. Whether the design offers enough to warrant the jump in price from the Listen Professional model – which you can currently pick up for less than a third of that price – remains to be seen. We’ll bring you the full lowdown when we test them for a full review.

For now, you can find out more at the Focal website.

When you think about classic studio headphones, there's a handful of pairs that will always come to mind. For us, one such pair is the Audio-Technica ATH-M50x. These closed-back cans are still some of the most popular all-round performers out there, and right now, for Amazon's Big Deal Days event (known as Prime Day 2 around these parts) have dropped to just shy of their lowest price ever, with a hearty 30% discount.

Despite being on sale for a good while now, the ATH-M50x rarely drop too much in price, so any kind of saving is worth taking advantage of. With an original retail price of $149, today's discount means you can pick them up for just $104. That's only a dollar off their cheapest price ever, and an absolute steal for a really capable pair of 'phones. 

The biggest reason to buy a pair of Audio-Technica ATH-M50x, in our opinion, is down to the all-round ability they possess for monitoring, mixing and mastering duties on any project you can throw at them. They also come with the added bonus of working as an everyday set of music-listening cans due to their relatively low-profile. They're collapsible too, making them great for making music on the go. 

The 45mm large-aperture drivers come complete with earth magnets and copper-clad aluminum wire voice coils, resulting in exceptional clarity across the spectrum, while the 90-degree swivelling earcups make one-ear monitoring a breeze.

In our opinion, one of the aces up their sleeve is the three detachable cables that come in the box. They're varying lengths, so you can attach the right one for whatever scenario you're in - whether that's mixing at home, listening on the go, or playing an electronic drum set where you need some extra slack - and you'll always have a spare.

Pioneer DJ's parent company, AlphaTheta Corporation, is looking to further push the boundaries of wireless audio with the launch of the new HDJ-F10 headphones. The high-end cans utilise the company's SoundLink tech found in the Wave-Eight speaker system that was first announced at NAMM earlier this year.

Aimed at freeing DJs from the tethered traditions of wired audio, the HDJ-F10 are over-ear headphones that connect to the SoundLink HP-TX01 transmitter for 15ms ultra-low-latency audio monitoring, Bluetooth for standard listening, or wired when all else fails.

The headphones are equipped with 40mm drivers and capable of delivering 105dB max levels at a frequency range as low as 5Hz, all the way up to 30kHz. In Bluetooth mode, the headphones also benefit from active noise-cancelling and a battery life of up to 30 hours, or 9 hours with SoundLink.

This is not the first time we've seen a proprietry wireless monitoring system, with AlphaTheta following in the footsteps of AIAIAI and its TMA-2 Wireless+ headphones, but it does remain to be seen whether the tech will be a mainstay of DJ booths in the near future.

We have been lucky enough to check out the HDJ-F10s for testing and you can see how we got on with the wireless monitoring in our full review.

The HDJ-F10s are available in stores now for €439 / $389 / £369. The bundled HDJ-F10-TX option (with transmitter) will be available in Winter 2024 at €549 / $499 / £469 and the HP-TX01 transmitter will be sold separately for €129 / $129 /£109, also on sale in Winter 2024. Check out the AlphaTheta website for more information.

AlphaTheta HDJ-F10-TX review: What is it?

AlphaTheta has released the HDJ-F10 professional wireless DJ headphones with its burgeoning SonicLink technology. Instantly, our thoughts turn to how well this technology translates to a live scenario.

The all-black design makes them stand out by not being flashy. On trying the headphones for the first time, the padded over-ear headphone cup design is comfortable, plus, they feel sturdy and well-built.

The audio specs of the HDJ-F10 are impressive. A 40mm driver delivers a max output of 105dB and a frequency range of 5Hz-30kHz. If you think of the Sennheiser HD25 headphones as being a DJing benchmark, those have 41mm drivers delivering a max output of 120dB and a frequency range of 16Hz-22kHz range.

The headphones use AlphaTheta's wireless SonicLink technology for connecting to the receiver, which offers a latency of 15ms. The headphones can also be connected by Bluetooth or wired, with the supplied cable.

There are other headphone brands that utilise wireless connectivity, mainly Bluetooth, the nearest direct comparison being the AIAIAI TMA-2 DJ Wireless headphones which use W-Link for connectivity. Both systems are comparable, offering similar latency.

AlphaTheta HDJ-F10-TX review: Performance and verdict

There's no denying the HDJ-F10s look good. The all-black design gives them a certain class and the build is robust, but they are heavy. In fact, it was the weight that was one of the first things we noticed in getting them out of the box. At 358g, these are more than twice the weight of our trusty HD25s (171g).

The headphones fit tightly to the head, which has benefits for DJs who do all their mixing in headphones. Those who use monitors, or regularly take their headphones off in the club, may not find these the most practical. Even shifting one side of the headphones behind the ear felt like they were going to fall off. With some practice, we would probably get used to this, but it didn’t feel particularly natural. Over time this may lessen as the stiff headband would likely loosen up a little, as they do with most headphones.

Alongside the HDJ-F10, there is the SonicLink transmitter, like the unit that comes with the WAVE-EIGHT speaker system. The receiver fits in the palm of your hand but does feel a little flimsy compared to the robust build of the headphones. We do wonder how it would stand up to the rigours of a resident or touring DJ. At more than £100 to replace, you wouldn’t want it to break.

Connecting the HDJ-F10 to the transmitter was quick and simple: turn the transmitter on and hold down the connection button on the headphones. A voice tells you that they are connected, and you can get on with plugging the transmitter to your mixer headphone socket.

The headphone connection was solid and only faltered when we moved into the room next door. All around our studio, there was no issue. Within the confines of the DJ booth or stage, the connection would be more than adequate.

The included cable to connect the transmitter to the mixer is approximately 1.5m, allowing the unit to be stashed away and fitted easily under our SL1200. This wire has a twist lock on the transmitter end to reduce the chance of it being pulled out, which was a nice touch. The cable also doubles as the wired connection for the headphones, should the battery run out. The battery life is listed at 9 hours when using SonicLink. This should be suitable for most DJ’s needs.

The sound

On playing our first track, the audio quality in the HDJ-F10 was astounding. Nice detailed mids and tops, underpinned by a rich accurate bass response. There is a good amount of headroom to compensate for the loudest stage or venue.

In the studio, we didn’t need to turn them up more than we do with my HD25s. But it was on stopping the music that we first noticed an audible hiss in the headphones. It lasted for about a second after the music stopped before cutting off. This is worrying.

About one hour in, we found that we were enjoying the audio richness the headphones delivered, but were beginning to suffer from ear fatigue. It remains to be seen whether we'd get used to it after using the headphones for longer.

Conclusion

For recreational listening, the HDJ-F10 can be connected via Bluetooth. The sound quality was just as good as the SonicLink, but that dreaded hiss was still present.

The hiss was evident on all audio sources we tried, including Apple Music, Ableton Live, Netflix and YouTube. However, the hiss disappeared when connected via the cable, making us assume that the transmission process was at fault.

The HDJ-F10 are great-looking headphones. They sound impressive and well-balanced, but the weight and background hiss are considerations that would need to be weighed against the lofty £469 price tag.

Hopefully, the hiss is something that will be resolved in future iterations, as the premise of wireless headphones is a good one overall.

MusicRadar verdict: The HDJ-F10s sound (mostly) great, and look good, but are they worth the £469 price tag just to remove a wire on the stage? Well, that depends on your style of DJing or performance. We're not totally sold... yet.

AlphaTheta HDJ-F10-TX review: Hands-on demos

AlphaTheta / PioneerDJ Global

AlphaTheta HDJ-F10-TX review: Specifications

• Type: Dynamic, closed back, over-ear design
• Weight: 358g (Headphones only)
• Connectivity: SonicLink / Bluetooth / Wired
• Frequency Response: 5Hz-30kHz
• Output Sound Level: 105dB
• Driver Size: 40mm
• Charging Time: Approx. 2.5 hours (headphones) / Approx. 4 hours (transmitter)
• Transmission Range: Approx 15m (SonicLink) / 10m (Bluetooth)
• Playback time: 9hrs (SonicLink) / 30 Hrs (Bluetooth)
• Contact: AlphaTheta

Sony has just dropped a new pair of monitor headphones, joining the brand's venerable MDR-7506 cans at the more affordable end of the price spectrum with a few modern touches to warrant the extra $150. 

The headphones feature new drivers developed specifically for the MDR-M1s, carefully fine-tuned to improve accuracy and reproduction across the frequency spectrum, giving the MDR-M1s an ultra-wide frequency response of 5Hz-80kHz. 

A closed acoustic structure provides superior sound isolation to prevent noise leaking in or out of the headphones while recording, while a tuned opening keeps low-end under control by acting as a ventilation hole, enhancing the headphones' bass response.

Much like the MDR-7506, these are lightweight headphones designed to remain comfortable during lengthy studio sessions, combining "studio sound quality with extreme comfort and reliability". 

Sony tells us that the MDR-M1s were developed in collaboration with renowned sound engineers, including Mike Piacentini of Battery Studios. "MDR-M1 are a great entry point for any creator who wants to be sure that the sound they are hearing in the studio translates to the end user in the best way possible," he says. 

If you're working with immersive audio, you'll be pleased to know that the MDR-M1s are compatible with Sony's 360 Virtual Mixing Environment, which models the acoustics of an immersive audio studio using spatial sound technology.

Available for pre-order now, the MDR-M1 headphones are priced at $249.99.

Find out more on Sony's website.

We are running out of excuses not to play guitar – whether recording or practicing, modelling technology is making everything easier. It doesn't even matter if you prefer your trusty, loud tube amp, modelling can still fill in the gaps for home practice late at night or tracking a demo in a hotel room. Headphone practice amps fit right into this world, and as I point out in my review, Fender's new Mustang Plus is a great example of how a modelling amp product can evolve and improve. 

The original Mustang Micro was a huge hit for the company – small, flexible and with no cables required, it offered 12 amp models and 12 effects combinations at your fingertips and it could stream Bluetooth audio for you to play along with. But since then more impressive portable solutions have emerged, including the Positive Grid Go tiny combo and the now-discontinued (due to “the procurement situation of the materials") Boss Katana Go. The latter was the closest to the Mustang Micro, and Fender has responded in a very appealing way with its new Mustang Micro Plus; it's packed even more into a tiny amp.

There's now 25 amp models, 25 effects, 100 presets, a small screen that integrates with the chromatic tuner, tap-tempo and the Fender Tone app offering deeper control and the option to download presets from a community. It adds up to a lot for an extra $30 (Fender RRP is $149.99 but even the Fender site currently has it for $129.99) over the original. 

The new Mustang Micro Plus isn't app-dependent either – like the Positive Grid Spark amps you can create or choose your presets, save, set and forget if you want. But the Fender Tone app offers the kind of control over virtual signal chains and controls that aren't realistically possible with such a small headphone amp. Nevetheless Fender still includes EQ presets and a selectable global parameter control that can be changed on the hardware itself.

The rechargeable battery offering four hours+ life, USB charging and direct recording of the original remains here, but instead of selecting an amp and then an effect to play with like the Mustang Micro, the new Plus model uses presets for you to use Fender's own signal chains, or create your own to call up whenever you want. It's different but it makes sense, and factory presets showcase just how impressive the stereo effects are for the headphone experience. Ping-pong delay? Yes please!

Whether you're a beginner or looking for a way to play guitar more without annoying the people around you (I know your pain), using the same form factor as the previous Mustang Micro makes great sense here – the jack can be angled to handle most guitars and the control layout works great for visibility and editing. The screen is a huge bonus over the colour-coded LEDs of the original Mustang Micro too – it's simply much quicker to know where you're at in terms of navigation. 

The Fender Mustang Micro Plus is available now from retailers including Andertons, Reverb and Sweetwater. 

Check out our Fender Mustang Micro Plus review. 

Fender Mustang Micro Plus Headphone Amp: What is it?

A little over three years ago Fender started very strong with its first headphone modelling amp, the Mustang Micro. Its integrated jack made it easier than ever to plug in and play – with a wide selection of tones, effects and Bluetooth streaming to make playing along to your favourite songs easier than it’s ever been with a guitar amp.

So easy that you may wonder how Fender can improve on it. Challenge accepted, it seems. Because the Fender Micro Plus has packed some additional features into the original’s package. Do they add up to enough to justify the extra outlay, or even an upgrade?

Fender Mustang Micro Plus Headphone Amp: Performance and verdict

The Mustang Micro was $119/£89 when it was first released – less than most overdrive pedals cost these days and a psychological sweet spot for buyers. It was the best-selling amp in its launch year on Reverb because it wasn’t just an ideal beginner’s 'silent' practice amp solution – or even first amp. It was great for any guitarist who wanted to be free of cables and hardware baggage when they wanted to play – wherever that may be.

The Micro Plus is no different in this regard, and its still cheaper than most pedals we review on MusicRadar, but adds a set of features that go way beyond a mere excuse for a soft relaunch. An integrated display now offers you a visual guide where colour coded LEDs did the heavy lifting before. And it wasn’t heavy enough really – I found I frequently needed the guide card that came with the original so I knew what amp and effects model I’d selected. Now it’s clear straight away on a lit screen – well the preset is clear anyway. I'll get to that soon. 

That hasn’t affected the best-case running time from the USB-C rechargeable lithium-ion battery; like the original, it’s still four+ hours. That USB connection can still be used for recording too – including into a smartphone when inspiration strikes. But the number of amp models has shot up from 12 to 25 – and the number of effects and combos has more the doubled to 25 too. 

With all this choice, presets are now part of the package for the first time; 100 in fact, 70 of which have already been provided by Fender for out of the box to give players a demonstration of the breadth on offer here. 

While the hardware offers the same kind of EQ presets like bass and high cut that allowed users to tailor the original to taste, the increase in models require some outside help that the compact unit can’t possibly be expected to provide for. Enter the Fender Tone iOS and Android App that connects with the Mustang Micro from your device via Bluetooth.

The app gives you control over the parameters of the effects and amps, while also enabling your to ‘audition’ and download presets to your Mustang Micro Plus. Fender has clearly given it plenty of attention from the test version we tried – it looks good (and operates in horizontal mode on your phone to allow maximum screen real estate for your virtual signal chains – and performed smoothly for us. 

But it’s not essential to use regularly – you can set and forget your presets or just use the stock ones. But I do think it enhances the experience of using this headphone amp – to give deeper control over your sounds. 

This includes choosing what the global Modify control on the hardware itself actually does – from reverb level to modulation rate. If there something you’re likely to tweak on the fly in use, it’s worth making sure it’s catered for here. 

The increase in amp and effects models here is probably the biggest selling point – and I like how Fender has leaned into the headphone output with more stereo effects. But unlike the first Mustang Micro, you can't select an amp and then effects or combinations of them – it's preset-based on the hardware, which may be jarring to existing users as its a very different approach. 

You can go into the app and choose the effect you wish to use, but to recall it with the amp model you wish to use, you'll need to save it as a preset or use the app each time. It's a trade-off; but the preset-led approach here really do give you quick access to inspiration, from Jimi Hendrix Uni-Vibe to Sun Records rockabilly slapback, ping-pong U2 delays and my personal favourite, a Fender Twin with chewy tremolo. They sound great on cans, and really immerse you into the Mustang's world.

Fender isn't known for its high-gain thrills – but it also knows that the metal sounds were some of the most popular on the original Mustang Micro, so there's plenty of that fare to be explored. Don't expect Tone Master Pro and Quad Cortex-level detail and response here, but this side of things remains a real strength for a headphone-based mini amplifier. The only caveat is I found some of the high gain models can get pretty hard on the ears in terms of bass definition in low tunings such as C#. 

Such instances weren't indicative of the general performance though. I tested the Fender Mustang Micro Plus with both higher end Yamaha studio monitor headphones and some much cheaper earphones with surprisingly powerful drivers I bought from Amazon, and mostly the results were impressive. 

The Mustang Plus can also go surprisingly loud too - significantly more than the mini amp competition I've encountered. So be careful, fellow rockers! 

Like the established Mustang Micro – and indeed the Mustang amp series as a whole – I think the strongest models here are unsurprsingly the ones based on Fender's own amps, such as the Bassman, Deluxe, Princeton and Tweed. These can form solid foundations to tackle a wide range of styles when effects are in the mix too, and usually fit well with the audio that's easily streamed from your phone or laptop via Bluetooth. It's when quickly tweaking your tone to play along with Bluetooth streamed classic songs, or a backing track, that it really hits home just how much the Mustang Micro Plus can do for such a tiny lightweight device. We've never had it so good as guitarists! 

The original Mustang Micro is still going to be available currently for $99/ £105, and our praise of it still stands. But for another $30, the Mustang Micro Plus shows just how much more potential there is to be mined from such a compact device. For this reason I think it's worth the extra money for the added features over the original. 

MusicRadar verdict: Fender improves on an already excellent device here with more sounds, and the addition of presets in a headphone amp that proves its worth for playing and home or wherever you and your guitar go. 

Fender Mustang Micro Plus Headphone Amp: Hands-on demos

Fender

Andertons

Fender Mustang Micro Plus Headphone Amp: Specifications

• TYPE: Headphone modelling amp
• CONTROLS:  Preset, EQ, modify, tap/tuner, on/off switch, save, volume knob
• FEATURES: Built-in display, Bluetooth streaming, 25 amp models, 25 effects combinations, USB-C direct recording, chromatic tuner, tap-tempo, 100 preset slots, downloadable presets from Fender Tone app 
• CONTROLS: Preset, EQ, modify, tap-tempo/tuner, save buttons, on/off switch, volume rotary knob
• CONNECTIONS: 1/8-inch headphones, USB-C
• CONTACT: Fender

Musicians and music lovers everywhere: we need to get serious. About the most precious sense we have - our hearing.

That’s the message from a new survey conducted on behalf of the RNID (Royal National Institute for Deaf People). The poll of 2,000 people has shown that over half of people (58%) who have attended or plan to attend a music event in 2024 have experienced tinnitus or temporary hearing loss after listening to music. At 33%, a third said that they have experienced this more than once.

The survey also showed that most people vastly overestimate how long they can listen to music at loud volumes before it effects their hearing. Some 78% were unaware that a gig or club at over 100 decibels can cause permanent damage after just 15 minutes. Many erroneously think they can listen at that volume for up to four hours without any harm.

How can you protect your ears? Well, using earplugs at live events for starters. But even here the news is not good – only 32% of people use or plan to use hearing protection at an event this year. Shockingly, for the 45-54 age group, that figure goes down to just 22%.

The RNID’s Audiology Manager, Franki Oliver said: “It’s really concerning that so many music lovers are unaware of the life-changing damage that loud music can have on your hearing. Whether you are at a live event, or listening to music through headphones, we all need to take steps to protect our hearing to ensure we can continue enjoying music in future.”

Many musicians’ careers have been blighted by hearing loss. In fact, the RNID has teamed up with one to get their message over.

You may remember Tre Lowe from this year’s series of The Apprentice. As a DJ and producer Tre scored UK garage hits as one half of Architechs. He’s also suffered from tinnitus from the age of 15.

“I’d have my headphones at maximum volume, my speakers, maximum volume,” Tre remembers. “If I was in nightclub I’d be standing by the speakers, I was just a crazy noise addict.”

“All that time I was making it worse and worse and worse, and I didn’t know. There is a real lack of education out there about protecting your hearing and how it’s so easy to damage your ears. I wish I’d known that and that’s why I’m so passionate about getting the message out there.”

Other than earplugs, standing away from speakers is recommended and taking breaks – being somewhere quieter for even just five minutes each hour will help your ears recover.

If you’re a headphone addict, reduce the volume by 50% and avoid turning the sound up above background noise. Follow the safety prompts on your phone. They’re there for a reason so if you receive an alert take the hint. And, as with live events, having a break every so often is recommended.

Because whilst high volume can provide a momentary thrill, tinnitus sticks around for much much longer.

AKG K271 MKII review: What is it?

Believe it or not, AKG has been making headphones for over 75 years so boasts more experience than most, with a lot of it packed into its K-range, designed for studio engineers, musicians and DJs. The range has models of all shapes and sizes, from around £40/$50 for the K52 studio headphones right up to an eye-watering RRP of $1,812 for the K812 mastering reference 'phones.

Fortunately, the K271 MKII reviewed here – the most recent update to the original K271 phones released back in 2003 – weigh in at just over $£100, so are aimed at the project studio owner or live monitor engineer after cans that deliver a decent accuracy and vibe for a reasonable outlay. 

They are light in weight (240g), over-ear, closed-back headphones, designed with good isolation, so should be ideal for detailed mixing with few external distractions, and also good for live recordings because they should have minimal spill or bleed that could be picked up by a microphone. 

Out of the box you get the K271 MKIIs, a straight EK300 3m cable, a 5m EK500 coiled cable, a 1/8" to 1/4" (3.5mm to 6.3mm ) adaptor, and a pair each of velvet and leatherette ear pads. With ear comfort in mind, a spec that covers a good frequency range and more (16Hz to 28kHz) and that lightweight design, which should be good for long listening sessions, these 'phones already tick a few boxes for long mixing and monitoring sessions.

AKG K271 MKII review: Performance & verdict

Because of their weight and plastic design – especially with the leatherette pads fitted as standard – the K271 MKIIs don't exactly feel like the best quality headphones. Looks-wise, these are based on the now classic AKG design, and while that feel won't appeal to everyone, the large ear pads are designed for comfort rather than aesthetics, and here they score well. 

The weight has its plus sides because wearing them, especially over long mixing sessions, does not feel restrictive or uncomfortable – sometimes you even forget they are there. They are easy to self-adjust to fit too, and certainly feel tight enough, without clamping too hard on your head. 

A quick note on portability as there is no case (soft or hard) supplied, nor do the 'phones fold up, so they are definitely designed for studio mixing rather than out and about listening. One neat feature, though, is that the 'phones stop playing when you take them off. While we're not sure whether this is a deal-breaking addition, it is handy when you are interrupted during listening. 

The isolation is good but doesn't shut the world away as much as some headphones we have tried. Using the velvet pads here helps isolate your mixing from external noise and is also more comfortable, so we'd certainly recommend trying both sets of pads out. It's great to get this pad choice and also both the coiled and straight cable options – not always a given with headphones.

For mixing we found the sound to be balanced and accurate enough so that mixes are presented in an even way, and picking track elements out is therefore relatively easy. The sound stage is good for closed-back headphones, which tend to sound narrower than open-back phones in this regard, and there's certainly enough width for you to place mix elements accurately.

We did find the bass to be a little lacking but decent enough to pick out different low-end elements and separate both kicks and synth bass, for example. However, if you are mixing bass-heavy music, you might have to take care not to boost the lows too much to compensate, as that might transfer into an unbalanced mix on your reference system.

On the plus side, the upper mids and high-end frequencies are clear, detailed and sharp, all well-presented and easy to place. Mixing vocals is especially suited to the K271 MKIIs, then, and acoustic instruments, strings and detailed percussion particularly shine, and you'll find yourself making easy and precise adjustments across these instruments.

Overall the K271 MKIIs offer a lot of headphones for the cash, with good choice options, and very decent sound for both live and studio applications. If you can live without the need to take them on the road and with some work to do at the low end, they'll make a great set of workhorse 'phones to use for monitoring, recording and AB mixing.

AKG K271 MKII review: Hands-on demos

Moji Visuals

 Hi-Fi Insider 

 Guitar Center

AKG K271 MKII review: Specifications

• Transducer: Dynamic
• Transducer diameter: 40mm
• Freq Range: 16Hz to 28kHz
• Impedance: 55 Ohms
• Sensitivity: 104 dB SPL/V
• Max. input power: 2000mW
• Accessories: 3m straight cable, 5m coiled cable, 2 sets of ear pads, 3.5mm to 6.3mm adaptor Weight: 240g (without cable)
• Contact: AKG

Westone Audio PRO X10 review: What is it?

When choosing a set of the best in-ear monitors, you have to ask if you want complete - or just partial - disconnection from the outside world. The Westone Audio Pro X10 are, fundamentally, siblings to the AM Pro X10 set we reviewed last year, but with one key difference. Where the AM Pro X10 allow some noise to get through, making them ideal for live performance, the Pro X10 revel in their ability to offer near-total isolation from external sound.

One of the main features of the Pro X10 is their neat design, which provides a comfortable fit for extended wear. This is crucial for performers and audio engineers who require prolonged usage during rehearsals and performances. The Pro X10 also includes a robust, detachable cable that enhances durability and offers easy replacement if needed. All ticks in the ‘for’ column so far.

As mentioned, in comparison to the Westone AM Pro series, which incorporates ambient technology allowing some external sounds to filter through, the Pro X10 is designed for complete sound isolation. This makes the Pro X10 ideal for producers who require an immersive listening experience without external interference, whereas the AM Pro would suit those who need to stay aware of their surroundings, such as stage performers.

Musicians, sound engineers, and audiophiles will find the Pro X10 a valuable tool for their craft, offering precision, comfort, and reliability. In the following section, we’ll look more at the technical aspects and performance highlights of the Westone Audio Pro X10, providing a detailed overview of what makes these monitors stand out in a competitive market.

Westone Audio PRO X10 review: Performance & verdict

The Westone Audio Pro X10 in-ear monitors are engineered with a single balanced-armature driver. This driver type is known for its ability to deliver a highly detailed and accurate sound profile, a key factor for musicians and audio professionals who need to discern subtle nuances in their audio. Unlike dynamic drivers, balanced-armature drivers are smaller and lighter, contributing to the Pro X10's lightweight and comfortable fit. Once they’re in, it’s easy to forget they’re there.

In terms of frequency response, the Pro X10 covers a range from 20 Hz to 16 kHz. This range ensures that users can hear sounds from right across the frequency spectrum, making them ideal when tracking instruments or mixing in a busy studio. 

It’s worth pointing out the limitations of single-driver monitors, though. In my experience, the Pro X10 excelled at mid- and high-frequency. However, I did find that the bass response wasn’t as pronounced as in multi-driver models. To be fair, this is fine, and it's a trade-off that you may be willing to make for the Pro X10's clarity and accuracy in other ranges.

The sensitivity of the Pro X10 is rated at 114 dB SPL @ 1 mW, making it highly efficient and capable of producing a strong output from lower power sources. This feature is particularly beneficial for use with portable audio devices. Additionally, the impedance of 19 ohms ensures that the Pro X10 can be driven effectively by a wide range of equipment without requiring a powerful amplifier.

Noise isolation is another - possibly the main - standout feature of the Pro X10, with a passive noise attenuation of 25 dB. This level of isolation will allow you to focus on your work without the distraction of ambient noise, making it ideal for studio recordings and live monitoring in loud environments. The secure fit provided by the ergonomic design and the included range of silicone and foam ear tips ensures you’ll find a fit that works for you.

The Pro X10's build quality is exemplary, particularly given its sub-£200 price point. The detachable cable not only adds to the monitors' longevity but also allows for easy customization and replacement. Its braided design reduced some of the traditional tangling in my tests and resulted in minimal interference from cable noise during use.

From a usability standpoint, I found the Pro X10 to be extremely straightforward and user-friendly. The monitors come with a selection of ear tips, including silicone and foam options, allowing users to choose the best fit for their ears. 

The inclusion of a carrying case adds convenience and protection for the monitors when not in use.

Westone Audio PRO X10 review: Final verdict

In conclusion, the Westone Audio Pro X10 in-ear monitors offer a pretty compelling combination of precision, comfort, and durability. While they may not provide the booming bass of some multi-driver alternatives, their clarity and accuracy in the mid and high ranges make them an excellent choice for musicians and audio professionals who prioritize detail and isolation. 

For the money, and against some serious competition from the likes of the Shure SE215 and Sennheiser IE 400 Pro range, the Pro X10 delivers a reliable and immersive audio experience, making it a valuable addition to any musician's toolkit.

Westone Audio PRO X10 review: Specifications

• Type: In-ear monitors
• Frequency range: 20Hz to 16kHz
• Connection: 3.5mm jack
• Impedance: 19 ohms
• Drivers: Single balanced-armature 
• Contact: Westone Audio

Having re-thought the vacuum cleaner and hand/hair dryer, British company Dyson is now turning its innovative eye to the world of headphones with the $499 OnTrac.

This isn’t the first time Dyson has stepped into the world of personal audio. It previously gave us the Zone, a slightly bonkers looking product that combines headphones and an air purifying mask. This is the company’s first ‘pure’ headphone product, though, and given its price tag, it looks like it’s designed to compete with the likes of the Apple AirPods Max and Sonos Ace.

Despite being new to this market, Dyson reckons it has a high level of understanding of acoustics and psychoacoustics because its engineers have always specialised in “creating products that move air”. It also claims to have “extensive knowledge of acoustic and noise reduction techniques”.

All of which means that Dyson feels bullish about the OnTrac to claim that it offers “best-in-class noise cancellation” and “enhanced sound range”. With a frequency range of 6Hz - 21kHz, we’re promised a high level of detail across the board, along with “deep sub-bass and high-end brilliance”.

Active Noise Cancellation, meanwhile, is handled by a custom algorithm that uses eight microphones and samples external sound 384,000 times a second. You can monitor this in real-time using the MyDyson app, which also enables you to choose between three EQ modes.

Other features include head detect, so audio is paused when the headphones are removed, a joystick controller and “crystal-clear” call quality. Battery life sounds impressive, too: a reported 55 hours, even with the ANC enabled.

The OnTrac’s chunky, slightly retro look will probably divide opinion, but there’s scope for customisation here as you have a choice of headband, earcup and cushion colours. Dyson says that this means that you’ll be able to choose from more than 2,000 possible colour combinations, which could lead to some serious pre-purchase procrastination.

You can sign up for updates on the OnTrac’s availability on the Dyson website.

Prime Day music deals are finally here with a deluge of savings on studio gear and some incredibly low prices. Whilst many lesser-known headphone brands are going cheap on Amazon at the moment, I’d steer well clear of these for anything other than casual listening duties. Thankfully, there are some great deals on established studio brands like Sennheiser, Audio-Technica, AKG, and more, perfect for upping your mixing game for less. 

I’ve been reviewing studio gear for a couple of years now, and have spent the last 20 years doing home recordings for a multitude of bands and solo artists. Studio headphones have been an ever more important part of my mixing process for a couple of reasons, firstly, they take your mixing room out of the equation, and thus any inconsistencies or issues you might have in your monitoring there.

Secondly, most people are going to listen to your music on headphones, so understanding how your mix translates on a set of cans is crucial for anyone hoping to provide an intoxicating listening experience. Most people will be listening on their phones whilst commuting or at work with earbuds or over-ears, so you need to provide a great mix for your main core of listeners.

• Shop Amazon’s full Prime Day sale

Prime Day is a great chance for anyone to pick out their favourite bit of gear cheap, but it hasn’t always been this way. It’s only in the last few years I’ve started to see better deals for musicians, and it’s getting better value every year. 

Part of my job is to cross-reference any deals that look too good to be true with other retailers to make sure it’s genuinely good value for money, so in picking these 5 pairs of studio headphones I’ve also done a price check to show how much they’re going for elsewhere. I’ve also sorted them in price order to make things even easier for you. Let's get started...

Purveyor of both custom and universal in-ear monitors, 64 Audio has launched the Aspire 4, its ‘new generation’ universal in-ear monitor, which it claims is its “most accessible UIEM to date.” 

The idea is that Aspire 4, with its four drivers, will find the middle ground between comfort for musicians, performance and accuracy.

As 64 Audio founder Vitaliy Belonozhko explained: “With live music at the forefront of 64 Audio’s tuning criteria, do we make a highly accurate unforgiving studio monitor or a contoured device that helps musicians hear themselves more effectively?” 

“As with many of our monitoring tools, the answer is somewhere in the middle. Huge bass that can reproduce some of the toughest frequencies in the audible spectrum with quick ease. 

"Forward mids that are precisely elevated for articulation in the most vital region of instruments and voices. Plenty of top-end sparkle really separates Aspire 4 from any other UIEM in its class, making this powerful sound signature a perfect blend of accuracy and musicality.”

The maker also claims that Aspire 4 will “significantly” reduce ear fatigue while maintaining around -20 decibels level of noise isolation. 

It works via 64 Audio’s patented Apex (air pressure exchange) CORE system, which is a step on from its previous tech. That provided controlled leak via pneumatically interactive foam, but here the pressure reliving channel comes via acoustic filters. 

Also included is Waveguide. This is a custom-designed acoustic structure that’s integrated onto the high frequency armature driver. Unique in its shape and implementation, it increases the driver’s efficiency by directing and focusing its energy for a crisp and clear sound. 

The other major plus point with Aspire 4 is that, compared to some high end in-ear monitors, it won’t break the bank. Many competitors bust the four figure mark, but the Aspire 4’s current retail price is $900.

Belonozhko’s company has carved a niche for itself in the in-ear monitor market. Born in Ukraine, he worked for over two decades as a sound engineer for musicians and production companies in the Pacific North West before setting up 64 Audio in 2010, initially as 1964 Ears, with his three brothers. 

The idea from the start was to provide a better alternative to the traditional floor ‘wedges’ and create in-ear monitors that would work for musicians at all levels.

For more information on the Aspire 4 go to www.64audio.com.

If you’re anything like me, your studio headphones endure a demanding day-to-day lifestyle, traversing busy studio environments before being casually tossed into a rucksack for travel and recreational uses. Unfortunately, headphone maintenance and care is frequently overlooked. Despite being an essential tool in studio workflows and daily music enjoyment - and not the sort of item you want to be replacing on a regular basis - they rarely get looked after as they should. 

Headphones quite often have no designated home; I’ve seen pairs left in a tangle of cables, perched on a ledge, and even abandoned on the floor. Continued exposure to this sort of treatment can quickly lead to damaged cables and wiring, broken earcups and a general drop in performance - which will only have a negative impact on your music-making experience. 

For this feature I’ve explored the proper methods for using, storing and maintaining your headphones, maximising their lifespan in the process. It’s time to fix some of those bad habits.

1. Invest in quality headphones in the first place

First and foremost, investing in a high-quality pair of headphones from the off is crucial for anyone who is serious about music, whether you’re recording yourself or simply enjoying a more detailed listening experiences. A good set of headphones will not only deliver high-quality audio but they are also built to withstand the test of time. 

Look for features such as a sturdy headband, durable ear pads that resist tearing or loosening, and a secure fit around your head. You could also look for modular options where parts of the ‘phones are replaceable, which will extend the life of your headphones even more. We recommend our top picks in this guide to the best studio headphones and if you’re strapped for cash, our pick of the best budget studio headphones will get you the most bang for your buck.

2. Handle your cans with care

Without proper care, any set of headphones, regardless of their quality, can succumb to faults caused by accidental damage. While using your headphones correctly might appear obvious, it's easy for bad habits to develop as they become an integral part of your daily workflow.

Obtaining a proper over-ear seal is crucial for optimal frequency response and noise isolation, enabling you to listen comfortably at a moderate volume without subjecting the headphone’s drivers to excessive strain over extended periods. To achieve the ideal fit, position the headset over your head and adjust the headband until it sits comfortably. If the headset feels too tight, delicately bend the headband inward toward the earcups to alleviate the clamping force. Exercise caution here as excessive force could potentially damage the headband.

Another area of general headphone usage to keep in mind is when plugging them into a device, audio interface, or 1/4 inch jack adapter. The 3.5mm jack is prone to damage or bending when forcefully removed from or carelessly left inserted into devices, potentially harming both the headphone jack and the device itself. When inserting or unplugging from a device, it's advisable to hold onto the jack housing rather than the cable. Leaving headphones plugged into a device such as a laptop, phone, or interface when they're not in use can also cause tension on the jack or cable if it gets caught and tugged at the wrong angle. 

Additionally, unplugging headphones when they're not in use serves to safeguard the headphone drivers from unexpected amplified signals and prevents accidentally driving the headphones at high volumes, a situation that’s often encountered when headphones are left plugged into the interface following a recording session.

3. Invest in self-storage

If longevity is a priority for your headphones, proper packing and storage are essential. Similar to jack leads and patch cables, headphone cables can suffer damage if not coiled correctly. Avoid wrapping the cable tightly around the headphones, as this can exert excessive tension on both the cable and the jack. Instead, if the headphone lead can unplug, remove it from the headphones and coil it in a loose circle using the recommended coiling technique: creating loose loops coiled alternately on each side of the wire - known as the under-over method.

When travelling frequently with your headphones and storing them in a rucksack, it's important to avoid simply tossing them in. Objects within your travel bag could press against them, potentially altering the headband's shape, clamping force, or adding tension to the jack casing and wire.

While some manufacturers include a case, if they don't we recommend investing in a reinforced soft case such as the UDG Creator, Magma Headphone Case, or Gator G-Club. These cases provide added protection, shielding your headphones from inadvertent pressure that could cause damage. 

Most headphones allow you to disconnect the cable from the headphones. If the lead disconnects, it's advisable to coil it up inside the case to prevent tangling and ensure it remains undamaged during transport.

If you prefer to keep your headphones easily accessible on your studio desk or another surface, investing in a headphone stand is a smart choice. These supports cradle the headphones by the headband, removing the pressure from the cushioned ear pads and drivers. 

You can loosely coil the wire at the base of the headphone stand for added convenience. Some recommended options include the Avantree Aluminum stand, Brainwavz Hengja, and Avantree Neetto Dual headphone stand, an option that’s particularly useful if you have multiple pairs of headphones to organise.

4. Consider a full valet on a regular basis

While wear and tear is unavoidable over time, there are measures you can take to preserve your headphones and lengthen their lifespan. Regular cleaning is a sensible habit. Just as you wouldn't wear the same pair of jeans for months without washing them, cleaning your headphones keeps them looking fresh and free of any build-up of dust and dirt. Additionally, it aids in removing bacteria that could accumulate in the warm, dark environment inside the ear cups after extended listening sessions.

When cleaning your headphones, gather items such as a paper towel or lint-free cloth, a soft toothbrush, tweezers, and a cleaning liquid such as high-percentage rubbing alcohol like AF Isolene, Isopropyl or diluted bleach. Be cautious not to use excessive liquid, as it could potentially damage or erode the finish of your headphones.

For a thorough cleaning of your headphones, begin by removing the ear pads and extending the headband to expose as much of the headphone surface as possible. This provides access to every nook and cranny for cleaning. Use a toothbrush to gently brush off any dust and dirt, being careful not to push debris into the exposed drivers. For stubborn hairs or threads stuck in the headphones, use tweezers to carefully remove them. 

With the physical debris addressed, it's time to disinfect your headphones. Gently wipe the earpads and headband with the cleaning solution, ensuring sufficient solution and pressure are applied while preventing any dripping. When cleaning around the drivers, exercise extra caution to avoid getting any solution inside them. For added precaution, hold the ear cups upside down with the drivers exposed and wipe from below to ensure any drips fall away from the headphones, reducing the risk of liquid entering sensitive components. This meticulous approach guarantees a comprehensive cleaning without jeopardising the delicate headphone drivers.